Riviera Towns | Page 4

the villas of the environs, for surely no home in this old town could house a bathroom. Where would the hot water and cold water come from? And where would it go after you opened the waste-pipe?
But there are sewers, or at least drains, on the hillside. Grasse has progressed beyond the gare-à-l'eau stage of municipal civilization. Before your eyes is the evidence that you no longer have to listen for that cry, and duck the pot or pail emptied from an upper window. Pipes, with branches to the windows, come down the sides of the houses. They are of generous size, as in cities of northern countries where much snow lies on the roofs. Since wall-angles are many, the pipes generally find a place in corners. They do not obtrude. They do not suggest zinc or tin. They were painted a mud-gray color a long time ago.
After lunch, we strolled along the Boulevard du Jeu-de-Ballon, the tramway street. In old French towns, the words boulevard and tramway are generally anathema. They suggest the poor imitation of Paris, both in architecture and animation, of a street outside the magic circle of the unchanged which holds the charm of the town. But sometimes, in order to come as near as possible to the center of population, the tramway boulevard skirts the fortifications of the medieval city, or is built upon their emplacement. It is this way at Grasse. One side of the Boulevard du Jeu-de-Ballon is modern and commonplace. The other side preserves in part the buildings of past ages. Here and there a bit of tower remains. No side street breaks the line. You go down into the city through an occasional arched passage.
We stopped for coffee at the Garden-Bar, on the modern side of the boulevard. The curious hodge-podge opposite, which houses the Restaurant du Cheval Blanc and the Café du Globe, had caught the Artist's eye. The building, or group of buildings, is six stories high, with a sky-line that reflects the range of mountains under which Grasse nestles. Windows of different sizes, placed without symmetry or alignment, do not even harmonize with the roof above them. Probably there was originally a narrow house rising directly above the door of the Cheval Blanc. When the structure was widened, upper floors or single rooms were built on ad libitum. The windows give the clew to this evolution, for the wall has been plastered and whitewashed uniformly to the width of over a hundred feet, and there is only one entrance on the ground floor. Working out the staircases and floor levels is a puzzle for an architect. We did not even start to try to solve it. The Artist's interest was in the "subject," and mine in the story the building told of an age when man's individual needs influenced his life more strongly than they do now. We think of the progress of civilization in the terms of combination, organization, community interest, the centralized state. We have created a machine to serve us, and have become servants of the machine. When we thank God unctuously that we live not as our ancestors lived and as the "uncivilized" live today, we are displaying the decay of our mental faculties. Is it the Arab at his tent door, looking with dismay and dread at the approach of the Bagdad Railway, who is the fool, or we?
Backed up at right angles to the stoop of the Cheval Blanc was a grandfather omnibus, which certainly dated from the Second Empire. Its sign read: GRASSE-ST. CéZAIRE. SERVICE DE LA POSTE. The canvas boot had the curve of ocean waves. A pert little hood stuck out over the driver's seat. The pair of lean horses--one black, the other white--stood with noses turned towards the tramway rails. The Artist was still gazing skylineward. I grasped his arm, and brought his eyes to earth. No word was needed. He fumbled for his pencil. But to our horror the driver had mounted, and was reaching for the reins. I got across the street just in time to save the picture. Holding out cigars to the driver and a soldier beside him on the box, I begged them to wait--please to wait--just five minutes, five little minutes.
[Illustration: "A grandfather omnibus, which dated from the Second Empire."]
"There is no place for another passenger. We are full inside," he remonstrated.
But he had dropped the reins to strike a match. In the moment thus gained, I got out a franc, and pressed it into his hand.
"Your coach, my friend," I said, "is unique in all France. The coffee of that celebrated artist yonder sitting at the terrace of the Garden-Bar is getting cold while he immortalizes the Grasse-St. Cézaire service. In the interest of art and history, I beg of you