It comes from the small neighbouring town of Vaison, where Pliny the naturalist[2] sometimes spent a holiday. Here perhaps, at his host’s table, the celebrated compiler learnt to appreciate the Beccafico,[3] famous among the Roman epicures and still renowned to-day, under the name of Grasset, among our Provençal gastronomers. It is a pity that my bit of silver says nothing of these events, more memorable than any battle.
It shows on one side a head and on the other a galloping horse, all barbarously inaccurate. A child trying its hand for the first time with a [[3]]sharp-pointed stone on the fresh mortar of the walls would produce no more shapeless design. No, of a surety, those bold Allobroges were no artists.
How greatly superior to them were the foreigners from Phocæa! Here is a drachma of the Massalietes:[4] ΜΑΣΣΑΛΙΗΤΩΝ. On the obverse, a head of Diana of Ephesus, chub-faced, full-cheeked, thick-lipped. A receding forehead, surmounted by a diadem; an abundant head of hair, streaming down the neck in a cascade of curls; heavy ear-drops, a pearl necklace, a bow slung over the shoulder. Thus was the idol decked by the hands of the pious Syrian.
To tell the truth, it is not æsthetic. It is sumptuous, if you will, and preferable, after all, to the donkey’s-ears which our modern beauties wear perched upon their heads. What a singular freak is fashion, so fertile in the means of uglification! Commerce knows nothing of loveliness, says this divinity of the traders; it prefers profit, embellished with luxury. So speaks the drachma.
On the reverse, a lion clawing the ground and roaring wide-mouthed. Not of to-day alone is the savagery that symbolizes power in the shape of some formidable brute, as though evil were the supreme expression of strength. The eagle, the lion and other marauders often figure on the reverse of coins. But reality is not sufficient; [[4]]the imagination invents monstrosities: the centaur, the dragon, the griffin, the unicorn, the double-headed eagle.
Are the inventors of these emblems so greatly superior to the Redskin who celebrates the prowess of his scalping-knife with a Bear’s paw, a Falcon’s wing or a Puma’s tooth stuck in his hair? We may safely doubt it.
How preferable to these heraldic horrors is the reverse of our own silver coinage recently brought into circulation! It represents a sower who, with a nimble hand, at sunrise, fills the furrows with the good seed of thought. It is very simple and it is great; it makes us reflect.
The Marseilles drachma has for its sole merit its magnificent relief. The artist who made the dies was a master of the graver’s tool; but he lacked the breath of inspiration. His chub-faced Diana is no better than a trollop.
Here is the NAMASAT of the Volscæ, which became the colony of Nîmes. Side by side, profiles of Augustus and of his minister Agrippa. The former, with his dour forehead, his flat skull, his acquisitive broken nose, inspires me with but little confidence, notwithstanding what gentle Virgil said of him: Deus nobis hæc otia fecit.[5] It is success that makes gods. Had he not succeeded in his criminal projects, Augustus the divine would have remained Octavius the scoundrel. [[5]]
His minister pleases me better. He was a great mover of stones, who, with his building operations, his aqueducts and his roads, came and civilized the rude Volscæ a little. Not far from my village a splendid road crosses the plain, starting from the banks of the Aygues, and climbs up yonder, tedious in its monotonous length, to cross the Sérignan hills, under the protection of a mighty oppidum, which, much later, became the old castle, the castelas. It is a section of Agrippa’s Road, which joined Marseilles and Vienne. The majestic ribbon, twenty centuries old, is still frequented. We no longer see the little brown foot-soldier of the Roman legions upon it; in his stead we see the peasant going to market at Orange, with his flock of Sheep or his drove of unruly Porkers. Of the two I prefer the peasant.