The Best Of These, I Be-
Lieve, Were Found In The Ruins Of The Theatre.
Some of
the most curious of them are early Christian sar-
cophagi, exactly on the pagan model, but covered with
rude yet vigorously wrought images of the apostles,
and with illustrations of scriptural history.
Beauty
of the highest kind, either of conception or of execu-
tion, is absent from most of the Roman fragments,
which belong to the taste of a late period and a
provincial civilization. But a gulf divides them from
the bristling little imagery of the Christian sarcophagi,
in which, at the same time, one detects a vague
emulation of the rich examples by which their authors
were surrounded. There is a certain element of style
in all the pagan things; there is not a hint of it in
the early Christian relics, among which, according to
M. Joanne, of the Guide, are to be found more fine
sarcophagi than in any collection but that of St. John
Lateran. In two or three of the Roman fragments
there is a noticeable distinction; principally in a
charming bust of a boy, quite perfect, with those
salient eyes that one sees in certain antique busts, and
to which the absence of vision in the marble mask
gives a look, often very touching, as of a baffled effort
to see; also in the head of a woman, found in the
ruins of the theatre, who, alas! has lost her nose, and
whose noble, simple contour, barring this deficiency,
recalls the great manner of the Venus of Milo. There
are various rich architectural fragments which in-
dicate that that edifice was a very splendid affair.
This little Museum at Arles, in short, is the most Ro-
man thing I know of, out of Rome.
XXXII.
I find that I declared one evening, in a little
journal I was keeping at that time, that I was weary
of writing (I was probably very sleepy), but that it
was essential I should make some note of my visit to
Les Baux. I must have gone to sleep as soon as I
had recorded this necessity, for I search my small diary
in vain for any account of that enchanting spot. I
have nothing but my memory to consult, - a memory
which is fairly good in regard to a general impression,
but is terribly infirm in the matter of details and
items. We knew in advance, my companion and I
that Les Baus was a pearl of picturesqueness; for
had we not read as much in the handbook of Murray,
who has the testimony of an English nobleman as to
its attractions? We also knew that it lay some miles
from Aries, on the crest of the Alpilles, the craggy
little mountains which, as I stood on the breezy plat-
form of Beaucaire, formed to my eye a charming, if
somewhat remote, background to Tarascon; this as-
surance having been given us by the landlady of the
inn at Arles, of whom we hired a rather lumbering
conveyance. The weather was not promising, but it
proved a good day for the mediaeval Pompeii; a gray,
melancholy, moist, but rainless, or almost rainless
day, with nothing in the sky to flout, as the poet
says, the dejected and pulverized past. The drive
itself was charming; for there is an inexhaustible
sweetness in the gray-green landscape of Provence.
It is never absolutely flat, and yet is never really
ambitious, and is full both of entertainment and re-
pose. It is in constant undulation, and the bareness
of the soil lends itself easily to outline and profile.
When I say the bareness, I mean the absence of
woods and hedges. It blooms with heath and scented
shrubs and stunted olive; and the white rock shining
through the scattered herbage has a brightness which
answers to the brightness of the sky. Of course it
needs the sunshine, for all southern countries look a
little false under the ground glass of incipient bad
weather. This was the case on the day of my pil-
grimage to Les Baux. Nevertheless, I was as glad
to keep going as I was to arrive; and as I went it
seemed to me that true happiness would consist in
wandering through such a land on foot, on September
afternoons, when one might stretch one's self on the
warm ground in some shady hollow, and listen to the
hum of bees and the whistle of melancholy shepherds;
for in Provence the shepherds whistle to their flocks.
I saw two or three of them, in the course of this drive
to Les Baux, meandering about, looking behind, and
calling upon the sheep in this way to follow, which
the sheep always did, very promptly, with ovine
unanimity. Nothing is more picturesque than to see
a slow shepherd threading his way down one of the
winding paths on a hillside, with his flock close be-
hind him, necessarily expanded, yet keeping just at
his heels, bending and twisting as it goes, and looking
rather like the tail of a dingy comet.
About four miles from Arles, as you drive north-
ward toward the Alpilles, of which Alphonse Daudet
has spoken so often, and, as he might say, so in-
timately, stand on a hill that overlooks the road
the very considerable ruins of the abbey of Mont-
majour, one of the innumerable remnants of a feudal
and ecclesiastical (as well as an architectural) past
that one encounters in the South of France; remnants
which, it must be confessed, tend to introduce a cer-
tain confusion and satiety into the passive mind of
the tourist. Montmajour, however, is very impressive
and interesting; the only trouble with it is that,
unless you have stopped and retumed to Arles, you
see it in memory over the head of Les Baux, which
is a much more absorbing picture. A part of the
mass of buildings (the monastery) dates only from the
last century; and the stiff architecture of that period
does not lend itself very gracefully to desolation:
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