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A MOTOR-FLIGHT THROUGH FRANCE when, from the rock-perched terrace below the palace, one looks out on the Rhone valley and its enclosing amphitheatre of mountains. In the light Provençal air, which gives a finely pencilled precision to the remotest objects, the landscape has an extraordinarily topographical character, an effect of presenting with a pre-Raphaëlite insistence on detail its sharp-edged ruins, its turreted bridge, its little walled towns on definite points of rock. The river winding through the foreground holds its yellow curve between thin fringes of poplar and sharp calcareous cliffs; and even the remoter hills have the clear silhouette of the blue peaks in mediæval miniatures, the shoulder of the Mont Ventoux rising above them to the north with the firmness of an antique marble.

This southern keenness of edge gives even to the Gothicism of the piled-up church and palace an exotic, trans-Alpine quality, and makes the long papal ownership of Avignon—lasting, it is well to remember, till the general upheaval of 1790—a visible and intelligible fact. Though the Popes of Avignon were Frenchmen, Avignon is unmistakably, almost inexplicably, Italian: [ 134 ]