Few remains4 of the Roman settlement are now to be seen; for the Lombards in the sixth century did their best to destroy it and after their cyclonic5 passage the town became little more than a quarry6 for stones. In the grounds of the Villa2 Garin is a structure of some size which is assumed by the learned to have been part of a temple of Apollo, together with minor7 fragments of walls which are claimed to have belonged to the Therm?.
The most important ruin in Cimiez is that of the amphitheatre. It is a mere8 shell, but its general disposition9 is very clear. In addition to a lower tier of seats there are remains of the upper rows which are supported, as in the Coliseum, on arches. The vaulted10 porch at the main entrance is in singular preservation11. The arena12 measures 150 feet in one axis13 and 115 feet in the other. It is, therefore, small and in the form of a broad oval. A great deal of the structure is buried in the ground, so that it is estimated that the original floor of the arena lies at least ten feet below the existing surface. The ruins, much overgrown with grass and brambles, have an aspect of utter desolation. It is said that the natives call the spot il tino delle fate, or the fairies’ bath. If this be so there is assuredly more sarcasm14 in the conceit15 than poetic16 merit, for the sorry parched-up ruin would better serve as a penitentiary17 for ghosts. Through the centre of the amphitheatre passed at one time the road from Cimiez to Nice. It is now closed and the present road, with its tramlines, runs outside the walls of the venerable building.
CIMIEZ: THE ROMAN AMPHITHEATRE
Near the amphitheatre and on the crest18 of the hill is the monastery19 of St. Francis of Assisi. It lies in a modest square, shaded by old ilex trees. At one end of the square is the cross of Cimiez. It stands aloft on a twisted column of marble. Upon the cross is carved the six-winged seraph20 which appeared to St. Francis in a vision. This marvellous work of art dates from the year 1477. The cross, like the column, is all white and, standing21 up as it does against the deep green background of a solemn elm, it forms an object of impressive beauty. Crosses in the open are to be found throughout the whole of France, but there is no cross that can compare with this.
The monastery was founded in 1543. The fa?ade of the chapel22, with its bell towers on either side and its central gable over a pointed23 window, is very simple. It is rather spoiled by a heavy arcade24 which, being recently restored is harsh and crude. The interior of the chapel is gracious and full of charm. It consists of a square nave25 flanked by narrow aisles26. The roof, vaulted and groined, is decorated with frescoes27 and is supported by square columns of great size. At the far end, in a deep and dim recess28, is the altar. This chancel is cut off from the church by a balustrade of white marble. Behind the altar is a high screen of daintily carved wood, gilded29 and relieved by three niches30. It is a work of the sixteenth century.
Many churches offend by lavish31 and obtrusive32 ornament33, by glaring colours, by reckless splashes of bright gold, by excessive detail, all of which give a sense of restlessness and discord34. Such churches may not unfitly be spoken of as “loud.” If that term be appropriate, then this little shrine35 may be described as the chapel of a whisper. Its fascination36 lies in its exquisite37 and tender colouring which conveys a sense of supreme38 quietude and peace. It is difficult to say of what its colouring consists for it is so delicate and so subdued39. There is a gentle impression of faint tints40, of the lightest coral pink, of white, of grey, of a hazy41 blue. The general effect is that of a piece of old brocade, the colours of which are so faded and so soft that all details of the pattern have been lost. The light in the church is that of summer twilight42. The altar is almost lost in the shadow. The screen behind it is merely such a background of old gold as that upon which the face of a saint was painted in the early days of art. The marble rail is a line of white and in the gloom of the chancel is the light of one tiny red lamp—a mere still spark.
In two of the side chapels43 are paintings by Ludovici Bréa of Nice of about the year 1512. By the side of the church is the monastery which is now deserted44. A corridor leads to a little courtyard, with a well in the centre, and around it a plain white-walled cloister45. Beyond this is an enclosed garden shut in also by a cloister of pale arches in the shadows of which are the doors of the monastery cells. The garden is in a state of utter neglect; but in it still flourish palms and bamboos, orange trees and a few despondent46 flowers.
That side of the hill of Cimiez which looks towards the east is somewhat steep, and the zigzag47 road which traverses it leads down to the broad, open valley of the Paillon river. Near the foot of the hill and on a little promontory48 just above the level floor of the valley stands the Abbey of St. Pons. The name, St. Pons, is given to the district around which forms a scattered49 suburb of Nice. The place is still green, for it abounds50 with gardens and orange groves51; but it is being “developed” and is becoming a semi-industrial quarter, very devoid52 of attraction. There are factories in St. Pons, together with workshops and depressing houses, a tramline and—across the river—a desert of railway sidings. It possesses many cafés which, on the strength of a few orange trees, a palm or two and an arbour, make a meretricious53 claim to be rural. From all these objects the abbey is happily removed; but its position is neither so romantic nor so picturesque54 as its past history would suggest.
The present abbey church is a drab, uninteresting building with a prominent tower. It was built about the end of the sixteenth century. The monastery is occupied by an asylum55 for the insane. The Abbey of St. Pons is of great antiquity56, since it dates from the eighth century and it is claimed that Charlemagne sojourned there on two occasions. It stands on the site of ancient Roman buildings, for numerous remains of that period have been unearthed57, among which are an altar to Apollo, many sarcophagi and some inscribed58 stones.
There was also a convent at St. Pons long centuries ago. Its precise position is a matter of doubt; for, so far as I can ascertain59, no trace of the building can now be pointed out with assurance. In the history of St. Pons this convent plays a conspicuous60, if momentary61 part. The episode is deplorable for it concerns the dramatic circumstances under which the convent came to an end.
CIMIEZ: THE MARBLE CROSS.
CIMIEZ: THE MONASTERY WELL.
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1 forum | |
n.论坛,讨论会 | |
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2 villa | |
n.别墅,城郊小屋 | |
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3 villas | |
别墅,公馆( villa的名词复数 ); (城郊)住宅 | |
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4 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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5 cyclonic | |
adj.气旋的,飓风的 | |
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6 quarry | |
n.采石场;v.采石;费力地找 | |
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7 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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8 mere | |
adj.纯粹的;仅仅,只不过 | |
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9 disposition | |
n.性情,性格;意向,倾向;排列,部署 | |
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10 vaulted | |
adj.拱状的 | |
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11 preservation | |
n.保护,维护,保存,保留,保持 | |
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12 arena | |
n.竞技场,运动场所;竞争场所,舞台 | |
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13 axis | |
n.轴,轴线,中心线;坐标轴,基准线 | |
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14 sarcasm | |
n.讥讽,讽刺,嘲弄,反话 (adj.sarcastic) | |
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15 conceit | |
n.自负,自高自大 | |
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16 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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17 penitentiary | |
n.感化院;监狱 | |
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18 crest | |
n.顶点;饰章;羽冠;vt.达到顶点;vi.形成浪尖 | |
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19 monastery | |
n.修道院,僧院,寺院 | |
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20 seraph | |
n.六翼天使 | |
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21 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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22 chapel | |
n.小教堂,殡仪馆 | |
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23 pointed | |
adj.尖的,直截了当的 | |
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24 arcade | |
n.拱廊;(一侧或两侧有商店的)通道 | |
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25 nave | |
n.教堂的中部;本堂 | |
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26 aisles | |
n. (席位间的)通道, 侧廊 | |
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27 frescoes | |
n.壁画( fresco的名词复数 );温壁画技法,湿壁画 | |
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28 recess | |
n.短期休息,壁凹(墙上装架子,柜子等凹处) | |
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29 gilded | |
a.镀金的,富有的 | |
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30 niches | |
壁龛( niche的名词复数 ); 合适的位置[工作等]; (产品的)商机; 生态位(一个生物所占据的生境的最小单位) | |
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31 lavish | |
adj.无节制的;浪费的;vt.慷慨地给予,挥霍 | |
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32 obtrusive | |
adj.显眼的;冒失的 | |
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33 ornament | |
v.装饰,美化;n.装饰,装饰物 | |
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34 discord | |
n.不和,意见不合,争论,(音乐)不和谐 | |
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35 shrine | |
n.圣地,神龛,庙;v.将...置于神龛内,把...奉为神圣 | |
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36 fascination | |
n.令人着迷的事物,魅力,迷恋 | |
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37 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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38 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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39 subdued | |
adj. 屈服的,柔和的,减弱的 动词subdue的过去式和过去分词 | |
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40 tints | |
色彩( tint的名词复数 ); 带白的颜色; (淡色)染发剂; 痕迹 | |
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41 hazy | |
adj.有薄雾的,朦胧的;不肯定的,模糊的 | |
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42 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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43 chapels | |
n.小教堂, (医院、监狱等的)附属礼拜堂( chapel的名词复数 );(在小教堂和附属礼拜堂举行的)礼拜仪式 | |
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44 deserted | |
adj.荒芜的,荒废的,无人的,被遗弃的 | |
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45 cloister | |
n.修道院;v.隐退,使与世隔绝 | |
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46 despondent | |
adj.失望的,沮丧的,泄气的 | |
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47 zigzag | |
n.曲折,之字形;adj.曲折的,锯齿形的;adv.曲折地,成锯齿形地;vt.使曲折;vi.曲折前行 | |
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48 promontory | |
n.海角;岬 | |
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49 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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50 abounds | |
v.大量存在,充满,富于( abound的第三人称单数 ) | |
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51 groves | |
树丛,小树林( grove的名词复数 ) | |
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52 devoid | |
adj.全无的,缺乏的 | |
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53 meretricious | |
adj.华而不实的,俗艳的 | |
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54 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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55 asylum | |
n.避难所,庇护所,避难 | |
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56 antiquity | |
n.古老;高龄;古物,古迹 | |
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57 unearthed | |
出土的(考古) | |
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58 inscribed | |
v.写,刻( inscribe的过去式和过去分词 );内接 | |
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59 ascertain | |
vt.发现,确定,查明,弄清 | |
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60 conspicuous | |
adj.明眼的,惹人注目的;炫耀的,摆阔气的 | |
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61 momentary | |
adj.片刻的,瞬息的;短暂的 | |
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