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Chapter VI
THE CHÂTEAU I DID NOT RENT

In a former chapter I have mentioned the mighty natural portrait in stone which Mark Twain found, and later named the Lost Napoleon, because he could not remember its location, and how we rediscovered it from Beauchastel on the Rhone, not far below Valence. We decided now that we would have at least another glimpse of the great stone face, it being so near. The skies had cleared this morning, though there was a good deal of wind and the sun was not especially warm. But we said we would go. We would be getting on toward the south, at any rate.

We did not descend on the Beauchastel side, there being a bridge shown on the map, at La Voulte, where we would cross. The reader may also remember the mention of a château below Beauchastel, with a sign on it which said that the property was to let, and my failure to negotiate for it. Very well, here is the sequel: When we got to the end of the bridge opposite La Voulte, we looked across to one of the closely packed mediæval villages of France with a great castle rising from its central height. It was one of the most picturesque things we had seen and I stopped to photograph it, declaring we must certainly visit it. So we crossed the bridge and at the end turned away toward Beauchastel, deciding to visit La Voulte later.

We were back almost immediately. The day was not as clear as it looked and the Lost Napoleon was veiled, behind a white horizon. Very likely it would be better by morning, we said, so we dropped our belongings at the tiny Beauchastel inn and made an afternoon excursion to the château. Imagine my feelings when, on looking up from the road, I suddenly discovered once more the big sign, "Château A Louer." It was our château – the one I had formerly been discouraged from taking. It was providence, I said, knocking a second time at our door.

The others had another view. They said unless I would promise not to rent the premises I would not be permitted to examine them. I tried to make better terms, but finally submitted. We drove up into the narrow, ancient, cobbled streets a distance and left the car. Then we climbed. It was a steep and tortuous way, winding around scary edges and through doubtful-looking passages where, in weird holes and crannies, old and crooked people lived and were doing what they had always done since time began. I don't remember exactly how we finally made our way through crumble and decay – such surroundings as I have often known in dreams – to a grassy court where there was a semblance of genuine life. An old caretaker was there and he agreed to show us through.

It was called La Voulte sur Rhone, he said, and gave its name to the village. No one knew just when it had been begun, but some of it had been there in the eleventh century, when it had belonged to Adon de Clerieu. It had passed through many hands and had been more than once reconstructed. At one time Guillaume de Fay held it; also Philippe IV and Louis de Bourbon Condé, and the great family of De Rohan. Kings had been entertained there, among them Louis XIII, an interesting fact, but I wished they had given better accommodations than the rambling, comfortless, and rather blind succession of boxes shown us as the royal suite. I also objected to the paper on the walls until our guide explained that it had been put there by an American tenant of the early Andrew Johnson period. He told us then that the château had been recently bought by a French author of two volumes of poetry, who was restoring portions of it and had reserved a row of rooms along the high terrace to let to other poets and kindred souls, so they might live side by side and look out over the fair land of France and interchange their fancies and dream long dreams. Standing on that lofty green vantage and looking out across the river and the valley of the Rhone, I was tempted to violate my treaty and live there forever after.

The only portion really restored, so far, is a large assembly room, now used as a sort of museum. I hope the owner will reclaim, or at least clean, some of the other rooms, and that he will not carry the work to the point where atmosphere and romance seem to disappear. Also, I truly hope he won't give up the notion of that row of poets along the terrace, even if I can't be one of them; and I should like to slip up there sometime and hear them all striking their harps in unison and lifting a memnonic voice to the sunrise.

Chapter VII
AN HOUR AT ORANGE

Our bill at Beauchastel for the usual accommodation – dinner, lodging, and breakfast – was seventeen francs-twenty, including the tips to two girls and the stableman. This was the cheapest to date; that is to say, our expense account was one dollar each, nothing for the car.

The Beauchastel inn is not really a choice place, but it is by no means a poor place – not from the point of view of an American who has put up at his own little crossroad hotels. We had the dining room to ourselves, with a round table in the center, and the dinner was good and plentiful and well served. If the rooms were bare they were at least clean, and the landlady was not to blame that it turned cold in the night, which made getting up a matter to be considered.

Still, we did get up pretty promptly, for we wanted to see if our natural wonder was on view. It was, and we took time and sketched it and tried to photograph it, though that was hopeless, for the distance was too great and the apparition too actinic – too blue. But it was quite clear, and the peaceful face impressed us, I think, more than ever. The best view is from the railway embankment.

We got another reward for stopping at Beauchastel. We saw the old Rhone stagecoach come in, Daudet's coach, and saw descend from it Daudet's characters, le Camarguais, le boulanger, le remouleur, and the rest. At least they might have been those, for they belonged with the old diligence, and one could imagine the knife grinder saying to the hectoring baker, "Tais-toi, je t'en prie" si navrant et si doux.¹³

But now we felt the breath of the south. It was no longer chilly. The sun began to glow warm, the wind died. Sometime in the afternoon we arrived at Orange. Orange is not on the Rhone and we had missed it in our northward journey in September. It was one of our special reasons for returning to the south of France. Not the town of Orange itself, which is of no particular importance, but for the remnants of the Roman occupation – a triumphal arch and the chief wall of a Roman theater, both of such fine construction and noble proportions that they are to be compared with nothing else of their kind in France.

We came to the arch first – we had scarcely entered the town when we were directly facing it. It stands in a kind of circular grass plot a little below the present level, with short flights of steps leading down to it. At the moment of our arrival a boy of about fifteen was giving an exhibition by riding up and down these steps on a bicycle. I sincerely wished he would not do it.

Whatever its relation to its surroundings nineteen centuries ago, the arch of Orange is magnificently out of place to-day. Time-beaten and weather-stained – a visible manifest of a race that built not for the generations or the centuries, but for "the long, long time the world shall last" – supreme in its grandeur and antiquity, it stands in an environment quite modern, quite new, and wholly trivial.

The arch is really three arches – the highest in the center, and the attic, as they call the part above, is lofty, with rich decorations, still well preserved. There are restored patches here and there, but they do little injury.

From whatever direction you look the arch is beautiful, imposing, and certainly it seems eternal. When the present Orange has crumbled and has been followed by successive cities, it will still be there, but I trust the boy with the bicycle will not survive.

The theater is at the other end of town. It is not an amphitheater or an inclosure of any kind, but a huge flat wall, about as solid as the hills and one of the biggest things in France. Strictly speaking, it was never part of any building at all. It was simply a stage property, a sort of permanent back scene for what I judge to have been an open-air theater. There is no doubt about its permanency. It is as high as an ordinary ten-or twelve-story building, longer than the average city block, and it is fifteen feet thick. That is the Roman idea of scenery. They did not expect to shift it often. They set up some decorative masonry in front of it, with a few gods and heroes solidly placed, and let it go at that. Their stage would be just in front of this, rather narrow, and about on a ground level. The whole was built facing a steep rocky hillside, which was carved into a semi-circle of stone seats, in the old fashion which Rome borrowed from Greece. This natural stonework did not stand the wash of centuries, or it may have been quarried for the château which the princes of Orange built at the summit of the hill. The château is gone to-day, and the seats have been restored, I dare say, with some of the original material. Every August now a temporary stage is erected in the ancient theater, and the Comédie Française gives performances there.

The upper works of the hill, where the château was, are rather confusing. There are cave-like places and sudden drops and rudimentary passages, all dimly suggesting dungeons, once black and horrible, now happily open to the sun. And, by the way, I suppose that I am about the only person in the world who needed to be told that a line of kings originated at Orange. I always supposed that William of Orange took his name from an Irish society whose colors, along with a shamrock, he wore in his hat.

By some oversight the guidebook does not mention the jam that is sold at Orange. It is put up in tin pails, and has in it all the good things in the world – lumps of them – price, one franc per pail.

We did not stop at Avignon, for we had been there before, but followed around outside the ancient wall and came at last to the Rhone bridge, and to the island of our smoke adventure in the days of our inexperience, eight months earlier. This time we camped on the island in a pretty green nook by the water's edge, left the car under a tree, and made tea and had some of that excellent jam and some fresh rolls and butter, and ate them looking across to ancient Villeneuve and the tower of Philip le Bel.

Oh, the automobile is the true flying carpet – swift, willing, always ready, obeying at a touch. Only this morning we were at Beauchastel; a little while ago we were under the ancient arch at Orange and sat in the hoary theater. A twist of the crank, a little turning of the wheel, a brief flight across wood and meadow, and behold! the walls of Avignon and a pleasant island in the river, where we alight for a little to make our tea in the greenery, knowing that we need only to rub the magic lamp to sail lightly away, resting where we will.

Our tea ended, the genii awoke and dropped us into Villeneuve, where, in an open market, we realized that it was cherry season. I thought I had seen cherries before, but never in this larger sense. Here there were basketfuls, boxfuls, bucketfuls, barrelfuls, wagonloads – the whole street was crowded with wagons, and every wagon heaped high with the crimson and yellow fruit. Officials seemed to be weighing them and collecting something, a tax, no doubt. But what would be done with them later? Could they ship all those cherries north and sell them? And remember this was only one evening and one town. The thought that every evening and every town in the Midi was like this in cherry time was stupefying. We had to work our way among cherry wagons to get to the open road again, and our "flying carpet" came near getting damaged by one of them, because of my being impatient and trying to push ahead when an approaching cherry wagon had the right of way. As it was, I got a vigorous admonishment in French profanity, which is feathery stuff, practically harmless. I deserved something much more solid.

Consider for a moment this French profanity: About the most violent things a Frenchman can say are "Sacre bleu" and "Nom d'un chien!" One means "Sacred blue" and the other "Name of a dog." If he doubles the last and says "Name of a name of a dog," he has gone his limit. I fail to find anything personal or destructive or profane in these things. They don't seem to hit anything, not even the dog. And why a dog? Furthermore, concerning the color chosen for profane use – why blue? why not some shade of Nile green, or – or – Oh, well, let it go, but I do wish I could have changed places with that man a few minutes!

We considered returning to Avignon for the night, but we went to Tarascon instead, and arrived after dark at a bright little inn, where we were comfortably lodged, and a relative of Tartarin brought us a good supper and entertained us with his adventures while we ate.

Chapter VIII
THE ROAD TO PONT DU GARD

It is a wide, white road, bordered by the rich fields of May and the unbelievable poppies of France. Oh, especially the poppies! I have not spoken of them before, I think. They had begun to show about as soon as we started south – a few here and there at first, splashes of blood amid the green, and sometimes mingling a little with the deep tones of the crimson clover, with curious color effect. They became presently more plentiful. There were fields where the scarlet and the vivid green of May were fighting for the mastery, and then came fields where the scarlet conquered, was supreme, and stretched away, a glowing, radiant sheen of such splendid color as one can hardly believe, even for the moment that he turns away. It was scarlet silk unrolled in the sun. It was a tide of blood. It was as if all the world at war had made this their battlefield. And it did not grow old to us. When we had seen a hundred of those fields they still fascinated us; we still exclaimed over them and could not tear our eyes away.

We passed wagonloads of cherries now. In fact, we did not pass loads of anything else. Cherry harvest was at its height. Everybody was carrying baskets, or picking, or hauling to market. We stopped and asked an old man drowsing on a load to sell us some. He gave us about a half a peck for eight cents and kept piling on until I had to stop him. Then he picked up a specially tied bunch of selected ones, very handsome, and laid them on top and pointed at Narcissa – "For the demoiselle." We thanked him and waved back to him, but he had settled down into his seat and was probably asleep again. All drivers sleep in the Provence. They are children of the south and the sun soothes them. They give their horses the rein and only waken to turn out when you blow or shout very loudly. You need an especially strong Klaxonette in the Provence.

Baedeker says: "The Pont du Gard is one of the grandest Roman structures in existence." I am glad Baedeker said that, for with my limited knowledge I should have been afraid to do it, but I should always have thought so. A long time ago I visited the Natural Bridge of Virginia. I had been disappointed in natural wonders, and I expected no great things of the Natural Bridge. I scaled my imagination down by degrees as I followed a path to the viewpoint, until I was prepared to face a reality not so many times bigger than the picture which my school geography had made familiar. Then all at once I turned a corner and stood speechless and stupefied. Far up against the blue a majestic span of stone stretched between two mighty cliffs. I have seen the Grand Cañon since, and Niagara Falls, but nothing ever quite overwhelmed me as did that stupendous Virginia stone arch – nothing until we rounded a bend in the road and stopped facing the Pont du Gard. Those two are of the same class – bridges supreme – the one of nature, the other of art. Neither, I think, was intended as a bridge originally. The Romans intended these three colossal tiers of columns, one above the other, merely as supports for the aqueduct at the top, which conducted water to Nîmes. I do not know what the Almighty intended his for – possibly for decoration. To-day both are used as bridges – both are very beautiful, and about equally eternal, I should think, for the Roman builders came nearer to the enduring methods of the Original Builder than any other architects save, possibly, the Egyptians. They did not build walls of odds and ends of stone with mortar plastered between; they did not face their building stones to look pretty outside and fill in behind with chips and mortar, mostly mortar. They took the biggest blocks of stone they could find, squared them, faced them perfectly on all sides, and laid them one on top of the other in such height and in such thickness as they deemed necessary for a lasting job. Work like that does not take an account of time. The mortar did not crumble from between them with the centuries. There was none to crumble. The perfectly level, perfectly matched stones required no cementing or plaster patching. You cannot to-day insert a thin knife blade between these matched stones.

The Pont du Gard is yellow in tone and the long span against the blue sky is startlingly effective. A fine clear stream flows under it, the banks are wild with rock and shrub, the lower arches frame landscape bits near or more distant. I don't know why I am trying to describe it – I feel that I am dwarfing it, somehow – making it commonplace. It is so immense – so overwhelming to gaze upon. Henry James discovered in it a "certain stupidity, a vague brutality." I judge it seemed too positive, too absolute, too literal and everlasting for the author of the Golden Bowl. He adds, however, that "it would be a great injustice not to insist upon its beauty." One must be careful not to do injustice to the Pont du Gard.

We made our luncheon camp a little way from the clear stream, and brought water from it and cooked eggs and made coffee (but we carry bottled water for that), and loafed in the May sun and shade, and looked at that unique world-wonder for an hour or more. The Joy discovered a fine school of fish in the stream – trout, maybe.

A hundred years ago and more the lower arches of the Pont du Gard were widened to make a bridge, and when at last we were packed and loaded again we drove across this bridge for the nearer view. It was quite impossible to believe in the age of the structure – its preservation was so perfect. We drove to the other end and, turning, drove slowly back. Then lingeringly we left that supreme relic in the loneliness where, somehow, it seemed to belong, and followed the broad white road to Nîmes. There is a Roman arena at Nîmes, and a temple and baths – the Romans built many such things; but I think they could have built only one Pont du Gard.

Chapter IX
THE LUXURY OF NÎMES

When the Romans captured a place and established themselves in it they generally built, first an Arch of Triumph in celebration of their victory; then an arena and a theater for pleasure; finally a temple for worship. Sometimes, when they really favored the place and made it a resort, they constructed baths. I do not find that they built an Arch of Triumph at Nîmes, but they built an arena, baths, and a temple, for they still stand. The temple is the smallest. It is called the "Maison Carrée," and it is much like the temple we saw at Vienne that day in the rain, but in a finer state of preservation. Indeed, it is said to be one of the best preserved Roman temples in existence. It is graceful and exquisite, and must have suited Henry James, who did not care for Roman arenas because they are not graceful and exquisite, as if anything built for arena purposes would be likely to be anything less than solid and everlasting. We did not go into the Maison Carrée. It is a museum now, and the fact that it has also been used as a warehouse and stable somehow discouraged us. It would be too much done over. But the outside was fascinating.

We thought the garden of the Roman baths and fountain would be well to see in the evening. We drove along the quay by the side of the walled river which flows down the middle of the street, and came to the gates of the garden and, leaving the car, entered.

At first it seemed quite impossible to believe that a modern city of no great size or importance should have anything so beautiful as this garden, or, having it, should preserve it in such serene beauty and harmony. But then one remembered that this was France, and of France it was the Provence and not really a part of the sordid, scrambling world at all.

It is a garden of terraces and of waterways and of dim, lucent pools to which stairways descend, and of cypresses, graying statuary, and marble bridges and fluted balustrades; and the water is green and mysterious, and there is a background of dark, wooded hills, with deep recesses and lost paths. We climbed part way up the hillside and found a place where we could look out on the scene below. In the fading light it seemed a place of enchantment.

It is not easy to tell what part of this garden the Romans built and what was added from time to time during the centuries. It seems to have been liberally reconstructed a hundred or so years ago, and the statuary is none of it of the Roman period. But if there was ever any incongruity the blurring hand of time has left it invisible to our unpracticed eyes. We lingered in this magic garden, and spoke softly of the generations that for nineteen centuries have found their recreation there, and we turned often for a last look, reluctant to leave something that seemed likely to vanish the moment one turned away.

Our hotel was on the square in which stands the arena, so that it was but a step away at any time. We paid it one thorough visit, and sat in the seats, and scaled the upper heights, and looked down on the spot where tragedy and horror had been employed as means of pleasure for a good portion of the world's history. I am sorry the Provence is still rather cruel minded, though I believe they do not always kill the bull now in the Sunday-afternoon fights. It is only a few times in each season that they have a fight to the death. They had one the Sunday before our arrival, according to the bills still posted at the entrance. In the regular Sunday games anyone has the privilege of snatching a bow of red ribbon from the bull's forehead. I had a fever to try it, but, this being only Tuesday, it did not seem worth while to wait.

On the whole I think we did not find the arena at Nîmes as interesting as the one at Arles, perhaps because we had seen Arles first. It is somewhat smaller than the Arles circus, and possibly not so well preserved, but it is of majestic proportions, and the huge layers of stone, laid without cement in the Roman fashion, have never moved except where Vandal and Saracen and the building bishops have laid despoiling hands.

Not all the interest of Nîmes is ancient; Alphonse Daudet was born in Nîmes, and the city has set up a statue and named a street in his honor. Daudet's birthplace is not on the street that bears his name, but on the Boulevard Gambetta, one of the wide thoroughfares. Daudet's house is a part of the Bourse du Commerce now, and I do not think it was ever the "habitation commode, tout ombragée de plantanes" of which he writes so fondly in Le Petit Chose – the book which we have been told is, in part, at least, his own history. There is nothing now to indicate that it was ever the birthplace of anyone, except the plaque at the door, and as we sat reading this we realized that by a coincidence we had come at a fortunate time. The plaque said, "Born May 13, 1840." Now, seventy-four years later, the date was the same. It was the poet's birthday!