"_II y a quatre ans, lorsque l'Academie donna a l'auteur de 'Mireille'
le prix de trois mille francs. Mme. Mistral [sa mere] eut une idee._
"'_Si nous faisons tapisser et plafonner ta chambre?' dit elle a son fils._
"'_Non! non!' repondit Mistral. 'Ca c'est l'argent des poetes, on n'y touche pas._'"
Chapter V
THE ROME OF FRANCE
There is no record of a time when there was not a city at Arles. The Rhone divides to form its delta there--loses its swiftness and becomes a smooth highway to the sea.
"As at Arles, where the Rhone stagnates," wrote Dante, who probably visited the place on a journey he made to Paris. There the flat barrenness of the Crau becomes fertile slopes and watered fields. It is a place for men to congregate and it was already important when Julius Caesar established a Roman colony and built a fleet there, after which it became still more important--finally, with its one hundred thousand inhabitants, rivaling even Marseilles. It was during those earlier years--along through the first and second centuries--that most of the great building was done, remnants of which survive to this day.
Prosperity continued even into the fourth century, when the Christian Emperor Constantine established a noble palace there and contemplated making it the capital of his kingdom.
But then the decline set in. In the next century or two clouds of so-called barbarians swept down from the north and east, conquering, plundering, and establishing new kingdoms. Gauls, Goths, Saracens, and Francs each had their turn at it.
Following came the parlous years of the middle period. For a brief time it was an independent republic; then a monarchy. By the end of the fifteenth century it was ready to be annexed to France. Always a battle ground, raided and sacked so often that the count is lost, the wonder is that any of its ancient glories survive at all. But the Romans built well; their massive construction has withstood the wild ravage of succeeding wars, the sun and storm of millennial years.
We knew little of Arles except that it was the place where there was the ruin of a Roman arena, and we expected not much from that. The Romans had occupied France and had doubtless built amusement places, but if we gave the matter any further thought it was to conclude that such provincial circus rings would be small affairs of which only a few vestiges, like those of the ruined Forum, would remain. We would visit the fragments, of course, and meantime we drifted along one side of the Place du Forum in the morning sunlight, looking in show windows to find something in picture postals to send home.
What we saw at first puzzled, then astonished us. Besides the pictures of Mistral the cards were mostly of ruins--which we expected, perhaps, but not of such ruins. Why, these were not mere vestiges. Ephesus, Baalbec, Rome itself, could hardly show more impressive remains. The arena on these cards seemed hardly a ruin at all, and here were other cards which showed it occupied, filled with a vast modern audience who were watching something--clearly a bull fight, a legitimate descendant of Nero's Rome. I could not at first believe that these structures could be of Arles, but the inscriptions were not to be disputed. Then I could not wait to get to them.
We did not drive. It was only a little way to the arena, they told us, and the narrow streets looked crooked and congested. It was a hot September morning, but I think we hurried. I suppose I was afraid the arena would not wait. Then all at once we were right upon it, had entered a lofty arch, climbed some stairs, and were gazing down on one of the surviving glories of a dead empire.
What a structure it is! An oval 448 by 352 feet--more than half as big again as a city block; the inner oval, the arena itself,[6] 226 by 129 feet, the tiers of stone seats rising terrace above terrace to a high circle of arches which once formed the support for an enormous canvas dome.
All along the terraces arches and stairways lead down to spacious recesses and the great entrance corridor. The twenty thousand spectators which this arena once held were not obliged to crowd through any one or two entrances, but could enter almost anywhere and ascend to their seats from any point of the compass. They held tickets--pieces of parchment, I suppose--and these were numbered like the seats, just as tickets are numbered to-day.
Down near the ringside was the pit, or _podium_, and that was the choice place. Some of the seats there were owned, and bore the owners' names.
The upper seats are wide stone steps, but comfortable enough, and solid enough to stand till judgment day. They have ranged wooden benches along some of them now, I do not see why, for they are very ugly and certainly not luxurious. They are for the entertainments--mainly bull fights--of the present; for strange, almost unbelievable as it seems, the old arena has become no mere landmark, a tradition, a monument of barbaric tastes and morals, but continues in active service to-day, its purpose the same, its morals not largely improved.
It was built about the end of the first century, and in the beginning stags and wild boars were chased and put to death there. But then Roman taste improved. These were tame affairs, after all. So the arena became a prize ring in which the combatants handled one another without gloves--that is to say, with short swords--and were hacked into a mince instead of mauled into a pulp in our more refined modern way. To vary the games lions and tigers were imported and matched against the gladiators, with pleasing effect. Public taste went on improving and demanding fresh novelties. Rome was engaged just then in exterminating Christians, and the happy thought occurred to make spectacles of them by having them fight the gladiators and the wild beasts, thus combining business and pleasure in a manner which would seem to have been highly satisfactory to the public who thronged the seats and applauded and laughed, and had refreshments served, and said what a great thing Christianity was and how they hoped its converts would increase.
Sometimes, when the captures were numerous and the managers could afford it, Christians on crosses were planted around the entire arena, covered with straw and pitch and converted into torches. These were night exhibitions, when the torches would be more showy; and the canvas dome was taken away so that the smoke and shrieks could go climbing to the stars. Attractions like that would always jam an amphitheater. This one at Arles has held twenty-five thousand on one of those special occasions. Centuries later, when the Christians themselves came into power, they showed a spirit of liberality which shines by contrast. They burned their heretics in the public squares, free.
Only bulls and worn-out, cheap horses are tortured here to-day. It seems a pretty tame sport after those great circuses of the past. But art is long and taste is fleeting. Art will keep up with taste, and all that we know of the latter is that it will change. Because to-day we are satisfied with prize fights and bull fights is no sign that those who follow us will not demand sword fights and wild beasts and living torches. These old benches will last through the ages. They have always been familiar with the sport of torture of one sort or another. They await quite serenely for what the centuries may bring.
It was hard to leave the arena. One would like to remain and review its long story. What did the barbarians do there--those hordes that swarmed in and trampled Rome? The Saracens in the eighth century used it for a fortress and added four watch towers, but their masonry is not of the everlasting Roman kind, and one of their towers has tumbled down. It would be no harm if the others would tumble, too. They lend to the place that romance which always goes with the name "Saracen," but they add no beauty.
We paid a franc admission when we came into the amphitheater, our tickets being coupon affairs, admitting us to a variety of other historic places. The proceeds from the ruins are devoted to their care and preservation, but they cannot go far. Very likely the bull-fight money is also used. That would be consistent.
We were directed to the Roman Theater, near at hand, where the ruin is ruin indeed. A flight of rising stone seats, two graceful Corinthian columns still standing, the rest fragments. More graceful in its architecture than the arena, the theater yielded more readily to the vandalisms of the conquerors and the corrosions of time. As early as the third century it was partially pulled down. Later it was restored, but not for long. The building bishops came and wanted its materials and ornaments for their churches. Not much was left after that, but to-day the fragments remaining have been unearthed and set up and give at least a hint of its former glory. One wonders if those audiences who watched Christian slaughter at the arena came also to this chaste spot. Plays are sometimes given here to-day, I am told, classic reproductions, but it is hard to believe that they would blend with this desolated setting.
The bull fight in the arena is even better.
We went over to the church of St. Trophime, which is not a ruin, though very old. St. Trophime, a companion of St. Paul, was the founder of the church of Arles. He is said to have set up a memorial to St. etienne, the first martyr, and on this consecrated spot three churches have been built, one in the fourth century, another in the seventh, and this one, dedicated to St. Trophime, in the twelfth, or earlier. It is of supreme historical importance. By the faithful it is believed to contain the remains of St. Trophime himself. Barbarossa and other great kings were crowned here; every important ceremony of mediaeval Arles has been held here.
It is one of the oldest-looking places I ever saw--so moldy, so crumbly, and so dim. Though a thousand years older, the arena looks fresh as compared with it, because even sun and storm do not gnaw and corrode like gloom and dampness. But perhaps this is a softer stone. The cloister gallery, which was not built until the twelfth century, is so permeated with decay that one almost fears to touch its delicately carved ornamentations lest they crumble in his hands. Mistral has celebrated the cloister portal in a poem, and that alone would make it sacred to the Provence. The beautiful gallery is built around a court and it is lined with sculpture and bas-relief, rich beyond words. Saints and bible scenes are the subjects, and how old, how time-eaten and sorrowful they look. One gets the idea that the saints and martyrs and prophets have all contracted some wasting malady which they cannot long survive now. But one must not be flippant. It is a place where the feet of faith went softly down the centuries; and, taken as a whole, St.
Trophime, with its graceful architecture--Gothic and Byzantine, combined with the Roman fragments brought long ago from the despoiled theater--is beautiful and delicate and tender, and there hangs about it the atmosphere that comes of long centuries of quiet and sacred things.
Mistral's museum is just across from the church, but I have already spoken of that--briefly, when it is worth a volume. One should be in a patient mood for museums--either to see or to write of them--a mood that somehow does not go with automobile wandering, however deliberate. But I must give a word at least to two other such institutions of Arles, the Musee Lapidaire, a magnificent collection of pagan and early Christian sarcophagi and marble, mostly from the ancient burial field, the Aliscamp--and the Musee Reattu.
Reattu was an Arlesian painter of note who produced many pictures and collected many beautiful things. His collections have been acquired by the city of Arles, and installed in one of its most picturesque old buildings--the ancient Grand Priory of the Knights of Malta. The stairway is hung with tapestries and priceless arras; the rooms are filled with paintings, bas-reliefs, medallions, marbles, armor,--a wealth of art objects. One finds it hard to believe that such museums can be owned and supported by this little city--ancient, half forgotten, stranded here on the banks of the Rhone. Its population is given as thirty thousand, and it makes sausages--very good ones--and there are some railway shops that employ as many as fifteen hundred men. Some boat building may still be done here, too. But this is about all Arles can claim in the way of industries. It has not the look of what we call to-day a thriving city. It seems, rather, a mediaeval setting for the more ancient memories. Yet it has these three splendid museums, and it has preserved and restored its ruins, just as if it had a J. Pierpont Morgan behind it, instead of an old poet with a Nobel prize, and a determined little community, too proud of its traditions and its taste to let them die. Danbury, Connecticut, has as many inhabitants as Arles, and it makes about all the hats that are worn in America. It is a busy, rich place, where nearly everybody owns an automobile, if one may judge by the street exhibit any pleasant afternoon. It is an old place, too, for America, with plenty of landmarks and traditions. But I somehow can't imagine Danbury spending the money and the time to establish such superb institutions as these, or to preserve its prerevolutionary houses. But, after all, Danbury is young. It will preserve something two thousand years hence--probably those latest Greco-Roman facades which it is building now.
Near to the Reattu Museum is the palace of the Christian Emperor Constantine. Constantine came here after his father died, and fell in love with the beauty and retirement of the place. Here, on the banks of the Rhone, he built a palace, and dreamed of passing his days in it--of making Arles the capital of his empire. His mother, St. Helene, whose dreams at Jerusalem located the Holy Sepulcher, the True Cross, and other needed relics, came to visit her son, and while here witnessed the treason and suicide of one Maximus Hercules, persecutor of the Christians. That was early in the fourth century. The daughter of Maximus seems to have been converted, for she came to stay at the palace and in due time bore Constantine a son. Descendants of Constantine occupied the palace for a period, then it passed to the Gauls, to the Goths, and so down the invading and conquering line. Once a king, Euric III, was assassinated here. Other kings followed and several varieties of counts. Their reigns were usually short and likely to end with a good deal of suddenness. It was always a good place for royalty to live and die. Until the beginning of the nineteenth century it was known as the "House of the King," but it was a ruin by that time. Only portions of it remain now, chiefly a sort of rotunda of the grand hall of state. Very little is left to show the ancient richness of its walls, but one may invite himself to imagine something--its marbles and its hangings--also that it was just here that M. Hercules and King Euric and their kind went the violent way; it would be the dramatic place for those occasions.
One may not know to-day just what space the palace originally covered, but it was very large. Portions of its walls appear in adjoining buildings. Excavations have brought to light marbles, baths, rich ornamentations, all attesting its former grandeur. Arles preserves it for its memories, and in pride of the time when she came so near to being the capital of the world.
FOOTNOTES:
[6] The word arena derives its name from the sand, strewn to absorb the blood.
Chapter VI
THE WAY THROUGH EDEN
There is so much to see at Arles. One would like to linger a week, then a month, then very likely he would not care to go at all. The past would get hold of him by that time--the glamour that hangs about the dead centuries.
There had been rain in the night when we left Arles, much needed, for it was the season of drought. It was mid-morning and the roads were hard and perfect, and led us along sparkling waysides and between refreshed vineyards, and gardens, and olive groves. It seemed a good deal like traveling through Eden, and I don't suppose heaven--the automobilist's heaven (assuming that there is one)--is much better.
I wish I could do justice to the Midi, but even Mistral could not do that. It is the most fruitful, luscious land one can imagine. Everything there seems good to eat, to smell of--to devour in some way. The vines were loaded with purple and topaz grapes, and I was dying to steal some, though for a few francs we had bought a basket of clusters, with other luncheon supplies, in Arles. It finally became necessary to stop and eat these things--those grape fields were too tempting.
It is my opinion that nothing in the world is more enjoyable than an automobile roadside luncheon. One does not need to lug a heavy basket mile after mile until a suitable place is found, and compromise at last because the flesh rebels. With a car, a mile, two miles, five miles, are matters of a few minutes. You run along leisurely until you reach the brook, the shade, the seclusion that invites you. Then you are fresh and cool and deliberate. No need to hurry because of the long tug home again. You enjoy the things you have brought, unfretted by fatigue, undismayed by the prospect ahead. You are in no hurry to go. You linger and smoke and laze a little and discuss the environment--the fields, the growing things, the people through whose lands and lives you are cutting a cross-section, as it seems. You wonder about their customs, their diversions, what they do in winter, how it is in their homes. You speculate on their history, on what the land was like in its primeval period before there were any fields and homes--civilized homes--there at all. Perhaps--though this is unlikely--you _know_ a little about these things. It is no advantage; your speculations are just as valuable and more picturesque. There are many pleasant things about motor gypsying, but our party, at least, agreed that the wayside luncheon is the pleasantest of all.
Furthermore, it is economical. Unless one wants hot dishes, you can get more things, and more delicious things, in the village shops or along the way than you can find at the wayside hotel or restaurant, and for half the amount. Our luncheon that day--we ate it between Arles and Tarascon--consisted of tinned chicken, fresh bread with sweet butter, Roquefort cheese, ripe grapes, and some French cakes--plenty, and all of the best, at a cost of about sixty cents for our party of four. And when we were finally ready to go, and had cleaned up and secreted every particle of paper or other refuse (for the true motorist never leaves a place unsightly) we felt quite as pleased with ourselves and the world, and the things of the infinite, as if we had paid two or three times as much for a meal within four walls.
Chapter VII
TO TARASCON AND BEAUCAIRE
It is no great distance from Arles to Tarascon, and, leisurely as we travel, we had reached the home of Tartarin in a little while. We were tempted to stop over at Tarascon, for the name had that inviting sound which always belongs to the localities of pure romance--that is to say, fiction--and it has come about that Tarascon belongs more to Daudet than to history, while right across the river is Beaucaire, whose name, at least, Booth Tarkington has pre-empted for one of his earliest heroes.
After all, it takes an author to make a town really celebrated.
Thousands of Americans who have scarcely heard the name of Arles are intimately familiar with that of Tarascon. Of course the town has to contribute something. It must either be a place where something has happened, or _could_ happen, or it must have a name with a fine sound, and it should be located in about the right quarter of the globe. When such a place catches the fancy of an author who has the gift of making the ideal seem reality, he has but to say the magic words and the fame of that place is sure.
Not that Tarascon has not had real history and romance; it has had plenty of both. Five hundred years ago the "Good King Rene" of Anjou, who was a painter and a writer, as well as a king, came to Tarascon to spend his last days in the stern, perpendicular castle which had been built for him on the banks of the Rhone. It is used as a jail now, but King Rene held a joyous court there and a web of romance clings to his memory. King Rene's castle does not look like a place for romance. It looks like an artificial precipice. We were told we could visit it by making a sufficiently polite application to the _Mairie_, but it did not seem worth while. In the first place, I did not know how to make a polite application to visit a jail--not in French--and then it was better to imagine King Rene's festivities than to look upon a reality of misfortune.
The very name of Tarascon has to do with story. Far back, in the dim traditionary days, one St. Martha delivered the place from a very evil dragon, the Tarasque, for whom they showed their respect by giving his name to their town.