Gautier, Théophile, 1811-1872 -- Travel -- Spain; Spain -- Description and travel; Spain -- Social life and customs -- 19th century
Bordeaux resembles very closely Versailles in the style of its
buildings. The same idea of surpassing Paris in magnificence is
very manifest. The streets are broader, the houses larger, the
rooms higher. The dimensions of the theatre are enormous. It looks
like the Odéon melted down into the Bourse. But it is in vain that
the inhabitants endeavour to fill their city. They exert themselves
to the utmost to appear numerous, but all their meridional
turbulence is not sufficient to people their disproportioned
structures. The lofty windows have rarely any curtains, and the
melancholy grass grows in the immense court-yards. The _grisettes_
and the women of the lower orders, who are really very pretty,
lend animation to the place. Almost all have a Grecian nose, flat
cheek bones, and large black eyes placed in a pale oval face of
the most pleasing kind. Their head-dress is very original, being
composed of a bright coloured silk handkerchief, worn after the
Creole fashion, very far back, and confining their hair, which
falls rather low down upon their neck. The remainder of their
costume consists of a large straight shawl descending to their
heels, and a print gown with long folds. These women are quick
and lively in their movements, and possess a supple, well-formed,
and naturally delicate figure. They carry upon their heads their
baskets, parcels, and water-jugs, which, I may mention by way of
parenthesis, are of the most elegant form. With their _amphora_ on
their head, and the long folds of their dress, they might be taken
for Greek girls, or the princess Nausicaa going to the fountain.
The Cathedral, built by the English, is rather fine; the portal
contains statues of bishops as large as life, executed in a much
more natural and careful style than the ordinary Gothic statues,
which are handled like _arabesques_, and completely sacrificed to
the exigencies of the architect. On visiting the church, I saw,
placed against the wall, the magnificent copy of Christ Scourged,
by Riesener, after Titian: it is waiting for a frame.
Public-domain text, read in full here on John Shaqi.
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