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A Little Tour In France, a non-fiction book by Henry James |
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Chapter 28 |
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_ CHAPTER XXVIII After this I was free to look about me at Nimes, and I did so with such attention as the place appeared to require. At the risk of seeming too easily and too frequently disappointed, I will say that it required rather less than I had been prepared to give. It is a town of three or four fine features, rather than a town with, as I may say, a general figure. In general, Nimes is poor; its only treasures are its Roman remains, which are of the first order. The new French fashions prevail in many of its streets; the old houses are paltry, and the good houses are new; while beside my hotel rose a big spick-and-span church, which had the oddest air of having been intended for Brooklyn or Cleveland. It is true that this church looked out on a square completely French, - a square of a fine modern disposition, flanked on one side by a classical _palais de justice_ embellished with trees and parapets, and occupied in the centre with a group of allegorical statues, such as one encounters only in the cities of France, the chief of these being a colossal figure by Pradier, representing Nimes. An English, an American, town which should have such a monument, such a square, as this, would be a place of great pretensions; but like so many little _villes de province_ in the country of which I write, Nimes is easily ornamental. What nobler ornament can there be than the Roman baths at the foot of Mont Cavalier, and the delightful old garden that surrounds them? All that quarter of Nimes has every reason to be proud of itself; it has been revealed to the world at large by copious photography. A clear, abundant stream gushes from the foot of a high hill (covered with trees and laid out in paths), and is distributed into basins which sufficiently refer themselves to the period that gave them birth, - the period that has left its stamp on that pompous Peyrou which we admired at Montpellier. Here are the same terraces and steps and balustrades, and a system of water-works less impressive, perhaps, but very ingenious and charming. The whole place is a mixture of old Rome and of the French eighteenth century; for the remains of the antique baths are in a measure incorporated in the modern fountains. In a corner of this umbrageous precinct stands a small Roman ruin, which is known as a temple of Diana, but was more apparently a _nymphaeum_, and appears to have had a graceful connection with the adjacent baths. I learn from Murray that this little temple, of the period of Augustus, "was reduced to its present state of ruin in 1577;" the moment at which the townspeople, threatened with a siege by the troops of the crown, partly demolished it, lest it should serve as a cover to the enemy. The remains are very fragmentary, but they serve to show that the place was lovely. I spent half an hour in it on a perfect Sunday morning (it is enclosed by a high _grille_, carefully tended, and has a warden of its own), and with the help of my imagination tried to reconstruct a little the aspect of things in the Gallo-Roman days. I do wrong, perhaps, to say that 1 _tried_; from a flight so deliberate I should have shrunk. But there was a certain contagion of antiquity in the air; and among the ruins of baths and temples, in the very spot where the aqueduct that crosses the Gardon in the wondrous manner I had seen discharged itself, the picture of a splendid paganism seemed vaguely to glow. Roman baths, - Roman baths; those words alone were a scene. Everything was changed: I was strolling in a _jardin francais_; the bosky slope of the Mont Cavalier (a very modest mountain), hanging over the place, is crowned with a shapeless tower, which is as likely to be of mediaeval as of antique origin; and yet, as I leaned on the parapet of one of the fountains, where a flight of curved steps (a hemicycle, as the French say) descended into a basin full of dark, cool recesses, where the slabs of the Roman foundations gleam through the clear green water, - as in this attitude I surrendered myself to contemplation and reverie, it seemed to me that I touched for a moment the ancient world. Such moments are illuminating, and the light of this one mingles, in my memory, with the dusky greenness of the Jardin de la Fontaine. The fountain proper - the source of all these distributed waters - is the prettiest thing in the world, a reduced copy of Vaucluse. It gushes up at the foot of the Mont Cavalier, at a point where that eminence rises with a certain cliff-like effect, and, like other springs in the same circumstances, appears to issue from the rock with a sort of quivering stillness. I trudged up the Mont Cavalier, - it is a matter of five minutes, - and having committed this cockneyism enhanced it presently by another. I ascended the stupid Tour Magne, the mysterious structure I mentioned a moment ago. The only feature of this dateless tube, except the inevitable collection of photographs to which you are introduced by the door-keeper, is the view you enjoy from its summit. This view is, of course, remarkably fine, but I am ashamed to say I have not the smallest recollection of it; for while I looked into the brilliant spaces of the air I seemed still to see only what I saw in the depths of the Roman baths, - the image, disastrously confused and vague, of a vanished world. This world, however, has left at Nimes a far more considerable memento than a few old stones covered with water-moss. The Roman arena is the rival of those of Verona and of Arles; at a respectful distance it emulates the Colosseum. It is a small Colosseum, if I may be allowed the expression, and is in a much better preservation than the great circus at Rome. This is especially true of the external walls, with their arches, pillars, cornices. I must add that one should not speak of preservation, in regard to the arena at Nimes, without speaking also of repair. After the great ruin ceased to be despoiled, it began to be protected, and most of its wounds have been dressed with new material. These matters concern the archaeologist; and I felt here, as I felt afterwards at Arles, that one of the profane, in the presence of such a monument, can only admire and hold his tongue. The great impression, on the whole, is an impression of wonder that so much should have survived. What remains at Nimes, after all dilapidation is estimated, is astounding. I spent an hour in the Arenes on that same sweet Sunday morning, as I came back from the Roman baths, and saw that the corridors, the vaults, the staircases, the external casing, are still virtually there. Many of these parts are wanting in the Colosseum, whose sublimity of size, however, can afford to dispense with detail. The seats at Nimes, like those at Verona, have been largely renewed; not that this mattered much, as I lounged on the cool surface of one of them, and admired the mighty concavity of the place and the elliptical skyline, broken by uneven blocks and forming the rim of the monstrous cup, - a cup that had been filled with horrors. And yet I made my reflections; I said to myself that though a Roman arena is one of the most impressive of the works of man, it has a touch of that same stupidity which I ventured to discover in the Pont du Gard. It is brutal; it is monotonous; it is not at all exquisite. The Arenes at Nimes were arranged for a bull-fight, - a form of recreation that, as I was informed, is much _dans les habitudes Nimoises_, and very common throughout Provence, where (still according to my information) it is the usual pastime of a Sunday afternoon. At Arles and Nimes it has a characteristic setting, but in the villages the patrons of the game make a circle of carts and barrels, on which the spectators perch themselves. I was surprised at the prevalence, in mild Provence, of the Iberian vice, and hardly know whether it makes the custom more respectable that at Nimes and Arles the thing is shabbily and imperfectly done. The bulls are rarely killed, and indeed often are bulls only in the Irish sense of the term, - being domestic and motherly cows. Such an entertainment of course does not supply to the arena that element of the exquisite which I spoke of as wanting. The exquisite at Nimes is mainly represented by the famous Maison Carree. The first impression you receive from this delicate little building, as you stand before it, is that you have already seen it many times. Photographs, engravings, models, medals, have placed it definitely in your eye, so that from the sentiment with which you regard it curiosity and surprise are almost completely, and perhaps deplorably, absent. Admiration remains, however, - admiration of a familiar and even slightly patronizing kind. The Maison Carree does not overwhelm you; you can conceive it. It is not one of the great sensations of the antique art; but it is perfectly felicitous, and, in spite of having been put to all sorts of incongruous uses, marvellously preserved. Its slender columns, its delicate proportions, its charming compactness, seemed to bring one nearer to the century that built it than the great superpositions of arenas and bridges, and give it the interest that vibrates from one age to another when the note of taste is struck. If anything were needed to make this little toy-temple a happy production, the service would be rendered by the second-rate boulevard that conducts to it, adorned with inferior cafes and tobacco-shops. Here, in a respectable recess, surrounded by vulgar habitations, and with the theatre, of a classic pretension, opposite, stands the small "square house," so called because it is much longer than it is broad. I saw it first in the evening, in the vague moonlight, which made it look as if it were cast in bronze. Stendhal says, justly, that it has the shape of a playing-card, and he expresses his admiration for it by the singular wish that an "exact copy" of it should be erected in Paris. He even goes so far as to say that in the year 1880 this tribute will have been rendered to its charms; nothing would be more simple, to his mind, than to "have" in that city "le Pantheon de Rome, quelques temples de Grece." Stendhal found it amusing to write in the character of a _commis-voyageur_, and sometimes it occurs to his reader that he really was one. _ |
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