Many houses in the streets have portions of columns, friezes, and cornices embedded in their walls; and one of them, occupied by a barber, had a column in front, to which the insignia of his profession were attached. Ruins, said to be those of the palace of Constantine, were pointed out to us, as well as fragments of a forum and baths.

Arles is certainly one of the most interesting towns I have ever seen, whether viewed as a place remarkable for the objects of antiquity it contains, or for the primitive manners of its inhabitants and its picturesque appearance.

The quays are s.p.a.cious and well built, presenting a very different aspect to the streets; for the former are very populous, being frequented by the boatmen who ply their busy commerce between Lyons and Ma.r.s.eilles--depots for the merchandise being erected along them, while the latter are comparatively deserted.

With this facility of communication with two such flourishing towns, it is extraordinary that Arles should have so long retained the primitive simplicity that seems to pervade it, and that a good hotel has not yet been established here.

Our good hostess provided nearly as substantial a supper for us last night as the early dinner served up on our arrival, and again presided at the repast, pressing us to eat, and recommending, with genuine kindness, the various specimens of dainties set before us. Our beds, though homely, were clean; and I have seldom, in the most luxurious ones, reposed equally soundly.

When our courier asked for the bill this morning, the landlady declared she "knew not what to charge, that she never was in the habit of making out bills, and that we must give her what we thought right."

The courier urged the necessity of having a regular bill, explaining to her that he was obliged to file all bills, and produce them every week for the arrangement of his accounts,--but in vain: she could not, she declared, make one out; and no one in her house was more expert than herself.

She came to us, laughing and protesting, and ended by saying, "Pay what you like; things are very cheap at Arles. You have eaten very little; really, it is not worth charging for." But, when we persisted on having her at least name a sum, to our infinite surprise she asked, if a couple of louis would be too much?--And this for a party of six, and six servants, for two days!

We had some difficulty in inducing her to accept a suitable indemnification, and parted, leaving her proclaiming what she was pleased to consider our excessive generosity, and reiterating her good wishes.

CHAPTER III.

ST.-ReMY.

The town of St.-Remy is delightfully situated in a hollow that resembles the crater of an extinct volcano, and is surrounded by luxuriant groves of olive. The streets, though generally narrow, are rendered picturesque by several old houses, the architecture of which is striking; and the _place_--for even St.-Remy has its Place Publique and Hotel-de-Ville--is not without pretensions to ornament. In the centre of this _place_ is a pretty fountain, of a pyramidal form.

The antiquities which attracted us to St.-Remy are at a short distance from the town, on an eminence to the south of it, and are approached by a road worthy the objects to which it conducts. They consist of a triumphal arch, and a mausoleum, about forty-five feet asunder.

Of the triumphal arch, all above the archivault has disappeared, leaving but the portico, the proportions of which are neither lofty nor wide. On each side of it are two fluted columns, said to have been of the Corinthian order, but without capitals, and the intercolumniations, in each of which are figures of male and female captives.

A tree divides the male from the female; their hands are tied, and chained to the tree; and a graceful drapery falls from above the heads down to the consoles on which the figures stand.

On the eastern side of the arch are also figures, representing two women, by the side of two men. One of the women has her hand on the arm of a chained warrior, and the other has at her feet military trophies; among which bucklers, arms, and trumpets, may be seen. The pilasters that bound the intercolumniations are of the Doric order, and their capitals support the arch.

The cornice and astragals form a frieze, in which military emblems and symbols of sacrifice are intermingled. The archivault is ornamented on each side with sculptured wreaths of ivy, pine cones, branches of grapes and olives, interlaced with ribands. The ceiling of the portico is divided into hexagons and squares, enriched by various designs in the shape of eggs and roses, finely executed.

This interesting monument appears to have been ornamented with equal care and richness on every side, but its decorations have not enabled any of the numerous antiquaries who have hitherto examined it to throw any light on its origin; and the destruction of its architecture must have caused that of its inscription, if, indeed, it ever bore one.

The mausoleum is even more curious than the arch, as being the only building of a similar character of architecture to be seen.

Placed on a large square pediment, approached by two steps, the edifice rises with unequalled lightness and beauty against the blue sky, forming two stages supported by columns and pilasters, united by a finely sculptured frieze. The first stage retreats from the pediment; and the second, which is of a round form, and terminated by a conical-shaped top, is less in advance than the first, giving a pyramidal effect.

The four fronts of the pediment are nearly covered by ba.s.si-relievi, representing battles of infantry; the figures of which are nearly as large as life, and admirably designed.

On the north front is a combat of cavalry; on the west, an engagement, in the midst of which the body of a man is lying on the ground, one party of soldiers endeavouring to take possession of it, while another band of soldiers are trying to prevent them.

The ba.s.so-relievo of the south front represents a field of battle, strewed with the dead and wounded, and mingled with warriors on horseback and on foot. On one side is seen a wild boar between the legs of the soldiers; and on the other, a female figure, quite nude, prostrate on the earth before a rearing horse, which some soldiers are endeavouring to restrain.

In the centre of the ba.s.so-relievo is an old man expiring, surrounded by several persons; and at one end a soldier, bearing arms on his shoulder, has been left unfinished by the sculptor; there not being sufficient s.p.a.ce for the figure, which is partly designed on the adjoining pilaster.

On the east front is a winged female bearing the attributes of Victory, with several women and warriors, and an allegorical personage said to represent a river, because it holds in one hand a symbol of water. This last figure, also, is partly sculptured on the contiguous pilaster, as is the one previously noted, which proves that these ornaments were not executed at the time of the erection of the edifice.

The pediment has a simple cornice around it, and the angles are finished by voluted pilasters without a base, but with Ionic capitals, which have an extraordinary effect. Above the ba.s.so-relievo is a ma.s.sive garland, supported by three boys, at equal distances; and between them are four heads of old men, as hideously grotesque as the imaginations of the sculptors could render them.

The first stage of the mausoleum which rises from this pedestal is pierced by an arch on each side, in the form of a portico, and their archivaults are ornamented by foliage and scrolls.

The arches rest on plain pilasters, with capitals more resembling the Doric than any other order of architecture. On the keystone of each arch is the mark of a youthful male head, surmounted by two wings. The four angles of the first stage are finished by a fluted column, with a capital charmingly executed, like, but not quite, the Corinthian. These columns sustain an entablature or two, which terminate this stage, and its frieze is enriched with sculpture representing winged sea-monsters and sirens with sacrificial instruments.

Above the first stage rises the second, which is of a round form, with ten fluted columns, which support its circular entablature; the capitals of these columns are similar to those of the first stage, and the frieze is ornamented with foliage delicately sculptured.

A round cupola terminates this building, through which the light shines in on every side, although two male statues in togas occupy the centre of it.

To view the height at which these figures are placed, one would suppose they were safe from the attacks of the mischievous or the curious; nevertheless, they did not escape, for, many years ago, during the night, their heads were taken off, and those that replaced them reflect little credit on the taste or skill of the modern sculptor who executed the task.

On the architrave of the entablature of the first stage, and on the north front, is the following inscription:--

s.e.x. L. M. JVLIEI. C.F. PARENTIBUS. SVEIS.

Various are the opinions given by the writers who have noticed this monument as to the cause for which, and person, or persons for whom, it was erected. Some maintain that the triumphal arch from its vicinity has a relation to the mausoleum, while others a.s.sert them to have been built at different epochs.

The inscription has only served to base the different hypotheses of antiquaries, among which that of the Abbe Barthelemy is considered the most probable; namely, that in the three first words are found two initials, which he considers may be rendered as follows:--

s.e.xTUS LUCIVS MARCVS;

and the two other initials, C.F., which follow the word JVLIEI, may be explained in the same manner to signify Caii Filii, and, being joined to Juliei, which precedes, may be received to mean Julii Caii Filii.

Mantour's reading of the inscription is, Caius s.e.xtius Lucius, Maritus JULIae Incomparabilis, Curavit Fieri PARENTIBUS SUIS; which he translates into Caius s.e.xtius Lucius, Husband of Julia, caused this Monument to be erected to the Memory of his Ancestors, and the victories achieved by them in Provence, which on different occasions had been the theatre of war of the Romans.

Bouche's version of it is,--

{Lucius, } s.e.xtus {Laelius, } Maritus Juliae.

{Liberius,}

Istud Cenotaphium,} or, } Fecit Parentibus Suis; Intra Circulum, }

which he a.s.serts to mean,--s.e.xtus, in honour of his Father and Mother, buried in this place, and represented by the two statues surrounded by columns in the upper part of the mausoleum.

Monsieur P. Malosse, to whose work on the antiquities of St.-Remy I am indebted for the superficial knowledge I have attained of these interesting objects, explains the inscription to mean,--

s.e.xTVS LVCIVS MARCVS JVLIEI CVRAV ERUNT FIERE SUEIS;

which he translates into s.e.xtus, Lucius, Marcus (all three), of the race of Julius, elevated this monument to the glory of their relations.

M. Malosse believes that the mausoleum was erected to Julius, and the arch to Augustus Caesar--the first being dead, and the second then living; and that the statues in the former, in the Roman togas, were intended to represent the two.