Seeing Europe with Famous Authors, Volume 3: France and the Netherlands, Part 1
History
Seeing Europe with Famous Authors, Volume 3: France and the Netherlands, Part 1
France -- Description and travel; Netherlands -- Description and travel
It is true that this was not exactly the appearance of the Roman
theater, which lies on the other side of the town; a fact that did not
prevent me from making my way to it in less than five minutes, through
a succession of little streets concerning which I have no observations
to record. None of the Roman remains in the south of France are more
impressive than this stupendous fragment. An enormous mound rises above
the place, which was formerly occupied--I quote from Murray--first by a
citadel of the Romans, then by a castle of the princes of Nassau, razed
by Louis XIV.
Facing this hill a mighty wall erects itself, thirty-six meters high,
and composed of massive blocks of dark brown stone, simply laid one on
the other; the whole naked, rugged surface of which suggests a natural
cliff (say of the Vaucluse order) rather than an effort of human, or
even of Roman labor. It is the biggest thing at Orange--it is bigger
than all Orange put together--and its permanent massiveness makes light
of the shrunken city. The face it presents to the town--the top of it
garnished with two rows of brackets, perforated with holes to receive
the staves of the "velarium"--bears the traces of more than one tier of
ornamental arches; tho how these flat arches were applied, or
incrusted, upon the wall, I do not profess to explain.
You pass through a diminutive postern--which seems in proportion about
as high as the entrance of a rabbit-hutch--into the lodge of the
custodian, who introduces you to the interior of the theater. Here the
mass of the hill affronts you, which the ingenious Romans treated
simply as the material of their auditorium. They inserted their stone
seats, in a semicircle, in the slope of the hill, and planted their
colossal wall opposite to it. This wall, from the inside, is, if
possible, even more imposing. It formed the back of the stage, the
permanent scene, and its enormous face was coated with marble. It
contains three doors, the middle one being the highest, and having
above it, far aloft, a deep niche, apparently intended for an imperial
statue. A few of the benches remain on the hillside, which, however, is
mainly a confusion of fragments. There is part of a corridor built into
the hill, high up, and on the crest are the remnants of the demolished
castle.
Public-domain text, read in full here on John Shaqi.
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