The interior has been greatly restored, so as to make it available for a large modern audience, and the amphitheatre is now used, amongst other exhibitions, for the annual branding of the young bulls of the Camargue, which, from the lively description of it given by Alexandre Dumas, seems to be a stirring spectacle, not unworthy of this classic arena.
In ancient times the lowest or first series of seats was set apart for the senators; the second series for the knights; the third for plebeians; and the top rows for the slaves. The last being the most quarrelsome it was considered desirable to endeavour to prevent squabbling by marking off each person’s seat. This was effected by means of lines cut in the stone, some of which are still visible in situ.
Some years ago there existed in the first precincts divisions similar to those of boxes in modern theatres.
The celebrated Maison Carrée at Nimes ([Fig. 22]) is probably the purest piece of Roman work to be found north of the Alps, and cannot fail strongly to impress the beholder, especially if he here sees for the first time a genuine Roman temple. The design doubtless owes much of its beauty and purity to the Grecian spirit of the locality. The building is small, being only about 80 feet by 40 feet. The portico, with its ten Corinthian columns, and enriched pediment, is very fine; but the effect of the flank view, in which the columns attached to the cella are visible, is not so satisfactory. The temple is surrounded by thirty columns in all, including those of the portico, which stand free, and the engaged columns of the flanks and rear. This is what is called the pseudo-peripteral plan—the true peripteral temple having the columns detached so as to form an ambulatory all round the cella. The former is the arrangement usual in Roman temples, which, according to Fergusson, never follow the genuine peripteral type. It is,
FIG. 22. MAISON CARREE, NIMES.
however, worthy of note, that the Plan of this building with its deep porch is rather Italo-Etruscan than Greek, and thus adheres to the traditional type observed by the Romans.
The cornice is perhaps rather over-enriched and is indicative of a late date, when classic art was in decadence; but the frieze is beautifully designed, and the style as a whole is remarkably pure and elegant.