They burned their heretics in the public squares, free.
Only bulls and worn-out, cheap horses are tortured here to-day. It seems a pretty tame sport after those great circuses of the past. But art is long and taste is fleeting. Art will keep up with taste, and all that we know of the latter is that it will change. Because to-day we are satisfied with prize fights and bull fights is no sign that those who follow us will not demand sword fights and wild beasts and living torches. These old benches will last through the ages. They have always been familiar with the sport of torture of one sort or another. They await quite serenely for what the centuries may bring.
It was hard to leave the arena. One would like to remain and review its long story. What did the barbarians do there – those hordes that swarmed in and trampled Rome? The Saracens in the eighth century used it for a fortress and added four watch towers, but their masonry is not of the everlasting Roman kind, and one of their towers has tumbled down. It would be no harm if the others would tumble, too. They lend to the place that romance which always goes with the name "Saracen," but they add no beauty.
We paid a franc admission when we came into the amphitheater, our tickets being coupon affairs, admitting us to a variety of other historic places. The proceeds from the ruins are devoted to their care and preservation, but they cannot go far. Very likely the bull-fight money is also used. That would be consistent.
We were directed to the Roman Theater, near at hand, where the ruin is ruin indeed. A flight of rising stone seats, two graceful Corinthian columns still standing, the rest fragments. More graceful in its architecture than the arena, the theater yielded more readily to the vandalisms of the conquerors and the corrosions of time. As early as the third century it was partially pulled down. Later it was restored, but not for long. The building bishops came and wanted its materials and ornaments for their churches. Not much was left after that, but to-day the fragments remaining have been unearthed and set up and give at least a hint of its former glory. One wonders if those audiences who watched Christian slaughter at the arena came also to this chaste spot. Plays are sometimes given here to-day, I am told, classic reproductions, but it is hard to believe that they would blend with this desolated setting. The bull fight in the arena is even better.
We went over to the church of St. Trophime, which is not a ruin, though very old. St. Trophime, a companion of St. Paul, was the founder of the church of Arles. He is said to have set up a memorial to St. Étienne, the first martyr, and on this consecrated spot three churches have been built, one in the fourth century, another in the seventh, and this one, dedicated to St. Trophime, in the twelfth, or earlier. It is of supreme historical importance. By the faithful it is believed to contain the remains of St. Trophime himself. Barbarossa and other great kings were crowned here; every important ceremony of mediæval Arles has been held here.
It is one of the oldest-looking places I ever saw – so moldy, so crumbly, and so dim. Though a thousand years older, the arena looks fresh as compared with it, because even sun and storm do not gnaw and corrode like gloom and dampness. But perhaps this is a softer stone. The cloister gallery, which was not built until the twelfth century, is so permeated with decay that one almost fears to touch its delicately carved ornamentations lest they crumble in his hands. Mistral has celebrated the cloister portal in a poem, and that alone would make it sacred to the Provence. The beautiful gallery is built around a court and it is lined with sculpture and bas-relief, rich beyond words. Saints and bible scenes are the subjects, and how old, how time-eaten and sorrowful they look. One gets the idea that the saints and martyrs and prophets have all contracted some wasting malady which they cannot long survive now. But one must not be flippant. It is a place where the feet of faith went softly down the centuries; and, taken as a whole, St. Trophime, with its graceful architecture – Gothic and Byzantine, combined with the Roman fragments brought long ago from the despoiled theater – is beautiful and delicate and tender, and there hangs about it the atmosphere that comes of long centuries of quiet and sacred things.
Mistral's museum is just across from the church, but I have already spoken of that – briefly, when it is worth a volume. One should be in a patient mood for museums – either to see or to write of them – a mood that somehow does not go with automobile wandering, however deliberate. But I must give a word at least to two other such institutions of Arles, the Musée Lapidaire, a magnificent collection of pagan and early Christian sarcophagi and marble, mostly from the ancient burial field, the Aliscamp – and the Musée Réattu.
Réattu was an Arlesian painter of note who produced many pictures and collected many beautiful things. His collections have been acquired by the city of Arles, and installed in one of its most picturesque old buildings – the ancient Grand Priory of the Knights of Malta. The stairway is hung with tapestries and priceless arras; the rooms are filled with paintings, bas-reliefs, medallions, marbles, armor, – a wealth of art objects. One finds it hard to believe that such museums can be owned and supported by this little city – ancient, half forgotten, stranded here on the banks of the Rhone. Its population is given as thirty thousand, and it makes sausages – very good ones – and there are some railway shops that employ as many as fifteen hundred men. Some boat building may still be done here, too. But this is about all Arles can claim in the way of industries. It has not the look of what we call to-day a thriving city. It seems, rather, a mediæval setting for the more ancient memories. Yet it has these three splendid museums, and it has preserved and restored its ruins, just as if it had a J. Pierpont Morgan behind it, instead of an old poet with a Nobel prize, and a determined little community, too proud of its traditions and its taste to let them die. Danbury, Connecticut, has as many inhabitants as Arles, and it makes about all the hats that are worn in America. It is a busy, rich place, where nearly everybody owns an automobile, if one may judge by the street exhibit any pleasant afternoon. It is an old place, too, for America, with plenty of landmarks and traditions. But I somehow can't imagine Danbury spending the money and the time to establish such superb institutions as these, or to preserve its prerevolutionary houses. But, after all, Danbury is young. It will preserve something two thousand years hence – probably those latest Greco-Roman façades which it is building now.
Near to the Réattu Museum is the palace of the Christian Emperor Constantine. Constantine came here after his father died, and fell in love with the beauty and retirement of the place. Here, on the banks of the Rhone, he built a palace, and dreamed of passing his days in it – of making Arles the capital of his empire. His mother, St. Helene, whose dreams at Jerusalem located the Holy Sepulcher, the True Cross, and other needed relics, came to visit her son, and while here witnessed the treason and suicide of one Maximus Hercules, persecutor of the Christians. That was early in the fourth century. The daughter of Maximus seems to have been converted, for she came to stay at the palace and in due time bore Constantine a son. Descendants of Constantine occupied the palace for a period, then it passed to the Gauls, to the Goths, and so down the invading and conquering line. Once a king, Euric III, was assassinated here. Other kings followed and several varieties of counts. Their reigns were usually short and likely to end with a good deal of suddenness. It was always a good place for royalty to live and die. Until the beginning of the nineteenth century it was known as the "House of the King," but it was a ruin by that time. Only portions of it remain now, chiefly a sort of rotunda of the grand hall of state. Very little is left to show the ancient richness of its walls, but one may invite himself to imagine something – its marbles and its hangings – also that it was just here that M. Hercules and King Euric and their kind went the violent way; it would be the dramatic place for those occasions.
One may not know to-day just what space the palace originally covered, but it was very large. Portions of its walls appear in adjoining buildings. Excavations have brought to light marbles, baths, rich ornamentations, all attesting its former grandeur. Arles preserves it for its memories, and in pride of the time when she came so near to being the capital of the world.
Chapter VI
THE WAY THROUGH EDEN
There is so much to see at Arles. One would like to linger a week, then a month, then very likely he would not care to go at all. The past would get hold of him by that time – the glamour that hangs about the dead centuries.
There had been rain in the night when we left Arles, much needed, for it was the season of drought. It was mid-morning and the roads were hard and perfect, and