[Illustration: Cathedral of Nimes.—Part of west front.]
There are two Roman triumphal arches at Nimes, but neither is remarkable. In front of one I found a man exhibiting a cage of canaries. He had a little table before the cage on which small cards, each numbered, were set out. Then he sold among the bystanders tickets with corresponding numbers. There were eighteen numbers, and each card sold for a sou, and the whole constituted a lottery for a chain and some seals that the fellow dangled before the eyes of the little circle of lookers-on. The lots were taken up after a little persuasion and chaffering. Then he opened the cage door; out hopped a canary that trotted up and down the little table, and finally picked up one of the cards. "Number nine," called the proprietor of the canaries. "Which monsieur is the happy possessor of card number nine?" A soldier stepped forward, presented his tally, and received the silver watch-chain. Then all those who had been unsuccessful restored their cards, and the same process was repeated, this time among women, for a silver thimble.
Nimes struck me as one of the very brightest, pleasantest towns I have ever visited, and the one in which, if forced to live out of England, I think I could live most happily in. I have said not one word about the museum at Nimes, which is within the Maison Carrée, and yet the museum contains some objects deserving of attention. There are two altars with wheels carved on them, both small, the largest only two feet three inches high, and that has on it not the wheel only, but the thunderbolt. These are altars to the Gaulish god of the sun. The second bears an inscription "et terræ matri." It was dedicated doubtless to the "sun and to the earth mother," but the first portion of the legend is lost. In the Avignon Museum is a statue of a Gaulish Jupiter in military costume, with his right hand on the wheel, and with the eagle on his left. [1]
[Footnote 1: Others at Trèves, Moulin, and Paris.]
Moreover, in the Nimes museum are some bronze circular ornaments, found in 1883 in the caves of S. Vallon in Ardèche, representing the wheel. On the triumphal arch of Orange are Gaulish warriors with horned helmets, and wheels as crests between the horns. The wheel, as symbol of the sun, was very general everywhere, in the east as well as the west, among the Germans as well as among the Gauls, but among the latter it assumed a very special importance, and it is due to this fact that in the French cathedrals the west window is a wheel window. At Basle there is a round window in the minster with figures climbing and falling on the spokes, and Fortune sits in the midst. It is a wheel of Fortune. It is the same at Beauvais, at Amiens, and elsewhere. At Chartres is a representation in stained glass of the Transfiguration; and Christ is exhibited in glory in the midst of an eight-spoked wheel. A curious statue at Luxeuil, now lost, represented a rider protecting a lady whilst his horse tramples on a prostrate foe; his raised hand over the woman is thrust through a six-rayed wheel. On the Meuse a similar peculiarity has been noticed in a fragment of a sculptured figure, it is a hand holding a four-spoked wheel. In the Museum Kircherianum at Rome are bronze six-rayed wheels, the spokes zigzagged like lightnings, found at Forli, others at Modena. All these were symbols of the sun. Now when Constantine professed to have seen his vision, which was in all probability a mock-sun, he thought that the rays he saw formed the Greek initials of Christ, and he therefore ordered these initials, forming a six-rayed wheel, to be set up on the standards of his soldiers. The only difference between his "Labarum" and the symbol of the Gaulish sun-god was that his upper spoke was looped to form the letter P. No doubt whatever, that his Keltic soldiers hailed the new standard as that of their national god, and that when they marched against Maxentius and met him at Saxa Rubra, eight miles from Rome, they thought that they, as Gauls, were marching to a second capture of the capital of the world, under the protection of their national god.
Among men of note that have been associated with Nimes is Fléchier, born at Pernes in Vaucluse in 1632, who became Bishop of Nimes in 1687. He was the son of a tallow-chandler. From his eloquence he was much regarded as a preacher, but unfortunately his discourses contain very little except well-rounded sentences of well-chosen words. He was a favourite of Louis XIV., who respected his integrity and piety. One day a haughty aristocratic prelate about the Court had the bad taste to sneer at him for his origin. "Avec votre manière de penser," replied Fléchier calmly, "je crois que si vous étiez né ce que je suis, vous n'eussiez fait, toute votre vie—que de chandelles."
CHAPTER XVI.
AIGUES MORTES AND MAGUELONNE.
A dead town—The Rhônes-morts—Bars—S. Louis and the Crusades—How S. Louis acquired Aigues Mortes—His canal—The four littoral chains and lagoons—The fortifications—Unique for their date—Original use of battlements—Deserted state of the town—Maguelonne—How reached—History of Maguelonne—Cathedral—The Bishops forge Saracen coins—Second destruction of the place—Inscription on door—Bernard de Treviis—His Romance of Pierre de Provence—Provençal poetry not always immoral—Present state of Maguelonne.
Aigues Mortes is a dead town, and differs from Maguelonne, to be presently described, in this, that it is a dead town, whereas Maguelonne is only the ghost of a dead town. It is a great curiosity, for it is a dead mediæval town surrounded by its walls, and dominated by its keep. But first about its name, which signifies Dead Waters. If the reader will remember what has been already said about the structure of the delta of the Rhone, he will recall the fact that the river is constantly engaged in changing its mouths. When it has formed for itself a new mouth, it deserts its former course, which it leaves as a stagnating canal. This occasions the delta to be striped with what are locally termed Rhônes-morts, whereas a flowing branch is called a Rhône-vif.