Chapter VI: Description of Mediæval Buildings (3)

Although Nimes was a comparatively obscure town in the days of the Empire, the remains of its Roman monuments are the finest in Southern Gaul. The Amphitheatre (Fig. 19) is not quite so large as that at Arles, nor is the interior (Fig. 20) so well preserved, but the exterior is more complete. It measures 437 feet by 332 feet, with thirty-two rows of seats which contained about 20,000 spectators. The amphitheatre is now well seen, owing to the removal of the paltry buildings which had invaded it both within and without. Like all such Roman works it is constructed with the most massive materials, built without cement, and all bound together with solid stone lintels and arches. Fig. 21, a view in the corridor on the first floor, gives some idea of the colossal strength of the masonry. But these great stone lintels, massive as they are, indicate a vicious form of construction, many of them being cracked and shattered by the weight of the arches resting upon them. The exterior is of the usual design of such edifices having two arcades superimposed one on the other, with upright pilasters, or engaged columns, between the arcades supporting horizontal entablatures. Each arcade has sixty arches. The pilasters of the ground tier are square, and have no base, while the engaged columns of the upper tier are round and of the Doric order; above the latter is the attic, partly demolished, but still containing 120 bold consoles with holes to receive the masts which supported the velarium or awning.

There are four principal entrances at the four cardinal points; that of the North ornamented with a cornice resting on two bulls’ fore quarters. Similar ornamental bulls were introduced in the Temple which stood where the Cathedral is now built, and on the fine gate of Augustus of this city. Some therefore think it a kind of coat of arms given by the Emperors to the town. Others imagine that these features were adopted in order to flatter the Emperor Augustus, some bulls’ heads having been sculptured on the house in which he was born. A few sculptures are still visible on the amphitheatre, including two gladiators, and the Roman wolf.

A very large part of the ornament is left in block, only the western division being finished, the carving of the remainder never having been completed. The podium surrounding the arena is low, as at Arles, thus confirming Mérimée’s views as to the provisions which required to be adopted for the safety of the audience.

The interior has been greatly restored, so as to make it available for a large modern audience, and the amphitheatre is now used, amongst other exhibitions, for the annual branding of the young bulls of the Camargue, which, from the lively description of it given by Alexandre Dumas, seems to be a stirring spectacle, not unworthy of this classic arena.

In ancient times the lowest or first series of seats was set apart for the senators; the second series for the knights; the third for plebeians; and the top rows for the slaves. The last being the most quarrelsome it was considered desirable to endeavour to prevent squabbling by marking off each person’s seat. This was effected by means of lines cut in the stone, some of which are still visible _in situ_.

Some years ago there existed in the first precincts divisions similar to those of boxes in modern theatres.

The celebrated Maison Carrée at Nimes (Fig. 22) is probably the purest piece of Roman work to be found north of the Alps, and cannot fail strongly to impress the beholder, especially if he here sees for the first time a genuine Roman temple. The design doubtless owes much of its beauty and purity to the Grecian spirit of the locality. The building is small, being only about 80 feet by 40 feet. The portico, with its ten Corinthian columns, and enriched pediment, is very fine; but the effect of the flank view, in which the columns attached to the cella are visible, is not so satisfactory. The temple is surrounded by thirty columns in all, including those of the portico, which stand free, and the engaged columns of the flanks and rear. This is what is called the _pseudo-peripteral_ plan--the true peripteral temple having the columns detached so as to form an ambulatory all round the cella. The former is the arrangement usual in Roman temples, which, according to Fergusson, never follow the genuine peripteral type. It is,

however, worthy of note, that the PLAN of this building with its deep porch is rather Italo-Etruscan than Greek, and thus adheres to the traditional type observed by the Romans.

The cornice is perhaps rather over-enriched and is indicative of a late date, when classic art was in decadence; but the frieze is beautifully designed, and the style as a whole is remarkably pure and elegant.

Various ingenious attempts have been made to decipher the letters of the bronze inscription (which were originally fixed on the frieze of the portico), by means of the holes formed by the bolts which attached them to the stone work. The reading which seems most probable from its agreeing with the style of the building, indicates that it was dedicated to two nobles distinguished with the title of “princes of youth.” It is as follows:--