One’s first feeling is that nothing else matches it—that no work of man, no accumulated appeal of history, can contend a moment against this joy of the eye so prodigally poured out. The stretch of coast from Toulon to Saint Tropez, so much less familiar to northern eyes than the more eastern portion of the Riviera, has a peculiar nobility, a Virgilian breadth of composition, in marked contrast to the red-rocked precipitous landscape beyond. Looking out on it from the pine-woods of Costebelle, above Hyères, one is beset by classic allusions, analogies of the golden age—so divinely does the green plain open to the sea, between mountain lines of such Attic purity.
After packed weeks of historic and archæological sensation this surrender to the spell of the landscape tempts one to indefinite idling. It is the season when, through the winter verdure of the Riviera, spring breaks with a hundred tender tints—pale green of crops, white snow of fruit-blossoms, and fire of scarlet tulips under the grey smoke of olive-groves. From heights among the cork-trees the little towns huddled about their feudal keeps blink across the pine-forests at the dazzling blue-and-purple indentations of the coast. And between the heights mild valleys widen down—valleys with fields of roses, acres of budding vine, meadows sown with narcissus, and cold streams rushing from the chestnut forests below the bald grey peaks. Among the peaks are lonely hermitages, ruined remains of old monastic settlements, Carthusian and Benedictine; but no great names are attached to these fallen shrines, and the little towns below have no connection with the main lines of history. It is all a tranquil backwater, thick with local tradition, little floating fragments of association and legend; but art and history seem to have held back from it, as from some charmed Elysian region, too calm, too complete, to be rudely touched to great issues.
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It was the mistral that drove us from this Eden, poisoning it with dust and glare, and causing us to take refuge north of the sea-board Alps. There, in a blander air and on a radiant morning, we left Aix behind, and followed the Durance to Avignon. Approaching the papal city from the east, one may get a memorable impression by following the outer circuit of its walls to the Porte de l’Ouille, which opens on the Place Crillon just below the great rock of the palace. Seen thus from without, Avignon is like a toy model of a mediæval city; and this impression of artificial completeness is renewed when, from the rock-perched terrace below the palace, one looks out on the Rhone valley and its enclosing amphitheatre of mountains. In the light Provençal air, which gives a finely pencilled precision to the remotest objects, the landscape has an extraordinarily topographical character, an effect of presenting with a pre-Raphaëlite insistence on detail its sharp-edged ruins, its turreted bridge, its little walled towns on definite points of rock. The river winding through the foreground holds its yellow curve between thin fringes of poplar and sharp calcareous cliffs; and even the remoter hills have the clear silhouette of the blue peaks in mediæval miniatures, the shoulder of the Mont Ventoux rising above them to the north with the firmness of an antique marble.
TOULON: THE HOUSE OF PUGET
This southern keenness of edge gives even to the Gothicism of the piled-up church and palace an exotic, trans-Alpine quality, and makes the long papal ownership of Avignon—lasting, it is well to remember, till the general upheaval of 1790—a visible and intelligible fact. Though the Popes of Avignon were Frenchmen, Avignon is unmistakably, almost inexplicably, Italian: its Gothic vaguely suggests that of the Ponte Sant’ Angelo, of the fortified arches and tombs of mediæval Rome, and reconciles itself as easily to the florid façade of the seventeenth-century Papal Mint in the square below as to the delicate classic detail of the west door of the church.
Rome—but Imperial not Papal Rome—was still in the air as we left Avignon and followed the Rhone valley northward to Orange. All this part of France is thick with history, and in the ancient principality of Orange the layers are piled so deep that one wonders to see so few traces of successive dominations in the outward aspect of its capital. Only the Rome of the Emperors has left a mark on the town which lived with so vigorous and personal life from the days when it was a Gaulish city and a trading station of Massaliote Greeks, and which, when it grew too small for its adventurous brood, sent rulers to both shores of the North Sea; and the fact that the theatre and the arch survive, while the Orange of Carlovingian bishops and mediæval princes has been quite wiped out, and even Maurice of Nassau’s great seventeenth-century fortress razed to the ground—this permanence of the imperial monuments, rising unshaken through the blown dust of nearly a thousand years, gives a tangible image of the way in which the Roman spirit has persisted through the fluctuations of history.
To learn that these very monuments have been turned to base uses by barbarous prince-bishops—the arch converted into a fortified Château de l’Arc, the theatre into an outwork of the main fortress—adds impressiveness to their mutilated splendour, awing one with the image of a whole reconstructed from such fragments.
