Avignon
I HAD been twice at Avignon before, and yet I was not satisfied. I probably am satisfied now; nevertheless I enjoyed my third visit. I shall not soon forget the first, on which a particular emotion set an indelible stamp. I was creeping northward, in 1870, after four months spent, for the first time, in Italy. It was the middle of January, and I had found myself unexpectedly forced to return to England for the rest of the winter. It was an insufferable disappointment; I was wretched and broken-hearted. Italy appeared to me at that time so much better than anything else in the world, that to rise from table in the middle of the feast was a prospect of being hungry for the rest of my days. I had heard a great deal of praise of the south of France; but the south of France was a poor consolation. In this state of mind I arrived at Avignon, which under a bright, hard winter sun was tingling—fairly spinning—with themistral. I find in my journal of the other day a reference to the acutenessof my reluctance in January 1870. France, after Italy, appeared in the language of the latter countrypoco simpatica; and I thought it necessary, for reasons now inconceivable, to read theFigaro, which was filled with descriptions of the horrible Troppmann, the murderer of thefamilleKink. Troppmann, Kink,le crime de Pantin—the very names that figured in this episode seemed to wave me back. Had I abandoned the sonorous south to associate with vocables so base?
It was very cold the other day at Avignon, for though there was no mistral, it was raining as it rains in Provence, and the dampness had a terrible chill in it. As I sat by my fire late at night—for in genial Avignon, in October, I had to have a fire—it came back to me that eleven years before I had at that same hour sat by a fire in that same room and, writing to a friend to whom I was not afraid to appear extravagant, had made a vow that at some happier period of the future I would avenge myself on theci-devantcity of the Popes by taking it in a contrary sense. I suppose that I redeemed my vow on the occasion of my second visit better than on my third; for then I was on my way to Italy, and that vengeance, of course, was complete. The only drawback was that I was in such a hurry to get to Ventimiglia (where the Italian custom-house was to be the sign of my triumph), that I scarcely took time to make it clear to myself at Avignon that this was better than reading theFigaro. I hurried on almost too fast to enjoy the consciousness of moving southward. On this last occasion I was unfortunately destitute of that happy faith. Avignon was my southernmost limit, after which I was to turn round and proceed back to England. But in the interval I had been a great deal in Italy, and that made all the difference.
Avignon
I had plenty of time to think of this, for the rain kept me practically housed for the first twenty-four hours. It had been raining in these regions for a month, and people had begun to look askance at the Rhone, though as yet the volume of the river was not exorbitant. The only excursion possible, while the torrent descended, was a kind of horizontal dive, accompanied with infinite splashing, to the littlemuséeof the town, which is within a moderate walk of the hotel. I had a memory of it from my first visit; it had appeared to me more pictorial than its pictures. I found that recollection had flattered it a little, and that it is neither better nor worse than most provincial museums. It has the usual musty chill in the air, the usual grass-grown forecourt, in which a few lumpish Roman fragments are disposed, the usual red tiles on the floor and the usual specimens of the more livid schools on the walls. I rang up thegardien, who arrived with a bunch of keys, wiping his mouth; he unlocked doors for me, opened shutters, and while (to my distress, as if the things had been worth lingering over) he shuffled about after me, he announced the names of the pictures before which I stopped in a voice that reverberated through the melancholy halls and seemed to make the authorship shameful when it was obscure and grotesque when it pretended to be great. Then there were intervals of silence, while I stared absent-mindedly, at haphazard, at some indistinguishable canvas and the only sound was the downpour of the rain on the skylights. The museum of Avignon derives a certain dignity from its Roman fragments. The town has no Roman monuments to show; in this respect, beside its brilliant neighbours, Arles and Nîmes, it is a blank. But a great many small objects have been found in its soil—pottery, glass, bronzes,lamps, vessels and ornaments of gold and silver. The glass is especially charming—small vessels of the most delicate shape and substance, many of them perfectly preserved. These diminutive, intimate things bring one near to the old Roman life; they seems like pearls strung upon the slender thread that swings across the gulf of time. A little glass cup that Roman lips have touched says more to us than the great vessel of an arena. There are two small silvercasseroles, with chiselled handles, in the museum of Avignon, that struck me as among the most charming survivals of antiquity.
Avignon the Palace of the Popes
I did wrong, just above, to speak of my attack on this establishment as the only recreation I took that first wet day; for I remember a terribly moist visit to the former palace of the Popes, which could have taken place only in the same tempestuous hours. It is true that I scarcely know why I should have gone out to see the Papal palace in the rain, for I had been over it twice before, and even then had not found the interest of the place so complete as it ought to be; the fact nevertheless remains that this last occasion is much associated with an umbrella, which was not superfluous even in some of the chambers and corridors of the gigantic pile. It had already seemed to me the dreariest of all historical buildings, and my final visit confirmed the impression. The place is as intricate as it is vast, and as desolate as it is dirty. The imagination has, for some reason or other, to make more than the effort usual in such cases to restore and repeople it. The fact indeed is simply that the palace has been so incalculably abused and altered. The alterations have been so numerous that, though I have duly conned the enumerations, supplied in guide-books, of the principal
AVIGNON—THE CHURCHAVIGNON—THE CHURCH[Click to view image enlarged.]
perversions, I do not pretend to carry any of them in my head. The huge bare mass, without ornament, without grace, despoiled of its battlements and defaced with sordid modern windows, covering the Rocher des Doms and looking down over the Rhone and the broken bridge of Saint-Bénazet (which stops in such a sketchable manner in mid-stream), and across at the lonely tower of Philippe le Bel and the ruined wall of Villeneuve, makes at a distance, in spite of its poverty, a great figure, the effect of which is carried out by the tower of the church beside it (crowned though the latter be, in a top-heavy fashion, with an immense modern image of the Virgin) and by the thick, dark foliage of the garden laid out on a still higher portion of the eminence. This garden recalls faintly and a trifle perversely the grounds of the Pincian at Rome. I know not whether it is the shadow of the Papal name, present in both places, combined with a vague analogy between the churches—which, approached in each case by a flight of steps, seemed to defend the precinct—but each time I have seen the Promenade des Doms it has carried my thoughts to the wider and loftier terrace from which you look away at the Tiber and Saint Peter's.
AsAvignon: the Palace of the Popesyou stand before the Papal palace, and especially as you enter it, you are struck with its being a very dull monument. History enough was enacted here: the great schism lasted from 1305 to 1370, during which seven Popes, all Frenchmen, carried on the court of Avignon on principles that have not commended themselves to the esteem of posterity. But history has been whitewashed away, and the scandals of that period have mingled with the dust of dilapidations and repairs. The building has for many years been occupied as abarrack for regiments of the line, and the main characteristics of a barrack—an extreme nudity and a very queer smell—prevail throughout its endless compartments. Nothing could have been more cruelly dismal than the appearance it presented at the time of this third visit of mine. A regiment, changing quarters, had departed the day before, and another was expected to arrive (from Algeria) on the morrow. The place had been left in the befouled and belittered condition which marks the passage of the military after they have broken camp, and it would offer but a melancholy welcome to the regiment that was about to take possession. Enormous windows had been left carelessly open all over the building, and the rain and wind were beating into empty rooms and passages, making draughts which purified, perhaps, but which scarcely cheered. For an arrival it was horrible. A handful of soldiers had remained behind. In one of the big vaulted rooms several of them were lying on their wretched beds, in the dim light, in the cold, in the damp, with the bleak bare walls before them and their overcoats, spread over them, pulled up to their noses. I pitied them immensely, though they may have felt less wretched than they looked. I thought not of the old profligacies and crimes, not of the funnel-shaped torture-chamber (which, after exciting the shudder of generations, has been ascertained now, I believe, to have been a mediæval bakehouse), not of the tower of theglacièreand the horrors perpetrated here in the Revolution, but of the military burden of young France. One wonders how young France endures it, and one is forced to believe that the French conscript has, in addition to his notorious good-humour, greater toughness than is commonly supposed by those who consider only themore relaxing influences of French civilisation. I hope he finds occasional compensation for such moments as I saw those damp young peasants passing on the mattresses of their hideous barrack, without anything around to remind them that they were in the most civilised of countries. The only traces of former splendour now visible in the Papal pile are the walls and vaults of two small chapels, painted in fresco, so battered and effaced as to be scarcely distinguishable, by Simone Memmi. It offers of course a peculiarly good field for restoration, and I believe the Government intend to take it in hand. I mention this fact without a sigh, for they cannot well make it less interesting than it is at present.
Villeneuve-lès-Avignon
FORTUNATELY it did not rain every day (though I believe it was raining everywhere else in the department); otherwise I should not have been able to go to Villeneuve and to Vaucluse. The afternoon indeed was lovely when I walked over the interminable bridge that spans the two arms of the Rhone, divided here by a considerable island, and directed my course, like a solitary horseman—on foot, to the lonely tower which forms one of the outworks of Villeneuve-lès-Avignon. The picturesque, half-deserted little town lies a couple of miles farther up the river. The immense round towers of its old citadel and the long stretches of ruined wall covering the slope on which it lies are the most striking features of the nearer view, as you look from Avignon across the Rhone. I spent a couple of hours in visiting these objects, and there was a kind of pictorial sweetness in the episode; but I have not many details to relate. The isolated tower I just mentioned has much in common with the detached donjon of Montmajour, which I had looked at in going to Les Baux and to which Ipaid my respects in speaking of that excursion. Also the work of Philippe le Bel (built in 1307), it is amazingly big and stubborn, and formed the opposite limit of the broken bridge whose first arches (on the side of Avignon) alone remain to give a measure of the occasional volume of the Rhone. Half an hour's walk brought me to Villeneuve, which lies away from the river, looking like a big village half depopulated and occupied for the most part by dogs and cats, old women and small children; these last, in general, remarkably pretty, in the manner of the children of Provence. You pass through the place, which seems in a singular degree vague and unconscious, and come to the rounded hill on which the ruined abbey lifts its yellow walls—the Benedictine abbey of Saint-André, at once a church, a monastery, and a fortress. A large part of the crumbling enceinte disposes itself over the hill; but for the rest, all that has preserved any traceable cohesion is a considerable portion of the citadel. The defence of the place appears to have been entrusted largely to the huge round towers that flank the old gate; one of which, the more complete, the ancient warden (having first inducted me into his own dusky little apartment and presented me with a great bunch of lavender) enabled me to examine in detail. I would almost have dispensed with the privilege, for I think I have already mentioned that an acquaintance with many feudal interiors has wrought a sad confusion in my mind. The image of the outside always remains distinct; I keep it apart from other images of the same sort; it makes, a picture sufficiently ineffaceable. But the guard-rooms, winding staircases, loopholes, prisons, repeat themselves and intermingle; they have a wearisome family likeness. There are always black passages and corners,and walls twenty feet thick; and there is always some high place to climb up to for the sake of a "magnificent" view. The views, too, are apt to run together. These dense gate-towers of Philippe le Bel struck me, however, as peculiarly wicked and grim. Their capacity is of the largest, and they contain ever so many devilish little dungeons, lighted by the narrowest slit in the prodigious wall, where it comes over one with a good deal of vividness and still more horror that wretched human beings once lay there rotting in the dark. The dungeons of Villeneuve made a particular impression on me—greater than any except those of Loches, which must surely be the most gruesome in Europe. I hasten to add that every dark hole at Villeneuve is called a dungeon; and I believe it is well established that in this manner, in almost all old castles and towers, the sensibilities of the modern tourist are unscrupulously played upon. There were plenty of black holes in the Middle Ages that were not dungeons, but household receptacles of various kinds; and many a tear dropped in pity for the groaning captive has really been addressed to the spirits of the larder and the faggot-nook. For all this, there are some very bad corners in the towers of Villeneuve, so that I was not wide of the mark when I began to think again, as I had often thought before, of the stoutness of the human composition in the Middle Ages and the tranquillity of nerve of people to whom the groaning captive and the blackness of a "living tomb" were familiar ideas which did not at all interfere with their happiness or their sanity. Our modern nerves, our irritable sympathies, our easy discomforts and fears, make one think (in some relations) less respectfully of human nature. Unless indeed it be true, as I have heard it maintained, that in the
Villeneuve-lès-Avignon
Middle Ages every one did go mad—every onewasmad. The theory that this was a period of general dementia is not altogether untenable.
Within the old walls of its immense abbey the town of Villeneuve has built itself a rough faubourg; the fragments with which the soil was covered having been, i suppose, a quarry of material. There are no streets; the small, shabby houses, almost hovels, straggle at random over the uneven ground. The only important feature is a convent of cloistered nuns, who have a large garden (always within the walls) behind their house, and whose doleful establishment you look down into, or down at simply, from the battlements of the citadel. One or two of the nuns were passing in and out of the house; they wore grey robes with a bright red cape. I thought their situation most provincial. I came away and wandered a little over the base of the hill, outside the walls. Small white stones cropped through the grass, over which low olive-trees were scattered. The afternoon had a yellow brightness. I sat down under one of the little trees, on the grass—the delicate grey branches were not much above my head—and rested and looked at Avignon across the Rhone. It was very soft, very still and pleasant, though I am not sure it was all I once should have expected of that combination of elements: an old city wall for a background, a canopy of olives, and for a couch the soil of Provence.
WhenAvignonI came back to Avignon the twilight was already thick, but I walked up to the Rocher des Doms. Here I again had the benefit of that amiable moon which had already lighted up for me so many romantic scenes. She was full, and she rose over the Rhone and made it look in the distance like a silver serpent. I remember saying to myself at this momentthat it would be a beautiful evening to walk round the walls of Avignon—the remarkable walls which challenge comparison with those of Carcassonne and Aigues-Mortes, and which it was my duty, as an observer of the picturesque, to examine with some attention. Presenting themselves to that silver sheen, they could not fail to be impressive. So, at least, I said to myself; but unfortunately I did not believe what I said. It is a melancholy fact that the walls of Avignon had never impressed me at all, and I had never taken the trouble to make the circuit. They are continuous and complete, but for some mysterious reason they fail of their effect. This is partly because they are very low, in some places almost absurdly so, being buried in new accumulations of soil and by the filling in of the moat up to their middle. Then they have been too well tended; they not only look at present very new, but look as if they had never been old. The fact that their extent is very much greater makes them more of a curiosity than those of Carcassonne; but this is exactly, at the same time, what is fatal to their pictorial unity. With their thirty-seven towers and seven gates, they lose themselves too much to make a picture that will compare with the admirable little vignette of Carcassonne. I may mention, now that I am speaking of the general mass of Avignon, that nothing is more curious than the way in which, viewed from a distance, it is all reduced to naught by the vast bulk of the palace of the Popes. From across the Rhone, or from the train as you leave the place, this great grey block is all Avignon; it seems to occupy the whole city, extensive, with its shrunken population, as the city is.
Vaucluse
IT was the morning after this, I think (a certain Saturday), that when I came out of the Hôtel de l'Europe, which lies in shallow concavity just within the city gate that opens on the Rhone—came out to look at the sky from the littleplacebefore the inn and see how the weather promised for the obligatory excursion to Vaucluse—I found the whole town in a terrible taking. I say the whole town advisedly, for every inhabitant appeared to have taken up a position on the bank of the river, or on the uppermost parts of the promenade of the Doms, where a view of its course was to be obtained. It had risen surprisingly in the night, and the good people of Avignon had reason to know what a rise of the Rhone might signify. The town, in its lower portions, is quite at the mercy of the swollen waters; and it was mentioned to me that in 1856 the Hôtel de l'Europe, in its convenient hollow, was flooded up to within a fewfeet of the ceiling of the dining-room, where the long board which had served for so many a table d'hôte floated disreputably, with its legs in the air. On the present occasion the mountains of the Ardêche, where it had been raining for a month, had sent down torrents which, all that fine Friday night, by the light of the innocent-looking moon, poured themselves into the Rhone and its tributary the Durance. The river was enormous and continued to rise, and the sight was beautiful and horrible. The water in many places was already at the base of the city walls, the quay, with its parapet just emerging, being already covered. The country, seen from the Plateau des Doms, resembled a vast lake, with protrusions of trees, houses, bridges, gates. The people looked at it in silence, as I had seen people before—on the occasion of a rise of the Arno, at Pisa—appear to consider the prospect of an inundation. "Il monte; il monte toujours"—there was not much said but that. It was a general holiday, and there was an air of wishing to profit, for sociability's sake, by any interruption of the commonplace (the popular mind likes "a change," and the element of change mitigates the sense of disaster); but the affair was not otherwise a holiday. Suspense and anxiety were in the air, and it never is pleasant to be reminded of the helplessness of man. In the presence of a loosened river, with its ravaging, unconquerable volume, this impression is as strong as possible; and as I looked at the deluge which threatened to make an island of the Papal palace I perceived that the scourge of water is greater than the scourge of fire. A blaze may be quenched, but where could the flame be kindled that would arrest the quadrupled Rhone? For the population of Avignon a good deal was at stake, and I amalmost ashamed to confess that in the midst of the public alarm I considered the situation from the point of view of the little projects of a sentimental tourist. Would the prospective inundation interfere with my visit to Vaucluse, or make it imprudent to linger twenty-four hours longer at Avignon? I must add that the tourist was not perhaps, after all, so sentimental. I have spoken of the pilgrimage to the shrine of Petrarch as obligatory, and that was, in fact, the light in which it presented itself to me; all the more that I had been twice at Avignon without undertaking it. This is why I was vexed at the Rhone.—if vexed I was—for representing as impracticable an excursion which I cared nothing about. How little I cared was manifest from my inaction on former occasions. I had a prejudice against Vaucluse, against Petrarch, even against the incomparable Laura. I was sure that the place was cockneyfied and threadbare, and I had never been able to take an interest in the poet and the lady. I was sure that I had known many women as charming and as handsome as she, about whom much less noise had been made; and I was convinced that her singer was factitious and literary, and that there are half a dozen stanzas in Wordsworth that speak more to the soul than the whole collection of hisfioriture. This was the crude state of mind in which I determined to go, at any risk, to Vaucluse. Now that I think it over, I seem to remember that I had hoped, after all, that the submersion of the roads would forbid it. Since morning the clouds had gathered again, and by noon they were so heavy that there was every prospect of a torrent. It appeared absurd to choose such a time as this to visit a fountain—a fountain which would be indistinguishable in the general cataract.
Vaucluse
Nevertheless I took a vow, that if at noon the rain should not have begun to descend upon Avignon I would repair to the head-spring of the Sorgues. When the critical moment arrived the clouds were hanging over Avignon like distended water-bags, which only needed a prick to empty themselves. The prick was not given, however; all nature was too much occupied in following the aberrations of the Rhone to think of playing tricks elsewhere. Accordingly I started for the station in a spirit which, for a tourist who sometimes had prided himself on his unfailing supply of sentiment, was shockingly perfunctory.
"For tasks in hours of insight willedMay be in hours of gloom fulfilled."
I remembered these lines of Matthew Arnold (written, apparently, in an hour of gloom), and carried out the idea, as I went, by hoping that with the return of insight I should be glad to have seen Vaucluse. Light has descended upon me since then, and I declare that the excursion is in every way to be recommended. The place makes a great impression, quite apart from Petrarch and Laura.
There was no rain; there was only, all the afternoon, a mild, moist wind and a sky magnificently black; which made arepoussoirfor the paler cliffs of the fountain. The road, by train, crosses a flat, expressionless country, towards the range of arid hills which lie to the east of Avignon, and which spring (says Murray) from the mass of the Mont-Ventoux. At Isle-sur-Sorgues, at the end of about an hour, the foreground becomes much more animated and the distance much more (or perhaps I should say much less) actual. I descended from the train and ascended to the top of an omnibus which was to convey me into the recessesof the hills. It had not been among my previsions that I should be indebted to a vehicle of that kind for an opportunity to commune with the spirit of Petrarch; and I had to borrow what consolation I could from the fact that at least I had the omnibus to myself. I was the only passenger; every one else was at Avignon watching the Rhone. I lost no time in perceiving that I could not have come to Vaucluse at a better moment. The Sorgues was almost as full as the Rhone, and of a colour much more romantic. Rushing along its narrowed channel under an avenue of fineplatanes(it is confined between solid little embankments of stone), with the good wives of the village, on the brink, washing their linen in its contemptuous flood, it gave promise of high entertainment farther on.
The drive to Vaucluse is of about three-quarters of an hour; and though the river, as I say, was promising, the big pale hills, as the road winds into them, did not look as if their slopes of stone and shrub were a nestling-place for superior scenery. It is a part of the merit of Vaucluse indeed that it is as much as possible a surprise. The place has a right to its name, for the valley appears impenetrable until you get fairly into it. One perverse twist follows another until the omnibus suddenly deposits you in front of the "cabinet" of Petrarch. After that you have only to walk along the left bank of the river. The cabinet of Petrarch is to-day a hideous littlecafé, bedizened, like a signboard, with extracts from the ingenious "Rime." The poet and his lady are of course the stock-in-trade of the little village, which has had for several generations the privilege of attracting young couples engaged in their wedding-tour and other votaries of the tender passion. The place has long been familiar, on festal Sundays, tothe swains of Avignon and their attendant nymphs. The little fish of the Sorgues are much esteemed, and, eaten on the spot, they constitute, for the children of the once Papal city, the classic suburban dinner. Vaucluse has been turned to account, however, not only by sentiment, but by industry; the banks of the stream being disfigured by a pair of hideous mills for the manufacture of paper and of wool. In an enterprising and economical age the water-power of the Sorgues was too obvious a motive; and I must say that, as the torrent rushed past them, the wheels of the dirty little factories appeared to turn merrily enough. The footpath on the left bank, of which I just spoke, carries one fortunately quite out of sight of them, and out of sound as well, inasmuch as on the day of my visit the stream itself, which was in tremendous force, tended more and more, as one approached the fountain, to fill the valley with its own echoes. Its colour was magnificent, and the whole spectacle more like a corner of Switzerland than a nook in Provence. The protrusions of the mountain shut it in, and you penetrate to the bottom of the recess which they form. The Sorgues rushes and rushes; it is almost like Niagara after the jump of the cataract. There are dreadful little booths beside the path, for the sale of photographs andimmortelles—I don't know what one is to do with the immortelles—where you are offered a brush dipped in tar to write your name withal on the rocks. Thousands of vulgar persons, of both sexes, and exclusively, it appeared, of the French nationality, had availed themselves of this implement, for every square inch of accessible stone was scored over with some human appellation. It is not only we in America, therefore, who besmirch our scenery; the practice
VAUCLUSE—RUINS OF CASTLEVAUCLUSE—RUINS OF CASTLE[Click to view image enlarged.]
exists, in a more organised form (like everything else in France), in the country of good taste. You leave the little booths and stalls behind; but the bescribbled crag, bristling with human vanity, keeps you company even when you stand face to face with the fountain. This happens when you find yourself at the foot of the enormous straight cliff out of which the river gushes. It rears itself to an extraordinary height—a huge forehead of bare stone—looking as if it were the half of a tremendous mound split open by volcanic action. The little valley, seeing it there, at a bend, stops suddenly and receives in its arms the magical spring. I call it magical on account of the mysterious manner in which it comes into the world, with the huge shoulder of the mountain rising over it as if to protect the secret. From under the mountain it silently rises, without visible movement, filling a small natural basin with the stillest blue water. The contrast between the stillness of this basin and the agitation of the water directly after it has overflowed, constitutes half the charm of Vaucluse. The violence of the stream when once it has been set loose on the rocks is as fascinating and indescribable as that of other cataracts; and the rocks in the bed of the Sorgues have been arranged by a master-hand. The setting of the phenomenon struck me as so simple and so fine—the vast sad cliff, covered with the afternoon light, still and solid for ever, while the liquid element rages and roars at its base—that I had no difficulty in understanding the celebrity of Vaucluse. I understood it, but I will not say that I understood Petrarch. He must have been very self-supporting, and Madonna Laura must indeed have been much to him.
The aridity of the hills that shut in the valley isVauclusecomplete, and the whole impression is best conveyed by that very expressive French epithetmorne. There are the very fragmentary ruins of a castle (of one of the bishops of Cavaillon) on a high spur of the mountain, above the river; and there is another remnant of a feudal habitation on one of the more accessible ledges. Having half an hour to spare before my omnibus was to leave (I must beg the reader's pardon for this atrociously false note; call the vehicle adiligence, and for some undiscoverable reason the offence is minimised), I clambered up to this latter spot and sat among the rocks in the company of a few stunted olives. The Sorgues, beneath me, reaching the plain, flung itself crookedly across the meadows like an unrolled blue ribbon. I tried to think of theamant de Laure, for literature's sake; but I had no great success, and the most I could do was to say to myself that I must try again. Several months have elapsed since then, and I am ashamed to confess that the trial has not yet come off. The only very definite conviction I arrived at was that Vaucluse is indeed cockneyfied, but that I should have been a fool, all the same, not to come.
Orange
MOUNTED into my diligence at the door of the Hôtel de Pétrarque et de Laure, and we made our way back to Isle-sur-Sorgues in the fading light. This village, where at six o'clock every one appeared to have gone to bed, was fairly darkened by its high, dense plane-trees, under which the rushing river, on a level with its parapets, looked unnaturally, almost wickedly, blue. It was a glimpse which has left a picture in my mind: the little closed houses, the place empty and soundless in the autumn dusk but for the noise of waters, and in the middle, amid the blackness of the shade, the gleam of the swift, strange tide. At the station every one was talking of the inundation being in many places an accomplished fact, and, in particular, of the condition of the Durance at somepoint that I have forgotten. At Avignon, an hour later, I found the water in some of the streets. The sky cleared in the evening, the moon lighted up the submerged suburbs, and the population again collected in the high places to enjoy the spectacle. It exhibited a certain sameness, however, and by nine o'clock there was considerable animation in the Place Crillon, where there is nothing to be seen but the front of the theatre and of several cafés—in addition indeed to a statue of this celebrated brave, whose valour redeemed some of the numerous military disasters of the reign of Louis XV. The next morning the lower quarters of the town were in a pitiful state: the situation seemed to me odious. To express my disapproval of it I lost no time in taking the train to Orange, which, with its other attractions, had the merit of not being seated on the Rhone. It was destiny to move northward; but even if I had been at liberty to follow a less unnatural course I should not then have undertaken it, inasmuch as the railway between Avignon and Marseilles was credibly reported to be (in places) under water. This was the case with almost everything but the line itself on the way to Orange. The day proved splendid, and its brilliancy only lighted up the desolation. Farmhouses and cottages were up to their middle in the yellow liquidity; haystacks looked like dull little islands; windows and doors gaped open, without faces; and interruption and flight were represented in the scene. It was brought home to me that thepopulations ruraleshave many different ways of suffering, and my heart glowed with a grateful sense of cockneyism. It was under the influence of this emotion that I alighted at Orange to visit a collection of eminently civil monuments.
Orange
The collection consists of but two objects, but these objects are so fine that I will let the word pass. One of them is a triumphal arch, supposedly of the period of Marcus Aurelius; the other is a fragment, magnificent in its ruin, of a Roman theatre. But for these fine Roman remains and for its name, Orange is a perfectly featureless little town, without the Rhone—which, as I have mentioned, is several miles distant—to help it to a physiognomy. It seems one of the oddest things that this obscure French borough—obscure, I mean, in our modern era, for the Gallo-Roman Arausio must have been, judging it by its arches and theatre, a place of some importance—should have given its name to the heirs-apparent of the throne of Holland and been borne by a king of England who had sovereign rights over it. During the Middle Ages it formed part of an independent principality; but in 1531 it fell, by the marriage of one of its princesses, who had inherited it, into the family of Nassau. I read in my indispensable Murray that it was made over to France by the treaty of Utrecht. The arch of triumph, which stands a little way out of the town, is rather a pretty than an imposing vestige of the Romans. If it had greater purity of style one might say of it that it belonged to the same family of monuments as the Maison Carrée at Nîmes. It has three passages—the middle much higher than the others—and a very elevated attic. The vaults of the passages are richly sculptured, and the whole structure is covered with friezes and military trophies. This sculpture is rather mixed; much of it is broken and defaced, and the rest seemed to me ugly, though its workmanship is praised. The arch is at once well preserved and much injured. Its general mass is there, and as Roman monuments go it is remarkably perfect; butit has suffered, in patches, from the extremity of restoration. It is not, on the whole, of absorbing interest. It has a charm, nevertheless, which comes partly from its soft, bright yellow colour, partly from a certain elegance of shape, of expression; and on that well-washed Sunday morning, with its brilliant tone, surrounded by its circle of thin poplars, with the green country lying beyond it and a low blue horizon showing through its empty portals, it made, very sufficiently, a picture that hangs itself to one of the lateral hooks of the memory. I can take down the modest composition and place it before me as I write. I see the shallow, shining puddles in the hard, fair French road; the pale blue sky, diluted by days of rain; the disgarnished autumnal fields; the mild sparkle of the low horizon; the solitary figure in sabots, with a bundle under its arm, advancing along thechaussée; and in the middle I see the little ochre-coloured trio of apertures, which, in spite of its antiquity, looks bright and gay, as everything must look in France of a fresh Sunday morning.
It is true that this was not exactly the appearance of the Roman theatre, which lies on the other side of the town; a fact that did not prevent me from making my way to it in less than five minutes, through a succession of little streets concerning which I have no observations to record. None of the Roman remains in the south of France are more impressive than this stupendous fragment. An enormous mound rises above the place, which was formerly occupied—I quote from Murray—first by a citadel of the Romans, then by a castle of the princes of Nassau, razed by Louis XIV. Facing this hill a mighty wall erects itself, thirty-six metres high and composed of massive blocks of dark brown stone simply laid one on the other; the whole naked, rugged
ORANGE—THE THEATRE.ORANGE—THE THEATRE.[Click to view image enlarged.]
surface of which suggests a natural cliff (say of the Vaucluse order) rather than an effort of human or even of Roman labour. It is the biggest thing at Orange—it is bigger than all Orange put together—and its permanent massiveness makes light of the shrunken city. The face it presents to the town—the top of it garnished with two rows of brackets perforated with holes to receive the staves of thevelarium—bears the traces of more than one tier of ornamental arches; though how these flat arches were applied, or incrusted, upon the wall, I do not profess to explain. You pass through a diminutive postern—which seems in proportion about as high as the entrance of a rabbit-hutch—into the lodge of the custodian, who introduces you to the interior of the theatre. Here the mass of the hill affronts you, which the ingenious Romans treated simply as the material of their auditorium. They inserted their stone seats, in a semicircle, in the slope of the hill, and planted their colossal wall opposite to it. This wall, from the inside, is, if possible, even more imposing. It formed the back of the stage, the permanent scene, and its enormous face was coated with marble. It contains three doors, the middle one being the highest and having above it, far aloft, a deep niche apparently intended for an imperial statue. A few of the benches remain on the hillside, which, however, is mainly a confusion of fragments. There is part of a corridor built into the hill, high up, and on the crest are the remnants of the demolished castle. The whole place is a kind of wilderness of ruin; there are scarcely any details; the great feature is the overtopping wall. This wall being the back of the scene, the space left between it and the chord of the semicircle (of the auditorium) which formed the proscenium is rather lessthan one would have supposed. In other words, the stage was very shallow, and appears to have been arranged for a number of performers placed in a line like a company of soldiers. There stands the silent skeleton, however, as impressive by what it leaves you to guess and wonder about as by what it tells you. It has not the sweetness, the softness of melancholy, of the theatre at Aries; but it is more extraordinary, and one can imagine only tremendous tragedies being enacted there—
"Presenting Thebes' or Pelops' line."
AtOrangeeither end of the stage, coming forward, is an immense wing—immense in height, I mean, as it reaches to the top of the scenic wall; the other dimensions are not remarkable. The division to the right,as youface the stage, is pointed out as the green-room; its portentous altitude and the open arches at the top give it the air of a well. The compartment on the left is exactly similar, save that it opens into the traces of other chambers, said to be those of a hippodrome adjacent to the theatre. Various fragments are visible which refer themselves plausibly to such an establishment; the greater axis of the hippodrome would appear to have been on a line with the triumphal arch. This is all I saw, and all there was to see, of Orange, which had a very rustic, bucolic aspect, and where I was not even called upon to demand breakfast at the hotel. The entrance of this resort might have been that of a stable of the Roman days.
Macon
I HAVE been trying to remember whether I fasted all the way to Macon, which I reached at an advanced hour of the evening, and think I must have done so except for the purchase of a box of nougat at Montélimart (the place is famous for the manufacture of this confection, which, at the station, is hawked at the windows of the train) and for a bouillon, very much later, at Lyons. The journey beside the Rhone—past Valence, past Tournon, past Vienne—would have been charming, on that luminous Sunday, but for two disagreeable accidents. The express from Marseilles, which I took at Orange, was full to overflowing; and the only refuge I could find was an inside angle in a carriage laden with Germans who had command of the windows, which they occupied as strongly as they have been known to occupy other strategical positions. I scarcely know, however, why I linger on this particular discomfort, for it was but a single item in a considerable list of grievances—grievancesdispersed through six weeks of constant railway-travel in France. I have not touched upon them at an earlier stage of this chronicle, but my reserve is not owing to any sweetness of association. This form of locomotion, in the country of the amenities, is attended with a dozen discomforts; almost all the conditions of the business are detestable. They force the sentimental tourist again and again to ask himself whether, in consideration of such mortal annoyances, the game is worth the candle. Fortunately a railway journey is a good deal like a sea-voyage; its miseries fade from the mind as soon as you arrive. That is why I completed, to my great satisfaction, my little tour in France. Let this small effusion of ill-nature be my first and last tribute to the whole despoticgare: the deadlysalle d'attente, the insufferable delays over one's luggage, the porterless platform, the overcrowded and illiberal train. How many a time did I permit myself the secret reflection that it is in perfidious Albion that they order this matter best! How many a time did the eager British mercenary, clad in velveteen and clinging to the door of the carriage as it glides into the station, revisit my invidious dreams! The paternal porter and the responsive hansom are among the best gifts of the English genius to the world. I hasten to add, faithful to my habit (so insufferable to some of my friends) of ever and again readjusting the balance after I have given it an honest tip, that the bouillon at Lyons, which I spoke of above, was, though by no means an idea bouillon, much better than any I could have obtained at an English railway-station. After I had imbibed it I sat in the train (which waited a long time at Lyons) and, by the light of one of the big lamps on the platform, read all sorts of disagreeable things in certain