CHAPTER XXII
_Arles_
Of all the larger towns in Provence, Arles is perhaps the one that creates the deepest impression upon the visitor. Avignon is much finer, and its interest is at least as great as that of Arles, although it lacks that of Roman remains. And the Roman remains of Nîmes are finer than those of Arles, although Nîmes has very little mediæval interest. But both Avignon and Nîmes are thriving modern cities, while Arles is a comparatively small provincial town. Its ancient remains are everything, and you can never forget them in connection with it.
I do not remember any feeling of modernity at all about Arles. The streets are cobbled, narrow and puzzling. If you once get away from any central point you must use a map to get back again. I do not remember any modern houses or any large shops. It is a sleepy old town, and a pleasant one to wander about in, even when one has no immediate object in the direction of its outstanding antiquities.
Of the Arena I need say little. The exterior is less striking than that of Nîmes, because it is not nearly so well preserved. The arches of the upper tier stand naked all the way round, and it is not possible anywhere to get an idea of what the exterior looked like without more knowledge and imagination than most visitors are likely to possess. The interior, as will be seen by the photograph, has been to some extent restored for spectacular purposes. As it was built to hold thirty thousand spectators, and the whole population of Arles is now about half that number, the ancient seats of honour afford ample accommodation, and the rest has been left to its ruin.
But this ruin is really a considerable restoration in itself. The arenas, both at Arles and Nîmes, suffered many vicissitudes after the Roman occupation. The square tower above the entrance was a fortification of the Saracens, and there is another still standing which is not shown in the photograph. In the seventeenth century the whole area was crowded with houses. According to contemporary prints, the round tops of the arches, with the coping above them removed, formed the roofs of separate narrow dwellings; here and there extensions clung to the outside walls; the interior was a mass of buildings and alleys, and there was even a church. It was a little town within a town, and a very horrible one at certain times of its history, for it was the resort of criminals of the basest type, who made a sort of fortress of it. In 1640 the plague that ravaged Arles broke out first in this crowded den, and its inhabitants were shot down if they came out of it. It was not until 1825 that it began to be cleared of buildings, and a careful restoration was set in hand twenty years later and carried on slowly until the present considerable result was attained.
The remains of the Greek theatre are unfortunately even less complete, but they are enough to cause one to linger over this unique survival of ancient days. The two beautiful marble columns which remain give one an idea of what the proscenium must have been like. One is of white marble from Carrara, the other of African marble. Charles IX took eight columns of porphyry and one of verd-antique for shipment to Paris, and they were lost in the Rhône. One would willingly exchange the whole of the Arena--contenting oneself with that of Nîmes--for an equal preservation of the theatre. But its destruction dates very far back. It was in 441 that the Deacon Cyril aroused a fanaticism that led a Christian mob to attack and wreck it, and they left it in little better state than it is now. In 1664 a monastery was built with the materials, actually on the stage of the theatre itself.
This complete and sudden demolition, however, had the effect of preserving some precious objects which would otherwise have disappeared entirely. When excavations were made, possibly in preparation for the building of the monastery, there was brought to light the beautiful Vénus d'Arles, now in the Louvre, and there are other priceless remains of statuary and architecture in the Musée Lapidaire of Arles itself, which go to show what a treasure-house this theatre was; for the early iconoclasts paid special attention to the destruction of the statuary.
Behind the stage of the theatre rises the Romanesque tower of the cathedral of St. Trophime. This wonderful church has suffered as little as anything of its date in Provence. Its carved façade is not so fine as that of St. Gilles, but it has been better preserved, and while St. Gilles has lost nearly everything that was behind its façade, St. Trophime has kept nearly everything.
The interior of the church is very solid and very dignified. It has little decoration, but the light that is let in on it is just enough to give it mystery and solemnity. The aisles are so narrow that looking up to the vaulting one has the impression of mere passages, but their narrowness is effective, and the whole structure conveys an uplifting sense of austerity.
The richness of the famous cloister, happily in good preservation, comes as something of a surprise when one steps into it from the dark church, though its earliest "walk" is of the same date as the portal and not less luxuriant in decoration. This beautiful cloister is one of the most satisfying things in all ecclesiastical Provence, and would make a visit to Arles memorable if there were nothing else there to see. A chapter might be written on its carvings alone, and its irregularities of date and of construction provide constant fresh interest. The photographs of the north and south walks will show the great variety that exists. The north is of the twelfth century, the south as it was altered at the end of the fourteenth, and the west is later still. At the south-east corner is a well, said to have been originally fed by a Roman aqueduct which was older than the amphitheatre, for the water rose in a channel cut through the rock beneath it.
Mr. Henry James speaks of the Musée Lapidaire as the most Roman thing he knows of outside Rome, and, indeed, its contents, which are not so numerous as to confuse the mind, show what Arles had lost in the way of beauty centuries before St. Trophimus and other mediæval glories were bestowed upon it. I was pleased to come across, in Mr. James's pages, mention of the delightful little boy's head in marble, of the second century, which had particularly struck me. There is another similar one, not quite in such perfection, but even more tender and "naturalistique". One seems to know these little children, who died close upon two thousand years ago, and almost to love them.
In the Musée are some of the finest of the early Christian tombs from the Alyscamps, which has enriched half the museums in Europe with its treasures. This ancient burying-place lies a little outside the town. It is a rather mournful avenue of poplars underneath which are the rows of stone coffers, all empty now, which remain of the many that once stood there, and an ancient ruined church at the end of it.
"Here," writes Mr. T. A. Cook, "was the true necropolis of Gaul, consecrated, as the legend runs, by the blessing of the Christ Himself, who appeared to St. Trophime upon this sacred spot.... At first a Roman burial-place, this cemetery gradually became the chosen bourne of every man who wished his body to await in peace the coming of the resurrection. By the twelfth century it was sufficient to place the corpse of some beloved dead, from Avignon or further, into a rude coffin, fashioned like a barrel, and to commit it to the Rhône, which brought its quiet charge in safety to the beach of La Roquette. No sacrilegious hands were ever laid upon that travelling bier; for once a man of Beaucaire had robbed the coffin that was floating past his bridge, and straightway the corpse remained immovable in the current of the river, and stayed there until the thief confessed his crime and put the jewels back."[37]
The ancient church of St. Honorat, at the end of the avenue, is in a sad state of desolation, for its ruin went very far before what was left of it began to be cared for. I remember little of it but the octagonal domed belfry which gives it its character in the scene, the enormous round pillars of the interior, and a side chapel which interested me because it belonged to the Porcelets of Les Baux. St. Honorat was only one of nineteen churches and chapels within the Alyscamps when it was most famous. The translation of the body of St. Trophimus to the cathedral in 1152 took away something of its prestige. It was served by the monks of St. Victor of Marseilles until the middle of the fifteenth century, by which time the people of Arles seem to have realized that they had an almost inexhaustible supply of coveted Christian antiquities to dispose of, and ever since the sixteenth century the spoliation has been going on. There is nothing of much value left compared with what can be seen of the treasures of the Alyscamps elsewhere, and even the sacred ground has been whittled away by degrees, and the railway has set up workshops on the very spot where so many Christians of the first centuries were buried. One hears the clang of metal as one walks along the melancholy avenue, or stands in the empty ruined church. The glory has all departed, and most of the romance.
There are many other memories of the past in Arles, but they need not detain us. The ancient city has of late years been the centre of the Provençal revival of the Félibres, and we may take leave of it as well as of the charming land of Provence, with a glance at the Musée Arlaten, which owes its foundation to the patriotism and largely to the generosity of Mistral.
It is housed in a fine old mansion built round a courtyard in which have lately been discovered some valuable Roman remains. It fills all the rooms and passages of the first floor and is already an ethnological and local museum of great value. They call it the Palace of the Félibrige, and it aims to sum up all the life and traditions of Provence. "Art, letters, customs, manners, pottery, costumes, furniture," announces the catalogue, "all are there. The whole of Provence unfolds itself and lives again in all its aspects in these admirable galleries, masterpieces of patience as well as genius."
The patience as well as the genius have been mostly Mistral's. His neat, angular writing is to be seen on nearly all the labels, and up to the very week before his death he came regularly to the museum one day every week and worked there cataloguing and arranging. As I was waiting at Graveson station after visiting Saint-Michel de Frigolet, the station-master told me how much they should miss him. Every Thursday he would come over from Maillane, in the old diligence, and take the train to Arles. He talked a great deal about his museum. It was his pride and his chief interest of latter years.
One of the smaller rooms is called the Salo Mistralenco, or the Cabinet de Mistral. "The walls of this _salle d'honneur_ are decorated with illustrations of _Mireille_, _Nerte_, _Calendal_, &c. On the chimneypiece a superb bust of the Master. In glass cases: the works of Mistral, things that have belonged to him, the 'original' of the great Nobel Prize adjudged to the poet, and a letter to the same from Roosevelt, President of the United States, etc. In the middle of the _salle_, a wonderful reliquary estimated at over 10,000 francs, the gift of M. Mistral-Bernard of Saint-Remy: it contains the hair, the christening robe and the cradle of the infant Mistral; in the cradle the manuscript of 'Mireille.'"
There may seem something a little odd to English ideas in this naïve acceptance of immortality, and preparation for the veneration of posterity, in a man's own lifetime. But Mistral's advanced years may excuse it, if excuse is needed. Long ago he saw his cause triumph, and it is a cause that looms big in Provence. He could hardly help knowing that he was its central figure, and from the very first he has laid all the fame that it brought him at the feet of his beloved country. In any case the slight anachronism will soon disappear. It was already beginning to fade away when I was there in the week after his death, and saw the chamber darkened and the pathetic reminders of his infancy all swathed and wreathed in black.
Two of the larger rooms have been given up to a kind of wax-work show, the one of a Christmas Eve feast in the kitchen of a Provençal farm, the other of the ceremonies surrounding the birth of a child. The descriptions in the catalogue, probably written by Mistral himself, may be quoted.
* * * * *
"Salle de Noël.--Here is Christmas Eve represented in all the truth of its poetry, very spaciously and completely, in the kitchen of a Provençal 'mas.' A dozen very expressive _mannequins_ in coloured stucco by M. Férigoule represent the inhabitants of the farm.... On the table; three cloths and three candles; the _pain calendal_ is served with the great pike cooked with black olives, and with snails, celery, artichokes, brandied raisins, and the little cask of mulled wine. By the hearth, facing the grandmother, the head of the house sprinkles with wine and blesses the Yule log. Round the table the servants mix with the masters: here family simplicity equalizes all ranks.
* * * * *
"Chambre Conjugale.--Another group, superb in arrangement, expression and poetry. In the room, discreetly lighted, there arrive, wonderfully dressed in Arlésian costume, the relations and friends of the young mother, lying with her new-born child in a bed of the fifteenth century. The visitors are bringing the symbolical and traditional gifts, of bread, salt, a match and an egg. They are expressing the customary wishes: _Sage coume la sau;--bon coume lou pan;--plen coume un ion;--dre coume uno brouqueto_; which means, May your child be as wholesome as salt, as good as bread, as full as an egg, and as straight as a match. With what jealous care does the grandmother, seated apart, seem to watch that those coming and going shall behave quietly! Bravo, M. Férigoule, for your composition; you have done the work of an artist. The scene, indeed, is religious in its impression."
Well, I suppose M. Férigoule has done his work as well as such work can be done; but as for art!--it is the negation of all art, this imitation of life, which is as dead as the stuff of which it is made. The more realistic such figures are the more dreadful they are. For my part I can never look at them without a shudder, and those in the Musée Arlaten took away all my pleasure in the careful and interesting furnishing of the rooms, in which they stand and sit and lie in their horrible immobility. If only they were taken out, how imagination might play about the rooms themselves, which contain every detail of the warm picturesque home-life of the past, now fading away. With them, imagination is killed. It is as if the rooms had been prepared for corpses.
But one must not let one's disgust for these _mannequins_, which cannot be felt by everybody, or so great a man as Mistral would not have been so pleased with them, stand for one's whole impression of this interesting museum. I spent a couple of hours in it very happily employed in gathering up the pleasure that this spring expedition in Provence had brought me. It touches on all the life and all the memories of that fascinating country, and it is especially rich in the accessories of the ancient and picturesque work of the soil, perhaps more ancient and more picturesque in Provence than in most countries. In Mistral's youth there can have been little change from the ways of centuries past. He lived to see much that made his country unlike others disappear, and gathered what he could in his museum so that it should not be forgotten. But it has not all disappeared. Except here and there, men and women have given up their old distinctive costumes, harvests are reaped by machinery, the Rhône no longer bears its freights drawn by the huge teams of horses or oxen, the festivals of the church do not see every house decked and every street strewn with green. But the queenly Arlésian women still wear their becoming coifs; and on high days and holidays some of the rich dresses, of which there is such a variety in this museum, are taken out of old coffers and presses, in the great country farmhouses the old furniture that has descended from father to son is polished and cherished, and many of the old customs are kept up. The harvest of the olives sees the girls of Provence filling their baskets as they did in the days of Mireille, and the old-fashioned mills grind out their tons of rich oil. The shepherds lead their flocks over the stony, herb-scented hills as they led them when Marius drove out the barbarians. The wild bulls and horses roam the plains of the Camargue, and the life of the men who have to do with them is not changed.
Of all these things, and many others, there is evidence in the Musée Arlaten, and walking through the country one sees it for one's self, enough at least to make one love the fair sunburnt land that holds so many memories, and to love its roads and fields and hills no less than the treasures it hoards in its ancient cities.
THE END.
APPENDIX
_The Provençal Legend_
Dr. M. R. James has sent me a pamphlet, "Saint Lazare et Saint Maximin," by Dom G. Morin, which, although published in Paris in 1897, he considers to be the last word on the Provençe legends of St. Lazarus, etc. I summarize its conclusions shortly.
1. Dom Morin produces evidence that the cult of St. Lazarus by the Church of Marseilles, which dates at least from the eleventh century, has, for historic foundation, the burial of a bishop of that name in the crypt of the Abbey of Saint-Victor. This was not the Lazarus of the New Testament, but most probably a Bishop of Aix in the first half of the fifth century, who was dispossessed of his See for the part that he had taken in the Pelagian controversy, and came to end his days with the Bishop of Marseilles, who had ordained him.
2. For the cult of the saints of Saint-Maximin there is an ingenious and probable explanation. In the ancient town of Billom, in the Auvergne, and in the adjacent villages, the relics of several saints were venerated from a very early date. Among them were St. Maximin, a Confessor, perhaps a Bishop; St. Sidonius, who was none other than Sidonius Apollinaris, the fifth century poet and orator; St. Marcelle, a shepherdess for whom the villagers of Chauriat have had from time immemorial a deep veneration.
Now these are not names that are to be found scattered all over the martyrologies. Besides those of Billom and Saint-Maximin, there are only three or four other St. Maximins, one St. Sidonius, and two St. Marcelles; and there are not two of any of them, otherwise, who can be referred to the same locality or between whom there exists any connection whatever. Dom Morin can find no other explanation of this curious 'bilocation' than by supposing a translation of relics either from Auvergne to Provence or from Provence to Auvergne; and he gives good reasons for preferring the first supposition.
June, 1920.
INDEX
Aicard, Jean, 251, 284
Aigues-Mortes, 239, 240, 241, 242, 244, 245, 246, 248, 252, 254, 255, 301
Aix, 31, 58, 61, 62, 64, 65, 85, 89, 91, 95, 97, 99, 100, 101, 102, 106, 113, 116, 133, 163, 181
Alaric the Visigoth, 132
Albigenses, 65, 149, 152
Alix, Princess, 132, 135, 136, 137
"Allées convertes," 283
Alpilles, 88, 121, 127, 158, 165, 282
Alpines, 120
Alps, 49, 86, 120, 125, 160, 175, 235
Altar of the Crucifixion, or Corpus Domini, St. Maximin, 74
Alyscamps, 316, 317
Ambrons, 86, 87, 88, 89, 90
Anne of Austria, 65, 66, 293
Anne of Brittany, 66
Arc, 89, 90
Arena, The, Arles, 171, 235, 282, 311, 313
Arena, The, Nîmes, 171, 230, 235, 311, 312, 313
Arles, 31, 54, 95, 102, 116, 123, 131, 132, 161, 164, 171, 230, 235, 236, 244, 249, 255, 266, 268, 271, 277, 278, 281, 282, 283, 301, 302, 311, 312, 313, 314, 315, 317, 318, 319
Aubanel, 163
Avignon, 31, 94, 102, 108, 113, 116, 135, 151, 158, 163, 172, 173, 174, 175, 176, 177, 178, 179, 182, 183, 184, 185, 186, 187, 190, 191, 192, 194, 195, 196, 197, 198, 202, 209, 210, 214, 216, 217, 219, 255, 266, 288, 301, 302, 303, 309, 311, 316
Augustus, Emperor, 231
Azalais, 148
Bac du Sauvage, 253
Barbentane, 290
Barjols, 54
Baroncelli-Javon, Marquis de, 262, 263
Barras, 77
Barrés, M. Maurice, 244
Basses-Alps, 67, 158
Bastide, Joseph, 77, 78
Baux, Sir Agos des, 133, 134
Baux, Count Barrai des, 148
Baux, Raymond des, 133
Beaucaire, 124, 240, 242, 287, 316
Beauvan, Prince de, 246
Beaune, Jacques de, 75, 76
Benedict XII, Avignon, 196, 197, 198, 199, 200
Bernard of Clairvaux, 61
Berre, 12, 13, 14, 19
Berry, Duchess de, 289
Besançon, 50
Bibliothèque Méjane, 111
"The Birth of the Virgin," Aix, 106
Bonaparte, Lucien, 56
Bonaparte, Napoleon, 310
Boniface VIII, Pope, 64
Boucicaut, Marshal, 135
Bourg-Neuf, Arles, 133
Brenner Pass, 87
Cabassoies, Cardinal de, 64
Cabassole, Philip de, Bishop of Cavaillon, 212, 216
"Cabelladuro d'Or," 145
Cæsar Borgia, 144
Cæsar of Arles, Bishop, 270
Cagnes, 18, 21
Caldus, 156
Camargue, The, 131, 160, 239, 241, 248, 249, 250, 255, 277, 323
Campi Putridi, 92
Canrobert, Marshal, 178
"Cantorbery" tapestry, Aix, 105
Carcassonne, 239, 301
Carlists, 289
Casanova, 143, 214, 216
Cassianite Monks, 61
Castellet, 283
Catullus, 170
Cavaillon, 289
Célestines, Church of, Avignon, 188
Cevennes, 49, 158
Châlons, Simon de, 182
Chapelle de l'Université, Aix, 107
Charlemagne, 271, 273, 275
Charles II, Count of Provence, 62, 64
Charles V, 245
Charles IX, 118, 313
Charles Martel, 275
Charles of Anjou, 62
Charonton, Master Enguerrand, 303, 306
Chartres, Cathedral of, 273
Chastel, 114
Château du Puy, 43, 46
Châteauneuf, 18, 20, 23, 24, 197
Châteaurenard, 173
Cimbri, 86, 87, 88, 170
Cinque Ports, 243
Clement V, Pope, 193, 196, 206, 207
Clement VI, Pope, 191, 192, 202
Clement VII, Pope, 183
Cluny Museum, 278
Col de Braus, 7
Colle Noire, 35
Contes, 13, 14, 15, 18, 19
Cook, A. T., 136, 143, 146, 156, 169, 170, 232, 233, 234, 246, 275, 285, 316
Côte d'Azur, 3
Craponne, Adam de, 120, 121, 122
Crau, 123, 125, 126, 131, 160
Crusades, 61
Daudet, Alphonse, 191, 251, 284, 286, 287, 288
Deacon Cyril, 313
Deïmo, 146
Derby, Earl of, 133, 134
"Descent from the Cross," Aix, 106
Donnat, M., 289, 290, 291, 292, 294, 299
Dragonia, 51
Draguignan, 48, 49, 50, 51, 53
Dumas, Alexandre, 146
Durance, 120, 122, 158, 174
Estérel, 37
Etang de Berre, 131
Fabre, or Favre, General, 37
Fayence, 35, 37, 43, 45, 46, 51
"Félibres," 163, 167, 284, 318
"Félibrige," 163, 318
Field of Pebbles, 121
Florenz, King of Provence, 271, 272
Fontvieille, 283, 284
Foulquet of Marseilles, 148
Fountains, The, Nîmes, 230
Francis I, 76, 140, 245
Fréron, 77
Friars Hospitallers, 187
Froissart, 133
Froment, Nicolas, 108
Gardanne, 99
Gaul, 86
Gitanos, or Gitans, 263, 264
Granet, Portrait of, Aix, 112, 113
Gras, Félix, 163
Grasse, 21, 22, 23, 24, 27, 28, 30, 32, 172
Grau de Croisette, 246
Grau de Roi, Le, 246, 255
Graveson, 89, 299, 319
Great Crau, 120, 122
Grimaldi, Honoré de, 143, 144
Griminum, 51
Grotto des Fées, Les Baux, 160
Guardiens, 251
Guise, Duc de, 140
Henry VI of England, 110
Henry of Navarre, Prince, 118, 119
Henri Quatre, 247
Hercules, 121, 122
Holy Ampulla, 67, 78, 80
Holy Trinity, Chapel of, Villeneuve, 308
Hôtel de la Reine Jeanne, Les Baux, 143
Hôtel de l'Europe, Avignon, 176
"Hôtel de Monte Carlo," Les Baux ("A la Chevelure d'Or"), 143, 144
Hôtel de Ville, Les Baux, 128
Huguenots, 141
Iberians, 264, 265
"Image du Roi René," Avignon, 184
Innocent III, 307
Innocent VI, Pope, 302, 308
Isle de Barthelasse, 302
Jeanne, Queen, 66, 109, 138, 145
Joan of Naples, Queen, 202
John XXII, Pope, 193, 195, 196, 197, 198, 205, 302
Joseph of Arimathea, 57
Julia, wife of Caius Marius, 155, 156, 157
Julius Cæsar, 94, 170
Jupiter, 121
"Jupiter and Thetis," by Ingres, Aix, 112
Katharine of Aragon, 106
"La Baussenique," 133
Laincel, Louis de, 101
Lamartine, 159
Languedoc, 263, 301
La Petite Pugère, 90
La Reole, Gascony, siege of, 133
La Roquette, 316
Laura, 195, 209, 214, 215, 216, 217, 222, 225
"Le Buisson Ardent," Aix, 108
Leibulf, 132
"Le Jardin de Berenice," 244
"L'Elixir du Révérend Père Gaucher," 287
Les Baux, 86, 116, 117, 125, 127, 128, 129, 131, 132, 133, 134, 135, 136, 138, 139, 140, 141, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 154, 156, 158, 159, 168, 170, 171, 239, 282, 317
L'Escaréne, 11
Les Milles, 89
"Lettres de Mon Moulin," 284
Ligurians, 121, 265
L'Isle-sur-Sorgue, 209, 210, 223
Little Benet, 186, 187, 189
Little Crau, 121
Little Rhone, 252, 253, 256
Lothair, Emperor, 62
Louis IX, 246
Louis XI, 139
Louis XIII, 66, 141, 143
Louis XIV, 65, 249, 293
Louis XV, 260
Louis XVI, 67
Louis Philippe, 289
Lourdes, 255
Louvre, 108, 278, 314
Madeline, The, Paris, 233, 234
Maillane, 151, 159, 165, 284, 288, 298, 319
Maison, Carée, Nîmes, 230, 232, 233, 235
Maison-Romaine, Saint-Gilles, 276
Mane, 67
Manny, Sir Walter, 134
Manville, Jehan de, 141
Mariéton, Paul, 100, 114, 118
Maritime Alps, 87
Martha, 155, 156, 157
Marius, Caius, 86, 87, 88, 89, 90, 91, 92, 93, 94, 108, 132, 155, 156, 169, 170, 323
Marius Mausoleum, Saint-Remy, 169
Marseilles, 58, 61, 89, 92, 121, 270
Martigues, 301
Mary of Medici, 66
Mary, wife of Cleophas, 57, 58, 258, 259
Mary, wife of Zebedee (Salome), 57, 58, 258, 259
Matsys, Quentin, 105
Maupas, 187
Maures, 37
Maussane, 117, 126
Medici, Catharine de, 118, 119
Memmi, Simone, 194, 195, 202, 203
Mentone, 1, 2, 3
Mignard, Nicholas, 182, 293
Millet, 36
"Mireille," or "Mirèio," 117, 159, 160, 164, 165, 319, 323
Mistral, François, 161, 162, 164, 165, 166, 173
Mistral, Frédéric, 48, 117, 151, 152, 154, 159, 160, 161, 162, 163, 164, 165, 167, 251, 284, 288, 296, 297, 298, 299, 318, 319, 320, 322
Mistral-Bernard, M. of Saint-Remy, 319
Monaco, 144
Montagnac, Jean de, 303
Montagne de Cordes, 282
Montelimar, 301
Montfort, Martha, 152
Montfort, Simon de, 152
Montmajour, Abbey of, Les Baux, 131, 277, 279, 282, 283
Montmorency, Anne de, 140
Montpelier, 271
Mont Victoire, 91, 94, 95
Monuments Historiques, 276, 278, 281
Mount Aurelian, 95
Mount Olympus, 91, 95
Musée Arlaten, Arles, 145, 298, 318, 322, 324
Musée Lapidaire, Arles, 314, 315, 316
Museum, Aix, 112, 113
Musée, Avignon, 179
Nice, 2, 5, 18, 20, 21, 28, 144
Nîmes, 31, 95, 102, 116, 171, 227, 229, 230, 231, 234, 235, 236, 241, 244, 301, 311, 312
Noli me tangere, 64, 66, 67, 82
Nostradamus, 117, 118, 119
Notre Dame de Nazareth, Nuns of, Aix, 65
Odo, 63
Okey, Thomas, 184, 187, 192, 198, 206, 213, 214, 217, 302, 303
Orange, Princes of, 132
Orange, 301
Orleans, Duke of, 65, 141
Ouide de Sarrasin, 282
Our Lady of Succour, Chapel of, Saint-Michel de Frigolet, 292, 299
Palace of the Popes, Avignon, 75, 175, 177, 185, 194, 200, 201, 203
Palais de Justice, Aix, 102
Panis Annonæ, 91, 92
Pain de Munition, 91, 95
Parma, Duke of, 67
Parrocel, Pierre, 182
"Passion, The," St. Maximin, 75
Pavillon de la Reine Jeanne, Les Baux, 139, 298
Peiresc, 100
Périgord, Countess of, 193
Péronne, Treaty of, 144
Pertvis, 133
Peter of Aragon, 64
Petrarch, 64, 195, 209, 212, 214, 215, 216, 217, 219, 221, 222, 225, 226
Philip III (Philip le Hardi), 241, 243
Philip le Bel, Tower of, 301
Plutarch, 86, 89, 90, 92, 155
Poitiers, Diane de, 144
Pont Bénezet, Villeneuve, 301
Pont de la Saigne, 35
Pont du Gard, Nîmes, 171, 227
Porcelets, 147, 317
Porcieux, 97
Porte d'Eyguières, 128
Poulinet, Délaïde, 161
Poulinet, Etienne, 161, 162
Pourrières, 92
Pré du Lac, 24
Premonstrants, 294, 297, 298
Promenade des Anglais, 21
Proudhon, 292
Provence, 6, 12, 23, 31, 33, 36, 45, 49, 53, 55, 57, 58, 61, 62, 65, 66, 75, 76, 86, 87, 93, 97, 108, 109, 116, 117, 118, 122, 126, 129, 133, 136, 138, 139, 140, 157, 160, 161, 163, 165, 167, 173, 176, 187, 212, 217, 223, 239, 254, 255, 256, 257, 261, 263, 268, 271, 284, 289, 298, 301, 307, 311, 314, 315, 318, 320, 322, 323
Psalmodi, Abbey of, 240, 242
Pyrenees, 158
Raudine Plain, 170
Réattlu, 278
Remoulins, 227
René, King, 65, 66, 108, 109, 110, 111, 138, 255, 261, 287, 303
Rhône, 49, 58, 87, 88, 109, 120, 121, 131, 136, 158, 174, 175, 177, 186, 188, 190, 191, 194, 205, 248, 249, 250, 267, 268, 301, 302, 313, 316, 323
Richard Coeur de Lion, 61
Richelieu, 141, 143
Riviera, 12, 175
"Roi de Camargue," 251
Romans, 86, 87, 88, 90, 91, 93, 95, 108
Ronzen, Antonio, 74, 75, 76
Roque, Jacques de la, 107
Rostan, M., 55, 57, 60, 62, 68, 78, 80, 81
Roumanille, 163
Roussillon, Gerard de, 62
Rubens, portrait of, by Vandyke, 100
Sade, Marquises of, 225
Sainte-Baume, 59, 66
Saintes-Maries, or Les Saintes, or Notre Dame de la Mer, 58, 61, 131, 155, 160, 241, 252, 253, 254, 255, 256, 261, 263, 265, 301
Saint-Gilles, 266, 267, 276, 301, 314
Saint-Maximin, 53, 55, 56, 60, 62, 64, 65, 69, 74, 75, 76, 77, 80, 86, 95, 96
Saint-Pierre, 290
Saint-Remy, 117, 133, 158, 169, 171, 172
Salo Mistralenco, or the Cabinet de Mistral, 319
Salon, 117, 118, 120, 121, 126, 133
Saracens, 59, 61, 63, 66, 134, 240, 254, 261, 275, 282, 312
Sarah, 57, 58, 261, 262
Saumane, 223
Saurin, Jean, 77
Savoie, Claude de, 140
See, Joseph, 113, 114
Seillans, 37, 47
Smollett, 2, 143
Sorgue, 211, 214, 217, 218, 219, 220
Sospel, 1, 2, 3, 4
St. Agricol, Church of, Avignon, 179, 180, 181
St. André, Fort of, Villeneuve, 301, 309
St. Antoine, 109
St. Bénézet, Bridge of, Avignon, 175, 185, 186, 187, 188, 189
St. Catherine, 109
St. Croix, Chapel of, Montmajour, 273, 278, 279, 280
St. Didier, Church of, Avignon, 184, 188
St. Gabriel, Camp of, 88
St. Gabriel, Chapel of, 284
St. Gilles, 242, 268, 269, 270, 271, 272, 273, 274, 275, 276
St. Hermentaire, Bishop of Antibes, 51, 54
St. Honorat, Church of, Arles, 317
St. John, 109
St. Julian, Church of, Arles, 281
St. Laurent d' Aigouze, 242
St. Lazarus, 57, 58
St. Louis, 62, 240
St. Louis d' Anjou, Bishop of Toulouse, 77
St. Madeleine, 109
St. Madeleine, Church of, Aix, 102, 103
St. Marcelle, 57, 82
Ste. Marie, Chapel of, Les Baux, 137
St. Martha, 57, 58, 107, 258
St. Mary Magdalene, 57, 58, 60, 61, 62, 63, 64, 65, 69, 79, 82, 258
St. Maurice, 109
St. Maximin, 57, 58, 59, 61, 82
St. Michael, 275
St. Michel de Frigolet, 288, 289, 290, 291, 292, 295, 296, 319
St. Mitre, Chapel of, Aix, 107
St. Nicolas, 109
St. Pierre, Church of, Avignon, 181, 183, 196
St. Saviour, Church of, Aix, 58, 103, 104
St. Sidonius, 57, 61, 63, 82
St. Stephen, 57
St. Susan, 82
St. Trophimus, 57, 60, 112, 140, 268, 279, 314, 315, 316, 317
St. Victor of Marseilles, Monks of, 317
St. Victoire, 94
Strella of Florence, Princess, 145
Sylvéreal, 253, 254
Tailors' Guild, Chapel of, Avignon, 196
Tarascon, 58, 61, 124, 138, 277, 283, 285, 286, 288, 290, 296
"Tarasque," 108
Tartarin, 285, 287, 295, 296
Tegulata, 90
"Temple of Diana," Nîmes, 230, 231
Teutons, 86, 87, 88, 90
Tomb of Innocent VI, Villeneuve, 302
Tortosa, Bishop of, 138
Toulon, 49, 310
Tour Carbonnière, 242
Tour de Constance, 240, 246
Tour des Bourgignans, 248
Tourettes, 45
Trets, 85, 86, 91, 94, 97, 98
Trévaresse, 120
Triumphal Arch, Saint-Remy, 170
Trois Maries, or the "Trémaïé," Les Baux, 154, 157, 160
Troubadors, 116, 138, 148, 154
Turenne, Countess of, 192
Turenne, Viscount of, "Scourge of Provence," 135, 136
Urbanists, 183
Val de Benediction, Villeneuve, 307
Val d' Enfer, Les Baux, 131, 154, 160
Valentinois, Duchy of, 144
Var, Department of, 49, 51
Vasari, 195
Vaucluse, 64, 209, 210, 212, 214, 217, 222, 225, 282
Venaissan, 193
Venice, 75
----, Ducal Palace, 75
Venus d'Arles, 314
Venus Victrix, 94
Vercingetorix, 170
Vermuyden, 122
Vezelay, 61, 62
Via, Cardinal Arnaud de, 302
Villeneuve, Antoine de, 141
Villeneuve-sur-Avignon, 18, 175, 205, 301, 302, 307, 309, 310
Villers, Adon de, 135
Vis de St. Gilles, Saint-Gilles, 276
Viterbo, Matteo di, 203
White Canons, Monastery of, Tarascon, 287, 295
White Penitents, Chapel of, Les Baux, 146
Young, Arthur, 143, 209, 211, 214
Zingaris, 263, 264
FOOTNOTES:
[1] Now Sir T. A. Cook.
[2] Now Professor Okey.
[3] I have added others recently bought.
[4] According to the tradition held from time immemorial by the churches of Provence, St. Mary Magdalene and St. Mary of Bethany were one and the same.
[5] I have not been able to get a photograph of the Gloria, but some of the cherubs are to be seen over the Altar of the Crucifixion.
[6] Plutarch.
[7] Laincel, _La Provence_.
[8] Now Provost of Eton.
[9] I have since procured the accompanying photograph in Paris, but something seems to have been lost even in that, besides the fresh colouring.
[10] Cook, _Old Provence_.
[11] Mistral, _Mes Origines_.
[12] Mistral, _Mes Origines_.
[13] Mistral, _Mes Origines_.
[14] Okey, _Avignon_.
[15] Okey, _Avignon_.
[16] Okey, _Avignon_.
[17] Okey, _Avignon_.
[18] Okey, _Avignon_.
[19] Okey, _Avignon_.
[20] Okey, _Avignon_.
[21] Young, _Travels in France_.
[22] The robust Dr. Samuel Butler, Bishop of Lichfield, wrote in his diary, in 1822: "I could not contemplate from this spot (the Capitol), which commands all the monuments of Ancient Rome, without feeling very strong sensations; in short I could not refrain from an actual gush of tears."
[23] Casanova, _Mémoires_.
[24] Okey, _Avignon_.
[25] Baring-Gould, _In Troubadour Land_.
[26] Cook, _Old Provence_.
[27] Cook, _Old Provence_.
[28] Cook, _Old Provence_.
[29] James, _A Little Town in France_.
[30] Cook, _Old Provence_.
[31] Mistral, _Mes Origines_.
[32] Mistral, _Mes Origines_.
[33] Mistral, _Mes Origines_.
[34] Okey, _Avignon_.
[35] Okey, _Avignon_.
[36] Okey, _Avignon_.
[37] Cook, _Old Provence_.
TRANSCRIBER'S NOTE
-Plain print and punctuation errors fixed.
End of Project Gutenberg's A Spring Walk in Provence, by Archibald Marshall