Besides, a good many of these much-besung ladies were no young brides, but mature and withering matrons. A troubadour attached himself to a lady as he attached himself to a seigneur, and, as a client of both, fawned on and flattered both. I cannot refer to Petrarch, for I believe his Laura was not a married woman, and the Platonism of his affection is more than questionable. He was not an acknowledged troubadour, but an exile, whom the haughty family of Sade would not suffer Laura to marry. But there is the case of Dante and Beatrice, and of Wolfram of Eschenbach, one of the n.o.blest and purest of singers, who idealised his lady Elizabeth, wife of the Baron of Hartenstein, and with him most undoubtedly the devotion was without tincture of grossness. It is precisely this unreal love, or playing at love-making, that is scoffed at by Cervantes in Don Quixote and the peerless Dulcinea del Toboso.
Why, that unfortunate William de Cabestaing, whose heart was offered to his mistress, sang of her as cold to his suit:--
"Since Adam gathered from the tree The apple, cause of all our woe, Christ ne"er inspired so fair a she.
A graceful form, not high nor low, A model of just symmetry, A skin whose purity and glow The rarest amethyst surpa.s.s; So fair is she for whom I sigh.
But vain are all my sighs, alas!
She heeds me not, nor deigns reply."
The Courts of Love held by ladies of high rank were originally courts in which the rules of minstrelsy were laid down, they p.r.o.nounced on the qualifications of a candidate, they polished and cherished the Langue d"oc in its purity, dictated the subjects upon which the troubadours were to compose their lays, judged their pretensions, settled their controversies, recompensed their merits, and punished by disgrace or exclusion those who violated the laws. In the twelfth century these Courts of Ladies drew up Provencal grammars, in which the rules of the dialect were laid down. One of these is the "Donatus provincialis," another was composed by Raimond Vidal. But these Courts of Love went further. They laid down rules for love; they allowed married women to receive the homage of lovers, and even nicely directed all the symptoms they were to exhibit of reciprocation. But it is quite possible that this was all solemn fooling, and meant no harm.
I wonder whether those golden locks carried off by the taverner had belonged to one of those queens of beauty sung by the troubadours! Probably so, for the church of S. Vincent was their mausoleum.
One of the n.o.ble families that owed feudal duty to the Lords of Les Baux was that of Porcelet, and their mansion is one of the very few that is not deserted and ruinous in the little town. It is now occupied by some Sisters of Mercy who keep in it an orphanage. The Porcelets were the first n.o.bles of Arles. King Rene of Anjou, who was fond of giving nicknames, sometimes flattering, sometimes the reverse to this, ent.i.tled the family Grandeur des Porcelets. Other of his designations were Inconstance des Baux, Deloyaute de Beaufort, Envie de Candole, Dissolution de Castelane, Sottise de Gra.s.se, and Opiniatrete de Sade.
A story is told of one of the sieges of Les Baux which is found elsewhere.
The garrison of the castle and the inhabitants of the town were reduced to great straits for food, when orders were issued that everyone should surrender what he had into a common fund, to be doled out in equal portions to all. As none complied with this order, a domiciliary visit was made to every house, when an old woman was found to have a pig, likewise a sack of barley meal. The Sieur des Baux ordered the pig to be given a feed and then to be thrown over the precipice. When the besiegers found that the besieged had a pig so well nourished they thought it was hopeless to reduce the place, and raised the siege.
In the thirteenth century the little eagle"s nest of a town numbered three thousand six hundred inhabitants. At the present time it cannot count four hundred. Every two or three years sees another house deserted, and the tenants migrate to the valley or plain.
The houses are, like the castle, partly scooped out of the rock, and partly constructed. Whole chambers, kitchens, cellars are veritable caverns. There can be no doubt that the place has been colonised from prehistoric times, and that many of these caves are the dwellings of a primitive population in the Stone period. Vast quant.i.ties of Greek Ma.r.s.eilles medals and of coins of the Empire have been found here, as well as fragments of pottery of every age. A few years ago a beautiful bronze helmet of Greek shape was here discovered.
The place has served as a refuge for the inhabitants of Arles at various periods. Hither they fled before the Teutons and Ambrons in B.C. 102, when these invaders swept across the south of Gaul on their return from Spain; and opposite Les Baux, on the heights of Costa Pera, may be traced the walled camp and cisterns, where they took refuge and remained till the danger was overpast. Again, in A.D. 480, when Earic, king of the Visigoths, took possession of Arles, the inhabitants fled to the heights of Les Baux and constructed dwellings for themselves there in the rock. These chambers, scooped out of the limestone crag, are locally called Baumes.
Anciently the roofs of the castle caught the rains, and shoots conveyed the water into great reservoirs that remain, but since the destruction of the castle the inhabitants have had to pave one whole sweep of the plateau so as to catch the showers, and convey them away into a subterranean cistern where the water purifies itself for use.
After the Hotel Dieu ceased to be used as an hospital, it was converted into an arena for bull-fights, but as on several occasions the bulls escaped and fell over the precipices, the utilisation of the great hall for this purpose was abandoned.
I had a charming walk across the hills to S. Remy, near which are the remains of the Roman city of Glanum Liviae. These remains consist of a triumphal arch, and a lovely monument about fifty feet high, quadrangular at the base, adorned with well-preserved bas-reliefs representing a skirmish of cavalry, a combat of infantry, and a sacrifice after a battle.
Above this bas.e.m.e.nt rises a circular temple with Corinthian pillars, containing in the midst two statues. The triumphal arch is not in equally good condition. The bas-reliefs on it represent captive barbarians and their wives. I caught the evening train at S. Remy, and again ascended to the third-cla.s.s compartment in the upper storey. Presently after me came the guard: "Would not Monsieur like to descend? There is female society downstairs." "But, a.s.suredly--only I have a third-cla.s.s ticket." "ca ne fait rien," replied the guard, "so have the ladies below, but we never send them up into the attics. Come, monsieur!" Accordingly I descended to a carriage-load of cheery Arles damsels and matrons in the quaint and picturesque costume of that town, and to a little French doctor and a couple of good-natured Zouaves.
"But--this is very remarkable," said the doctor. "Only an hour ago I saw a monsieur in the same hat and boots as yourself--only the face was not the same." "Very possibly. Are you a doctor, and do not recognise Jager garments? I am not, it is true, in coat and continuations of that sanitary reformer, because I had to discard them. The fact is, I had a complete suit, but having been out in the rain in them, they shrank on me to such an extent that I entered the house contracted like a trussed fowl, and had to be cut out of the suit with a penknife."
"What countryman are you?" asked the doctor.
When I told him he shook his head. "You have not an English p.r.o.nunciation.
Are you German?" I also shook my head. Then he attempted some words in English. I was obliged to laugh: he was unintelligible. As I could not understand his English--"Mais, Monsieur!" said the Arles women, "you must be a Swiss."
It was not complimentary, I must admit, to be thought to speak French with a German accent. It has come about thus, I suppose, that, though as a boy I lived in France for many years, yet of late I have been, almost annually, a visitor to Germany.
I only mention this incident, because I got into trouble later through a similar misapprehension as to my nationality.
[Ill.u.s.tration: Range of the Alpines from Glanum Liviae.]
CHAPTER X.
THE CAMPAIGN OF MARIUS.
The Tremae--Representation of C. Marius, Martha, and Julia--The Gae--The Teutons and Ambrons and Cimbri threaten Italy--C. Marius sent against them--His camp at S. Gabriel--The ca.n.a.l he cut--The barbarians cross the Rhone--First brush with them--They defile before him at Orgon--The rout of the Ambrons at Les Milles--He follows the Teutons--The plain of Pourrieres--Position of Marius--The battle--Slaughter of the Teutons--Position of their camp--Monument of Marius--Venus Victrix--Annual commemoration.
[Ill.u.s.tration: Ruins S. Gabriel.]
The two oldest and most interesting monuments of Les Baux have been unnoticed in the last chapter. These are the sculptured stones of Tremae and Gae. They are two limestone blocks fallen from the precipices above, lying on the flounce of rubble near the bottom of the promontory of Les Baux, the one on the east the other on the south. That on the east, La Tremae, consists of a block of sh.e.l.l-limestone about twenty-five feet high, in which, twelve feet from the soil, is sculptured a semicircular headed niche, five and a half feet high by four and a half feet wide, that contains a group of three personages, a bearded man on the left of the observer, a tall woman in the centre wearing a mitre, and on the right another woman. At first glance, I confess I supposed this was a bit of sculpture of the eleventh century, but on climbing to the roof of the chapel erected beneath the niche, some forty-five years ago, I was able to examine the group minutely, and satisfied myself that the work is of the Cla.s.sic period.
[Ill.u.s.tration: La Tremae.]
What gave me the first impression that it was of later date was the use of the honeysuckle ornament at the crown of the arch, and at the capitals of the pillars supporting it, which was adopted by architects of the eleventh century from Cla.s.sic work. But on close examination I found that, not only were the figures dressed in pure Cla.s.sic tunics and togas, but that the drapery is modelled in conformity with that of the same epoch, and is quite distinct from the modelling by the Mediaeval artists. This is specially noticeable where the statues have been protected by the sides from weathering.
Moreover, below the figures is an inscription in letters, the date of which is unmistakable, though unfortunately it can be only partially deciphered.
It runs:--
........F. CALDVS .....AE POSVIT. P...
The three figures are life-size. The central one is very peculiar, owing to the mitre or diadem it wears, which, however, is utterly unlike the episcopal mitre of the eleventh century. Moreover, there is no doubt about the person wearing it being a female.
Popular belief, also, does not err as to her s.e.x; it has made a mistake relative to that of the man on her right, and when some forty-five years ago the cure of Les Baux erected the chapel under the rock, he believed that these figures represented the Three Marys.
The man is in consular habit, the toga, _neque fusa neque restricta_, worn till the time of Augustus. His feet appear beneath the tunic. Unfortunately the face is too much weathered to present any features. Not so the tall, mitred central figure, whose right hand is raised, as is thought, to hold a staff wreathed with chaplets. Her mantle, the [Greek: himation], is clasped on the shoulder of her right arm. The third figure is that of a Roman matron.
Now it has been supposed, with a great degree of probability, that these three figures represent C. Marius, his wife Julia, and the prophetess Martha, who attended him in his campaign against the Teutons and Ambrons.
Plutarch says: "He had with him a Syrian woman named Martha, who was said to have the gift of prophecy. She was carried about in a litter with great solemnity, and the sacrifices which he offered were all by her direction.
When she went to sacrifice she wore a purple robe, lined with the same, and b.u.t.toned up, and held in her hand a spear adorned with ribands and garlands."
I confess that the staff with ribands and chaplets seen by some in this sculpture, were not distinguishable by myself. At the same time I was puzzled with certain ornaments below the raised hand of the diademed lady, which I could not explain. It is said that the staff is only visible when the morning sun strikes the weathered surface. It may be there--but I think that a fold of drapery has been mistaken for a staff. Yet--the wreath or buckle below her hand in such a case remains unaccounted for.
If these three figures represent Caius Marius, Martha, and Julia, then we can understand the name given the group--Les Tremaes--the three Marii; Caius Marius, Martha Marii, and Julia Marii, which has since been altered into Les Trois "Maries, and the figures a.s.sumed to be those of Mary the wife of Salome, Mary Magdalen, and Martha the sister of Mary. In the belief that such is the case, Ma.s.s is said in the chapel on the 25th of May, and there is a concourse of devotees a.s.sembled from the neighbourhood around the little chapel and memorial stone.
The second sculptured block lies about three hundred paces to the south, and is called Les Gae, i.e., _Caii imagines_. It resembles hundreds of similar Roman monuments to a husband and wife, found in the museums of Rome, Arles, Nimes, and Avignon.
Here also there is a niche, four feet wide by two feet four inches high. On the right of the observer is a bearded man holding a roll in his left hand, and with his right he clasps the right hand of his wife. He is in consular habit; unfortunately both heads have been damaged. At some time or other a Vandal thought that the upper portion of the block would serve his purpose as a step or threshold, and drove a crowbar into the face of the stone between the two heads, and split off the cap, thus exposing the sculpture to the ash of the rain.
[Ill.u.s.tration: Les Gae.]
Beneath the figures is an inscription no longer legible. It is _possible_ that this monument may represent Caius Marius and his wife Julia. A somewhat lively French imagination has taken the figure of the man to be Martha with her staff and mitre, but I examined the sculpture under a favourable light, and satisfied myself that this figure is that of a man.
The face was apparently struck by the crowbar, which has broken off a film of the limestone, and destroyed the nose.
The Caldus whose name appears on the Tremae is probably Caius Caelius Caldus, who belonged to the party of Marius, was created tribune B.C. 107, and who was one of the lieutenants of Marius in the war against the Cimbri, and signed a disgraceful treaty with the Ligurians to save the remnant of the army, after the death of the consul Ca.s.sius. He was named consul B.C.
97, and some medals struck by him exist. Possibly Caldus erected this monument in honour of Marius, who had made the platform of Les Baux and the range of the Alpines the vantage ground whence he watched the march of the Teutons and whence he swooped down to destroy them.
The great figure of Caius Marius overshadows the whole of Provence, and it is not possible for one who has any interest in the past not to feel its influence and be inspired by it. Stirred by the sight of these sculptures at Les Baux, I resolved to go over all the ground of his campaign, Plutarch in hand, and I venture to think that what I saw and discovered will not only interest the reader, but help to elucidate the history of that memorable struggle.
In the year B.C. 113, there appeared to the north of the Adriatic, on the right bank of the Danube, a vast horde of barbarians ravaging Noric.u.m--the present Austria, and threatening Italy. Two nations prevailed, the Cimbri, Kaempir, _i.e._, warriors, perhaps Scandinavian, and the Teutons, pure Germans. They had come from afar, from the Cimbric peninsula, now Jutland and Holstein, driven from their homes by an irruption of the sea. For a while they roamed over Germany. The consul Papirius Carbo was despatched in all haste to defend the menaced frontier of Italy. The barbarians pleaded to be given lands on which to settle. Carbo treacherously attacked them, but was defeated. However, the hordes did not yet venture to cross the Alps. They inundated the Swiss valleys, and as they flowed west swept along with them other races, amongst which was that of the Ambrons, a German race, whose name meets us again as Sicambrians, of which stock later was Chlodovig (Clovis). When Clovis was about to enter the font, S. Remigius thus addressed him: "Bow thy head, haughty Sicambrian; adore what thou hast burned; burn what thou didst adore."
In the year B.C. 110 all together entered Gaul, and then, continuing their wanderings and ravages in central Gaul, at last reached the Rhone and menaced the Roman province. There, however, the fear of Rome arrested their progress; they applied anew for lands, but Sila.n.u.s, the Governor, answered them haughtily, that the commonwealth had neither lands to give nor services to accept from barbarians. He attacked them and was defeated.