The Idler in France.

by Marguerite Gardiner.

CHAPTER I.

NISMES.

I have omitted to notice the route to this place, having formerly described the greater portion of it. I remarked a considerable improvement in the different towns we pa.s.sed through: the people look cleaner, and an air of business has replaced the stagnation that used to prevail, except in Ma.r.s.eilles and Toulon, which were always busy cities.

Nismes surpa.s.ses my expectations, although they had been greatly excited, and amply repays the long _detour_ we have made to visit it.

When I look round on the objects of antiquity that meet my eye on every side, and above all on the Amphitheatre and _Maison Carree_, I am forced to admit that Italy has nothing to equal the two last: for if the Coliseum may be said to surpa.s.s the amphitheatre in dimensions, the wonderful state of preservation of the latter renders it more interesting; and the _Maison Carree_, it must be allowed, stands without a compet.i.tor. Well might the Abbe Barthelemy, in his _Voyage d'Anacharsis_, call it the masterpiece of ancient architecture and the despair of modern!

The antiquities of Nismes have another advantage over those of Italy: they are kept wholly free from the disgusting _entourage_ that impairs the effect of the latter; and in examining them in the interior or exterior, no risk is incurred of encountering aught offensive to the olfactory nerves, or injurious to the _chaussure_.

We devoted last evening to walking round the town, and so cloudless was the sky, so genial the air, and so striking the monuments of Roman splendour, that I could have fancied myself again transported to Italy.

Our inn, the Hotel du Midi, is an excellent one; the apartments good, and the _cuisine soignee_. In this latter point the French hotels are far superior to the Italian; but in civility and attention, the hosts of Italy have the advantage.

We had no sooner dined than half-a-dozen persons, laden with silk handkerchiefs and ribands, brocaded with gold and silver, and silk stockings, and c.r.a.pes, all the manufacture of Nismes, came to display their merchandise. The specimens were good, and the prices moderate; so we bought some of each, much to the satisfaction of the parties selling, and also of the host, who seemed to take a more than common interest in the sale, whether wholly from patriotic feelings or not, I will not pretend to say.

The _Maison Carree_, of all the buildings of antiquity I have yet seen, is the one which has most successfully resisted the numerous a.s.saults of time, weather, Vandalism, and the not less barbarous attacks of those into whose merciless hands it has afterwards fallen. In the early part of the Christian ages it was converted into a church, and dedicated to St.-etienne the Martyr; and in the eleventh century it was used as the Hotel-de-Ville. It was then given to a certain Pierre Boys, in exchange for a piece of ground to erect a new hotel-de-ville; and he, after having degraded it by using a portion of it as a party-wall to a mean dwelling he erected adjoining it, disposed of it to a *Sieur Bruyes, who, still more barbarous than Pierre Boys, converted it into a stable. In 1670, it was purchased by the Augustin monks from the descendants of Bruyes, and once more used as a church; and, in 1789, it was taken from the Augustin monks for the purposes of the administration of the department. From that period, every thing has been done for its preservation. Cleared from the mean houses which had been built around it, and enclosed by an iron palisade, which protects it from mischievous hands, it now stands isolated in the centre of a square, or _place_, where it can be seen at every side. Poldo d'Albenas, a quaint old writer, whose book I glanced over to-day, attributes the preservation of the _Maison Carree_ to the fortunate horoscope of the spot on which it stands. His lamentations for the insults offered to this building are really pa.s.sionate.

The _Maison Carree_ is not square, though its denomination might lead one to suppose it to be so, being nearly eighty feet long, and only thirty-eight feet wide. Elevated on a base of cut stone, it is ascended by a flight of steps, which extends the length of the base in front.

The walls of the building are of a fine white stone, and are admirably constructed.

The edifice has thirty fluted columns, with Corinthian capitals beautifully sculptured, on which rests the architrave, with frieze and cornice. This last is ornamented with sculpture; and the frieze, with foliage finely executed.

The entrance is by a portico, open on three sides, and supported by two columns, included in the thirty already named, of which six form the front, and extend to the fourth, when commences the wall of the building, in which the other columns are half imbedded, being united in the building with its architrave. The fronton, which is over the portico, has no ornament in the centre; neither has the frieze nor architrave: but some holes mark where the bronze letters of an inscription were once inserted.

This inscription has been conjectured, by the ingenious mode of placing on paper the exact dimensions of the holes which formerly contained the letters of it, and is now said to be as follows:--

C. CaeSARI AUGUSTI. F. COS. L. CaeSARI AUGUSTI F. COS.

DESIGNATO PRINCIPIBUS JUVENTUTES.

But as more holes are found than would be filled by these letters, the conclusion does not seem to me to be justified.

At the far end of the portico is the door of entrance, the only opening by which light is admitted to the building. It is very lofty, and on each side is a pilaster; beneath the cornice are two long cut stones, which advance like a kind of architrave, pierced by a square hole of above twelve inches, supposed to have been intended to support a bronze door.

The original destination of this beautiful edifice still furnishes a subject for discussion among the antiquaries; some a.s.serting it to have been erected by the Emperor Adrian in honour of Plotina, while others maintain it to have been a forum.

At present, it is used as a museum for the antiquities discovered at Nismes, and contains some admirable specimens. Among these are a torso in marble of a Roman knight, in a cuira.s.s, and another colossal torso, with a charming little draped statue seated in a curule chair, and holding a cornucopia in the left hand; a cinerary monument, enriched with ba.s.si-relievi, representing a human sacrifice; a bronze head of Apollo, much injured; and a Ja.n.u.s.

A funereal monument found in the neighbourhood of Nismes in 1824, offers a very interesting object, being in a good state of preservation. It is richly decorated, and by the inscription is proved to have been that of Marcus Attius, aged twenty-five years, erected to him by his mother Coelia, daughter of s.e.xtus Paternus.

So fine is the proportion, so exquisite is the finish, and so wonderful is the preservation of the _Maison Carree_, that I confess I had much more pleasure in contemplating its exterior, than in examining all that it contains, though many of these objects are well worth inspection.

I should like to have a small model of it executed in silver, as an ornament for the centre of a table; but it would require the hand of a master to do justice to the olive leaves of the capitals of the columns; that is, if they were faithfully copied from the original.

It was, if I remember rightly, Cardinal Alberoni who observed that this beautiful building ought to be preserved in a golden _etui_, and its compactness and exquisite finish prove that the implied eulogium was not unmerited.

I have nowhere else noticed the introduction of olive leaves in Corinthian capitals instead of those of the acanthus; the effect of which is very good. A design was once formed of removing the _Maison Carree_ to Versailles. Colbert was the originator of this barbarous project, which, however, was fortunately abandoned from the fear of impairing, if not destroying, the beauty of the building. The Emperor Napoleon is said to have entertained a similar notion, and meant to grace Paris with this model of architectural perfection; but it was found to be too solidly built to admit of removal, and he who could shake empires, could not stir the _Maison Carree_.

The transportation of antiquities from their original site can never be excused, except in cases where it was the only means of insuring their preservation. All the power of a.s.sociation is lost when they are transferred to other places; and the view of them ceases to afford that satisfaction experienced when beheld where they were primarily destined to stand. I can no more fancy the _Maison Carree_ appropriately placed in the bustle and gaiety of Paris, than I could endure to see one of the temples at Paestum stuck down at Charing Cross.

One loves, when contemplating such precious memorials of antiquity, to look around on the objects in nature, still wearing the same aspect as when they were reared. The hills and mountains, unlike the productions of man, change not; and nowhere can the fragments of a bygone age appear to such advantage as on the spots selected for their erection, where their vicinity to peculiar scenery had been taken into consideration.

We spent a considerable time in examining the Amphitheatre, and so well is it preserved, that one can hardly bring one's self to believe that so many centuries have elapsed since it was built; and that generation after generation has pa.s.sed away, who have looked on this edifice which now meets my view, so little changed by the ravages of that ruthless conqueror Time, or the still more ruthless Visigoths who converted it into a citadel, flanking the eastern door with two towers. In 737 Charles Martel besieged the Saracens, and set fire to it, and after their expulsion it continued to be used as a citadel.

The form of this fine building is elliptical, and some notion of its vast extent may be formed, when it is stated to have been capable of containing above 17,000 spectators.

Its facade consists of two rows of porticoes, forming two galleries one over the other, composing sixty arcades, divided by the same number of Tuscan pilasters in the first range, and of Doric columns in the upper, and an attic, which crowns all. Four princ.i.p.al doors, fronting the four cardinal points, open into the amphitheatre, divided at nearly equal distances one from the other.

The attic has no arcades, pilasters, or columns; but a narrow ledge runs along it, which was probably used for the purpose of approaching the projecting consoles, 120 in number, placed in couples at equal distances between two columns, and pierced with a large hole, which corresponds with a similar one in the cornice, evidently meant for securing the awnings used to prevent the spectators from being inconvenienced by the rain or sun.

These awnings did not extend to the arena, which was usually left open, but were universally adopted in all the Roman amphitheatres, after their introduction by Q. Catullus. The vast extent and extraordinary commodiousness of the amphitheatres erected by the Romans, prove not only the love of the sports exhibited in them entertained by that people, but the attention paid to their health and comfort by the architects who planned these buildings. The numerous vomitories were not amongst the least important of these comforts, securing a safe retreat from the theatre in all cases of emergency, and precluding those fearful accidents that in our times have not infrequently occurred, when an alarm of fire has been given. The mode of arrangements, too, saved the spectators from all the deleterious results of impure air, while the velarium preserved them from the sun.

But not only were the spectators screened from too fervid heat, but they could retreat at pleasure, in case of rain or storm, into the galleries, where they were sheltered from the rain. Our superior civilization and refinement have not led to an equal attention to safety and comfort in the mode of our ingress and egress from theatres, or to their ventilation; but perhaps this omission may be accounted for by the difference of our habits from those of the Romans. Public amus.e.m.e.nts were deemed as essential to their comfort, as the enjoyment of home is to ours; and, consequently, while we prefer home--and long may we continue to do so--our theatres will not be either so vast or so commodious as in those times and countries, where domestic happiness was so much less understood or provided for.

The erection of this magnificent edifice is attributed to Vespasian, t.i.tus, or Domitian, from a fragment of an inscription discovered here some fourteen or fifteen years ago, of which the following is a transcript:--

VII. TRI. PO.....

And as only these three filled the consulate eight times since Tiberius, in whose age no amphitheatre had been built in the Roman provinces, to one of them is adjudged its elevation.

Could I only remember one half the erudition poured forth on my addled brain by the cicerone, I might fill several pages, and fatigue others nearly as much as he fatigued me; but I will have pity on my readers, and spare them the elaborate details, profound speculations, ingenious hypotheses, and archaiological lore that a.s.sailed me, and wish them, should they ever visit Nismes, that which was denied me--a tranquil and uninterrupted contemplation of its interesting antiquities, free from the verbiage of a conscientious cicerone, who thinks himself in duty bound to relate all that he has ever heard or read relative to the objects he points out.

Even now my poor head rings with the names of Caius and Lucius Caesar, Tiberius, Trajan, Adrian, Diocletian, and Heaven only knows how many other Roman worthies, to whom Nismes owes its attractions, not one of whom did this learned Theban omit to enumerate.

Many of the antiquities of Nismes, which we went over to-day, might well command attention, were they not in the vicinity of two such remarkable and well-preserved monuments as the Amphitheatre and _Maison Carree_.

The Gate of Augustus, which now serves as the entrance to the barracks of the gendarmerie, is worthy of inspection. It consists of four arches--two of equal size, for the admittance of chariots and hors.e.m.e.n, and two less ones for pedestrians. The centres of the two larger arches are decorated by the head of a bull, in alto-relievo; and above each of the smaller arches is a niche, evidently meant for the reception of a statue.

A Corinthian pilaster divides the larger arches from the less, and a similar one terminates the building on each side; while the two larger arches are separated by a small Ionic column, which rests on a projecting abutment whence the arches spring. The Gate of France has but one arch, and is said to have been flanked by towers; of which, however, it has little vestige.

The inhabitants of Nismes seem very proud of its antiquities, and even the humbler cla.s.ses descant with much erudition on the subject. Most, if not all of them, have studied the guide-books, and like to display the extent of their _savoir_ on the subject.

They evince not a little jealousy if any preference seems accorded to the antiquities of Italy over those of their town; and ask, with an air of triumph, whether any thing in Italy can be compared with their _Maison Carree_, expressing their wonder that so few English come to look at it.

La Tour-Magne stands on the highest of the hills, at the base of which is spread the town. It is precisely in the state most agreeable to antiquaries, as its extreme dilapidation permits them to indulge those various conjectures and hypotheses relative to its original destination, in which they delight. They see in their "mind's eye" all these interesting works of antiquity, _not_ as they _really_ are, but as it pleases them to imagine they _once_ were; and, consequently, the less that actually remains on which to base their suppositions, the wider field have they for their favourite speculations.

This tower is said by some to have been intended for a lighthouse; others a.s.sert it to have been a treasury; a third party declares it to be the remains of a palace; and, last of all, it is a.s.sumed to have been a mausoleum.

Its form, judging from what remains, must have been pyramidical, composed of several stages, forming octagons, retreating one above the other. It suffered much from Charles Martel in 737, who wished to destroy it, owing to its offering a strong military position to the Saracens; and still more from the ravages of a certain Francis Trancat, to whom Henry IV granted permission to make excavations in the interior of it, on condition that three parts of the product should be given up to the royal coffer.

The result did not repay the trouble or expense; and one cannot help being rejoiced that it did not, as probably, had it been otherwise, the success would have served as an incentive to destroy other buildings.

In the vicinity of the Tour-Magne are the fountain, terrace, and garden, the last of which is well planted, and forms a very agreeable promenade for the inhabitants of Nismes. The fountain occupies the site of the ancient baths--many vestiges of which having been discovered have been employed for this useful, but not tasteful, work.