THE ARCHITECTURE OF PROVENCE AND THE RIVIERA T^jizc'sipii <5^ Spnt . HAMULTDS:, iHL&JBS, J^SOD 13a. THE ARCHITECTURE OF PROVENCE AND THE RIVIERA DAVID MACGIBBOX ACTHOR OF "the CASTELLATED AXD DOMESTIC ABCmTECrFCE OF SOOHnUAXDu' EDINBURGH: D A \' I D DOUGLAS 1888. [An rigkis retrreaL} ^ §-/v ^ PREFACE. T T AVING been called on, a few years ago, to make ^ frequent journeys between this country and the Riviera, the author was greatly impressed with the extra- ordinary variety and abundance of the ancient architectural monuments of Provence. This country was found to con- tain not only special styles of Mediaeval Art peculiar to itself, but likewise an epitome of all the styles which have prevailed in Southern Europe from the time of the Romans. It proved to be especially prolific in examples of Roman Art from the age of Augustus till the fall of the Empire. It also comprises a valuable series of buildings illustrative of the transition from Classic to Mediaeval times. These are succeeded by a rich and florid develop- ment of Romanesque, accompanied by a plain style which existed parallel with it — both being peculiar to this locality. The remains of the Castellated Architecture are also especially grand and well preserved ; while the pictur- esque towns, monasteries, and other structures of the Riviera have a peculiar charm and attraction of their own. 365071 VI PREFACE. These Architectural treasures being comparatively un- known, it is believed that a popular work bringing their leading features into notice will be not unacceptable to all lovers of architecture as well as to the numerous visitors to the south of France, and may be of use in directing atten- tion to a most interesting department which has hitherto been to a great extent overlooked. A proper history of Provence has unfortunately not yet been written. A short account, derived from various sources, of the state of the country from early times and during the Middle Ages is therefore prefixed to the descrip- tion of the Monuments, so as to explain the historical conditions under which the x\rchitecture of Provence was developed, and to show its connection with that of other countries and times. The author has to acknowledge the valuable aid he has received from the excellent notes on the Architecture of the country by Prosper Merimee in his " Voyage dans les Midi de la France " (1835), — a work which, even at the early date of its publication, anticipated many of the results more recently arrived at. The comprehensive and invaluable " Dictionnaire Rais- onne " of Viollet-le-Duc has also been of much service, and is frequently referred to. Most of the illustrations are from drawings and measure- ments made by the author on the spot, and these generally bear his initials. But where thought advisable for fuller illustration some of the drawings are taken from photo- PREFACE. Vll graphs; from Henry Rcvoil's beautiful work on the " Archi- tecture Romane du Midi de la France" (1873) ; and a few from other sources as mentioned in the text. Special thanks are due to Professor Baldwin Brown for his kindness in revising the proof sheets, and for the valu- able suggestions he has made. Edinburgh, October 1888. ERRATA. Page vi. line 1 1 from bottom, for " les " read " le " top, » 5j j) 10 » 27, „ I » 36, „ 7 5j 93) )) 12 „ „ „ „ 120, „ 4 )) )J )5 „ 128, Title, Fig. 41, „ „ 147, line 7 from bottom, „ „ 194, Title of Fig. 97, „ „ 211, „ 20 from top, „ „2i2, „ 14 „ bottom,,. „ "two thousand" „ )j 5, no ( „ bottom,/*??' " Caree" „ „ „ „ " Diocletian " „ „ "len-th" 221, » 462, 6 12 top, „ bottom, „ FETES " apartmnts " " ST CESAIRE " " dypticks " "Jocobi" "bonnded " " shews " 1/ te>LAyJt(Ajr O^^Aje^ " three thousand." " Carree." " Diocletian." " width." " TETES. " "apartments." " ST TROPHIME." "dyptichs." "Jacobi." " bounded." "shew," VI PREFACE. These Architectural treasures being comparatively un- known, it is believed that a popular work bringing their leading features into notice will be not unacceptable to all lovers of architecture as well as to the numerous visitors to the south of France, and may be of use in directing atten- tion to a most interesting department which has hitherto been to a great extent overlooked. A Droper history of Provence has unfortunately not yet onne ui v lum^L-ix^-^wi^ .. is frequently referred to. Most of the illustrations are from drawings and measure- ments made by the author on the spot, and these generally bear his initials. But where thought advisable for fuller illustration some of the drawings are taken from photo- PREFACE. Vll graphs; from Henry Revoil's beautiful work on the " Archi- tecture Romane du Midi de la France" (1873) J ^^'^^ ^ ^^w from other sources as mentioned in the text. Special thanks are due to Professor Baldwin Brown for his kindness in revising the proof sheets, and for the valu- able suggestions he has made. Edinburgh, October 1888. TABLE OF CONTENTS. I. Introductory. The Architecture of South of France comparatively little known, i ; contrast of North and South in climate, buildings, &c., 3 ; Provence a very ancient and independent State, 4 ; and scene of important historical events, 5, II. Early History of Provence, and its Condition DURING THE MiDDLE AgES. Colonised by Phoenicians, iioo B.C. — Greek culture introduced, 7; occupied by the Romans about 100 B.C., 8 ; became their favourite province, 9 ; overrun by Visigoths in fourth century, 10 ; Roman and Greek colonies were in cities, and the revived government also municipal, 1 1 ; the Church the chief instrument of organised government, 12 ; monasteries established, 13 ; anarchic condition from fifth to eighth century, 14; invasion of Saracens, 15; attempt to establish a "Holy Roman Empire," 16; revival under Charlemagne, 18 ; growth of the monasteries, Cluny, 20 ; Citeaux, 22 ; the Crusades, 23 ; effects of the above on Archi- tecture, 24. III. Political History of Provence. Fall of the Empire in fifth century. Kings of Provence from sixth to tenth century, 26 ; Kingdom of Aries, 27 ; Raymond Bdranger becomes Count of Provence, 11, 12; independence of cities attacked, 27 ; Albigensian crusade, 28 ; in 1245 Charles of Anjou becomes Count of Provence, 29; Queen Joan; 1480, King Rene dies and Provence becomes part of France, 30. IV. Description of Classic Buildings. The Architecture of Provence naturally divided into a Classic and a Mediaeval period — which best considered separately, 32 ; the Roman period, 23 5 Paris, Autun, capricious preservation of X CONTENTS. Classic monuments, 34 ; Lyons, Vienne, 35 ; Temple of Augustus and Livia, remains of Forum, 37 ; the pyramid, 38 ; Vienne restored, 39 ; Orange, 40 ; the theatre, 42 ; triumphal arch, 45 ; other triumphal arches at Cavaillon, 47 ; St Remy, 48 ; mau- soleum at St Remy, 50; Aries, history, 51 ; amphitheatre, 52; mode of protecting spectators in ditto, 54 ; obelisk. Place d'Hommes, Tour de la Trouille, 56 ; Alyscamps, 57 ; sculpture in museum, 59 ; Nimes, history, 64 ; amphitheatre, 65 ; Maison Carrde, 68 ; statue of Venus, 71 ; Nymphasum, 72 ; Tour Magne, 'j'^ ; Roman gates, 74 ; Pont du Gard, 76 ; the " Camargue " and the " Crau," 'j'] ; St Chamas, Roman bridge at, ']'] ; Vernegue, temple at, 78 ; paucity of classic remains at Marseilles and Narbonne, 79 ; Pomponiana, 80 ; Le Luc, 80 ; Frdjus, history, 80 ; gate of Gaul, amphitheatre, theatre, aqueduct, 82 ; Via Aurelia, 83 ; aqueduct of Clausonne, Antibes, Vence, 84 ; Cemenelum, 86 ; Turbia, Z'j. V. Transition Period. Transition from Classic to Mediaeval Architecture, 90 ; principles of Greco-Italian design, trabeate as opposed to the arch, 91 ; gradual introduction and development of the latter, 92 ; trabeate features dropped, 93 ; early Christian architecture a continuation of that of Rome, 94 ; the basilica, 95 ; the baptistery, 96 ; San Vitale, 96 ; Byzantine edifices, the dome, 97 ; St Mark's, Syrian churches, 98 ; early churches in the West— Romanesque varieties, 99 ; attempts to vault — San Miniato, 100 ; Notre Dame du Pr^, Le Mans ; form of vaulting in Provence, 102 ; in Aquitaine, 103 ; St Front, Perigueux, 104 ; the dome and single nave character- istic of the South, 105 ; varieties of style, influence of Roman remains, 105 ; powerful in Provence, 106 ; shewn in campaniles, baptisteries, and especially sculpture, 107 ; supposed Byzantine influence—the pointed arch, 107 ; used for simplicity of con- struction, 108 ; Burgundian style, imitative of nature, 109 ; the severe style of the Cistertians, no : the second style of Provencal art ; the two periods described, in; growth of lay element, 112 ; traditional ecclesiastical forms abandoned and new natural forms adopted, 113; Northern Gothic developed, 114; Gothic applicable to all requirements, 115; domestic and castellated Architecture, 116 ; origin and growth of the latter, 117 ; peculiar- ities in the South, 118 ; recapitulation, 119 ; place of Provencal Architecture, 120. Yl. Description of Medieval Buildings. Description of Mediaeval buildings — Lyons, the Ainay, 121 ; the cathedral, 122 ; Vienne, St Andr^-le-Bas, and St Pierre, 124 ; CONTENTS. xi cathedral, 126 ; ancient houses, 127 ; Valence, Maison des Fetes, 127 ; castle of Crussol, monastery of Cruas, 128 ; church of Cruas, 132 ; Montelimar, Viviers — commencement of Provencal examples, St Paul-trois-chateaux, 134; St Restitut, Pont St Esprit, 136; Courthezon, Avignon, 137; history, 138; Notre Dame des Doms, 139 ; imitation of Roman work, 141 ; palace of the Popes, 143; history, 144; description of, 145; walls of town, 148 ; gates, 151 ; Pont St Bdnezet, 151 ; tower of Villeneuve, 154; castle of St Andrd, 155; gatehouse, 156; curtains, i6r ; guard rooms on walls, 162 ; church of Villeneuve, 163 ; churches of Avignon, the Beffroi, abbey of St Ruf, Priory of St Veran, 164 ; Vaison, 165 ; Carpentras, Venasque, Pernes, Le Thor, Cavaillon, 167 ; Le clocher de Molleges, 168 ; Tarascon, history, Ste Marthe, 168; castle, 170; houses, gateway, 172; Beaucaire castle, 173; triangular keep, 176; oratory, 178; Les Baux, 179; the town — the bas-reliefs, 180; account of the family, 181 ; St Gabriel, 182 ; Aries, St Trophime, 183 ; includes examples of all periods of Provengal Architecture — the Cistertian nave, 184 ; the west portal, 187 ; the cloisters, 188 ; the Alyscamps, St Honorat, 191 ; prosperity of Aries after union to France — Renais- sance palaces, 192 ; Mont-Majour, Hermitage, 194 ; church, 196 ; cloister, 199 ; chapel of Ste Croix, 199 ; the keep, 203 ; St Gilles, Abbey church, 204 ; interrupted by Albigensian crusade, 205 ; portal, 206 ; sources of Provencal art, 210; Les Saintes Maries, 212 ; Marseilles, St Victor, 213 ; Aix-en-Provence, St Sauveur, 217 ; cloisters, 219 ; " Les Villes Mortes du Golfe de Lyon," 220 ; Mont- pellier, Maguelonne, 222 ; Beziers, 222 ; St Nazaire, 224 ; Fountain, 227 ; house in town, 228 ; Puisalicon, St Pierre de Reddes, St Martin de Londres, 229 ; Narbonne, history, 230 ; cathedral, 231 ; its fortifications, 232 ; Archbishop's palace, 233 ; the keep, 234 ; St Paul, the Lagunes, the Pyrenees, Perpignan, 235 ; the castellet, cathedral, 236 ; citadel, &c., Elne, 239 ; cathedral, 240 the unfinished chevet, the campanile, 241 ; the cloisters, 244 Carcassonne, 244 ; history, 245 ; towers of the Visigoths, 246 the porte Narbonnaise — the barbican and its defences, 252 the walls and towers, 254 ; St Nazaire, 257 ; Aigues Mortes, 260 Canal, 261 ; walls and gateways, 264 ; Porte de Nimes, 266 Tour de Constance, 268 ; Tour Carbonniere, 269. Eastwards from Marseilles — Toulon, 270 ; Hyeres, 271 ; castle, 272 ; St Paul, 273 ; examples of Cistertian style, 274 ; Cannet, 275 ; abbey of Thoronet, 276 ; the cloisters, 278 ; remarkable details, 280 ; chapter house, 281 ; St Maximin, 282 ; Fr^jus, cathedral and Bishop's palace, 281 ; fortified, 289 ; baptistery, 291 ; " Pantheon" at Riez, 293 ; the cloisters, Frejus, 296 ; Brass lamp, 298 ; doorways in town, 299 ; district of Les Maures, how xil CONTENTS. to visit, 300 ; St Tropez, fish market, 301 ; Grimaud, castle, 302 ; La Garde Freinet, St Raphael, the Esterelle mountains, 304 ; Napoule, 305 ; St Peyre, Mont St Cassien, 307 ; Cannes, 308 ; history. Tour du Chevalier, 310; St Anne, 314 ; Notre Dame d'Esperance, 317 ; lies de Lerins, 319 ; St Honorat, cloisters, 320 ; Ste Trinite, 320 ; St Sauveur, 323 ; castle of St Honorat, 324 ; style of lower cloister, 330 ; style of upper cloister, 334 ; additions, 340 ; Ste Marguerite, 343 ; Vallauris, 344 ; Le Cannet, 347 ; Mougins, Notre Dame des Vie, 348 ; Auribeau, 350 ; Grasse, 351 ; cathedral, 353 ; keep tower, 354 ; Renaissance, 357 ; FOratoire, 357 ; St Cesaire, 359 ; chateau de Tournon, 363 ; Montauroux and Callian, 364 ; Le Bar, 366 ; Gourdon, 367 ; Tourettes, 369 ; Antibes, 371 ; two keep towers, 373 ; Cagnes, castle, 376 ; castle of Villeneuve- Loubet, 378 ; histoiy, 381 ; tower of La Trinite, 382 ; Biot, 387 ; St Paul-du-Var, 392 ; approach to, 393 ; Architecture of shops and houses, 395 ; staircase, 397 ; gatCAvay, 398 ; church, 400 ; remarkable keep-tower, 401 ; Vence, 407 ; cathedral, 409 ; keep towers, 411; column, 413; commander)' of St Martin, 414; destruction of the Templars, 417; Nice, history, 418; Cimies Cross, 421 ; castle of St Andre, 422; Villefranche, Eza, 422; La Turbie, 428 ; gateways, 430 ; Monaco, 432 ; histor}'-, 433 ; Ducal Palace, 434 ; Roquebrune, 437 ; Mentone, 438 ; Gorbio, Ste Agnes, Castellar, 441 ; boundary of Provencal Architecture, 441 ; Ventimiglia, 445 ; Dolce Aqua, 445 ; Pigna, 448 ; San Remo, 449; Taggia, 450; Bussana, Oneglia, &c , 451 ; Albenga, 452 ; Genoa, 455. LIST OF ILLUSTRATIONS, Details from Cathedral, Genoa, Map of Provence and Riviera, . Details from Cathedral, Aries — Headpiece^ Details from Aries Museum — Headpiece^ . Head in Aries Museum — Tailpiece^ . Details from Cathedral, Genoa — Headpiece, „ of Tomb of Cornelia, Aries — Tailpiece. „ from Aries Museum — Headpiece, ViENNE, Temple of Augustus and Livia, „ Roman Forum, . „ The Pyramid, „ Restored, .... Orange, Roman Theatre — Exterior, „ „ „ Interior, „ Triumphal Arch, St Remy, Triumphal Arch and Mausoleum, Arles, Amphitheatre — Exterior, Interior. Roman Theatre, . Place d'Hommes, . The Alyscamps, . From the Museum, Tomb of Cornelia, From the Museum, NiMES, Amphitheatre— -Exterior 55 55 Interior, 55 55 Corridor 55 Maison Carree, • Title-page To face page i I 7 24 25 31 32 36 Zl 38 39 41 43 46 49 52 53 55 57 58 59 60 61 62 63 64 65 6^ 69 XIV LIST OF ILLUSTRATIONS. NiMES, Statue of Venus, „ Nymphasum, ,, La Tourmagne, „ Le Pont du Gard, Frejus, Amphitheatre, Frejus, Aqueduct, . Clausonne, Aqueduct, . CiMlES, (Looking N.E.) . „ (Looking S. IV.), La TURBIE, Monument to Augustus From Aries Museum — Tailpiece, „ — Headpiece^ San Miniato, Toulouse Cathedral, From Piazza, San Matteo, Genoa — Headpiece, Lyons, The Ainay, . „ Arcades in Cathedral, Vienne, St Andre-le-Bas, „ St Pierre, . „ St Maurice, ,, House in, . Valence, Maison-des-Tetes, Crussol, Castle, Cruas, Abbey (from S. IV.), „ Monastery Church, „ Church, St Paul-trois-CHATEAUX, Pari of Exterior {fro7n Revoil), Avignon, Church of Notre Dame des Doms, and Palace of the Popes, . „ Monument of Pope John XXIL, . . . . X, Plan of the Palace of the Popes (from Viollet-le- Duc's Dictiojuiaire,) ..... „ Portion of City Wall ( West side), .... „ Pont St Benezet and Chapel of St Nicholas, Villeneuve, Tower, St Andre, Oratory in Castle, „ Castle, Villeneuve-lez-Avignon. Plan of Entrance Gateway, ....... „ Castle of, Villeneuve-lez-Avignon. Exterior of Gateway, ....... „ Castle, Lnterior of Gateway, .... 71 72 74 75 81 83 84 85 86 87 89 90 lOI 106 121 122 123 124 125 126 127 128 129 130 131 135 140 142 143 149 152 154 155 156 157 158 LIST OF ILLUSTRATIONS. XV St ANDRii, Castle, Fireplace in Gatehouse^ „ „ Walls of Ejiceinie^ .... „ Guard-room on wall, „ Remains of a Guard-room on wall, VILLENEUVE-LEZ-AVIGNON, CllUrch, .... Le Clocher de Molldges (from Viollet-le-Duc's Diciioniiaire) Tarascon, Ste Marthe, „ Castle, Tarascon, House, ,, Gate, ........ Beaucaire, Plan of the Castle, „ Castle {from S.-E.) „ „ (from N.-E.) .... „ Plans of the Keep, „ C2iS\.\e. {l?iterior of Coiirtyard), . Les Baux, Fortress, St Gabriel, Church, West Front. (From Re'voil). Arles, St Trophime, „ West Portal of St Trophime, .... „ Cloisters, St Trophime, {Eastern Arcade), „ "Clocher" of the Church of St Honorat, (From Revolt) „ Renaissance House, .... MONT-MAJOUR, Plan of Hermitage, „ Hermitage — Chapel of St Peter, „ The Church and Keep, . „ Cloisters, .... „ Chapelle de Sainte Croix, „ Mortuary Chapel, „ The Keep, Hermitage, etc., „ Plans and Section of Keep, St Gilles, Portal, „ South Doorway, (Enlarged), Les Saintes Maries, Church. (From Revolt.) Marseilles, St Victor — Exterior, „ „ Interior, . „ Monument in St Victor's, Aix-en-Provence, St Sauveur, Doorway, }) „ „ Interior. „ Cloisters, St Saveur, B^ZIERS, From the Orbe, .... PAGE. 160 161 162 163 168 169 173 175 176 177 179 182 185 186 189 194 195 197 198 200 201 202 203 207 208 213 214 215 216 217 218 219 223 XVI LIST OF ILLUSTRATIONS. Beziers, Tower, South side of St Nazaire, Apse, St Nazaire, Cathedral of St Nazaire, . Fountain in Cloisters, House, St Pierre de Reddes. (From RcvoiL) Narbonne, Cathedral of St Just, . Perpignan, The Castellet, Perpignan, Cathedral of St Jean, . Elne, Marble Gateway, „ Cathedral, .... „ Cloisters, .... Carcassonne, general view, . ,, Towers and Castle, „ Outer and Inner Walls, North Side „ Porte Narbonnaise, „ Western Walls and Barbican, „ Interior of Walls, „ St Nazaire, Aigues Mortes, " Tour de Constance," „ Walls on East and North Sides, „ Interior of South Side of Walls, „ Porte de Nimes, . Hyeres, Castle, .... „ St Paul, .... Cannet, Thoronet, Church from South-West, „ „ Ifiterwr, . „ Cloister, „ Caps in Cloister, „ Fountain in Grounds, St Maximin, Church, Frejus, Plan of Cathedral, Cathedral, Inferior, Western Enclosure and Cathedral Buildings, Cathedral, Eastern Tower and Bishop's Palace, „ South or Entrance Front, „ „ Baptistery, RlEZ, The " Pantheon," Pla7i (From Texier a7id Pullari), Section „ ,, 224 225 226 227 228 229 231 237 238 241 242 244 245 247 249 251 253 256 258 261 263 265 267 272 273 275 276 277 279 280 283 284 285 286 287 288 290 292 293 294 LIST OF ILLUSTRATIONS. XVU Fr^JUS, Cathedral, Cloisters, I'AGE . 295 Interior, . • 297 „ ■ Cathedral, Brass Lamp {From a di'awiiii. r by I Mr R Burjis Begg\ .... 298 „ Doorways, • 299 St Tropez, general view, .... 300 ,, Entrance to Fishmarket, . 301 Grimaud, From the Plain, .... 302 Grimaud, Castle, • 303 Napoule, Castle, 305 »> )) ...... 306 Mont St Cassien, 307 Cannes, Bay of, and the Esterelle Mountains, 309 ,, The Old Town, .... 311 „ Tour du Chevalier, .... 312 „ „ „ Plan and Section, ?>^1> „ Church of St Anne, .... ■ 315 ,, ,, ,, rlan. 316 „ „ „ Doorway, . 316 „ Mont du Chevalier, .... 317 „ Notre Dame d'Esperence, 318 St Honorat, Cloisters of Monastery, Interior, 320 „ Ste Trinite, Ijiterior, 321 „ „ Plan, 322 „ „ West End, 323 „ „ East End, • 324 „ J, Doorway, 325 „ St Sauveur, Lerins {fj'oin Rt'voil), 325 „ Castle, Plan of Ground Floor, . 326 „ {fromN.-W:) . . 327 „ „ Lower Cloister, 329 „ „ Capitals and Bases, 330 » 55 55 55 Base, 33^ „ „ Lower Cloister, 333 „ „ {fro7n N.-E.), 335 „ „ {section from N. to S.), 33^ „ „ Plan of First Floor, 337 „ „ Upper Cloister, 33S „ „ Upper Cloister, Details, 339 J, „ Refectory, . . . . 341 XVI 11 LIST OF ILLUSTRATIONS. PAGE Ste Marguerite, Castle, 343 Vallauris, Abbot's Summer Palace, 345 „ Chapel of Abbot's Summer Palace, 345 » J5 5J 55 55 346 Le Cannet, " Maison du Brigand," 347 „ Notre Dame des Anges, 348 MOUGINS, Notre Dame de Vie, 349 „ Gate to Town, .... 350 AURIBEAU, 351 Grasse, View of Town, 352 „ Cathedral, Plan of, . 352 „ „ West End, 353 J, „ {Campanile at N. E. angle), 354 „ „ Interior, .... 355 „ Keep Tower, 356 „ Staircase, 357 „ Church of the Oratoire, 358 ,, „ „ Cap of Main Pier, 359 St Cesaire, Ancient Gateway, • 359 „ Carving over Doorways, 360 „ Church, Exterior, 361 „ „ Interior, 362 „ Plan of Church, .... • 363 Chateau de Tournon, .... 363 Callian, Town and Castle, .... 364 Le Bar, South Doorway of Church, 365 GOURDOX, View of, . 367 „ Houses, 368 „ Chateau, 369 Tourettes, Church, 370 » Font, 371 Antibes {from West), 372 „ Tower or Keep attached to Cathedral, 374 „ „ „ of the Castle, . 375 Cagnes, Castle {from the South), . VI „ „ {from the N.-E.), . 378 Villeneuve-Loubet, Castle {frorn the N.-W.), 379 „ {from the S.-E.), 380 La Trinite, Tower of {Plan), .... 382 „ „ {froin the Chapel) . 383 LIST OF ILLUSTRATIONS. XIX La Trinite, Tower of {froiii the S.-W) I'AGK BiOT, View of, . 387 „ Church — Exterior, • 389 „ Plan of, .... • 390 „ ,, Interior, .... • 391 St Paul-DU-Var, {from the East), ( „ ^Vest), „ Details, St Paul-du-Var, Old Shops and Houses, • 393 • 394 • 395 • 396 „ Side Street, • 397 „ Main Street, 398 „ Interior of North Gateway, 399 „ Main Street, 400 „ Chimney-piece in the Maison Suraire 401 „ Staircase in the Maison Suraire, 402 „ North Gateway, „ Church, West End of, 403 404 „ „ Interior, „ „ Plan of. 405 406 „ Tower or Keep, Vence, Cathedral — hiterior, . 407 409 „ „ Plan, .... 410 „ „ East End, 412 „ „ Font, .... „ Behind Cathedral, .... 413 414 „ Ancient House, 415 „ Doorway, „ Tower or Keep of the Consul, 416 417 St Martin-les-Vence, Commandery, . 418 CiMiES, Cross, 420 Nice, Castle of St Andrd, .... 421 „ St Andr^, EZA, {from the Railway Station), ,, {from the East), „ Approach to the Town Gate, . „ Entrance Gateway to Town, . „ Interior of Entrance Gateway, 423 424 425 426 427 428 „ House, „ Doorway, La Turbie, Outer south Gateway, . 429 430 430 XX LIST OF ILLUSTRATIONS. La Turbie, Inner South Gateway, . „ Eastern Gateway, ,, Houses, .... Monaco, Ducal Palace, .... ,, ,, „ {N.W. Bastion}^ ROQUEBRUNE, Entrance to Town, . „ Font, . . . . ,, Castle, .... Mentone, {fro7n the Harbour), Ventimiglia, West Portal of Cathedral, „ Interior of Cathedral, Dolce Aqua, Street, .... „ Castle of the Dorias, „ ,, „ {from the S. IV. San Remo, Street, „ Houses, .... „ San Siro {North Doorway).^ . Taggia, Gateway and Street, . „ Doorway, . . . . -. ,, „ ..... „ Cloisters, St Christofero, Alassio, Church, Albenga, Towers and West End of Church, „ {fro7n Railway Statioii), „ Tower at North-East of Church, Genoa, Cloisters, San Matteo, „ Doorway, Piazza San jNIatteo, „ Church, Cloisters, etc., „ Campanile, Knocker, Elne Cathedral — Tailpiece^ Lamp from Old Church. Monaco, Details from Tomb of Cornelia, Aries Museum, PAGE 433 435 436 437 438 439 440 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 459 460 461 462 463 464 467 SKETCH MAP TO ACCOMPANY THE ARCHITECTURE OF PROVENCE AND THE RIVIERA" 1 / "'7 \* (kr ^ ' )fl /CLERMONTS jAlbertvflle J jl \\ III ^ - ChambefyO-^ -^r\ J— ^^^^■T^^ Vso.n, """""^""V U y^%„„„, '""'~- — '^" "\^\ Vx \ fSkM'Iseran , \] {^^:'^o^e T\ /T^"( / /'^ , / >irioude ^r . / A /T \ / ^i;ted ne .' 1^?^ \ (&^ Aa^nac / 7\ ^i-f*^^^ "^ '1 J^ \§fSTOb ""\^ — — — XmtiC/ ■Asr.va. jr "' y WV/-^ £ |1 J^'' ) '■--., -^ l_ ( f^cjntal " \ ^"" Cru jkience { Bnancon j>_nj> -^ ^-^ '^^'^x^ Mendyir*^^i=C \r," yVrviensfw/ / 1/-^ ( /Krv^'*\ ^ (IP'^^^^'lUn "^ ? \ '^'Q— Montauban \ f^^'^^ V \ 1 i^xX >>Carpentras ■p.. 1 , fc""^' ^ ^r-^:^^^ \ r \ N^^^T^SF-"- J / R,ez ^ 1 '. "■ '^^S.nRCTl^ ^^"■C ( ^ UxJ.ve f^ \ y^""^^^^^^sZl""""V**^==^^ OV^ ^TJ-^^rfT^ \^^^ 1 5-^ \ °^ ( ^i>^GiMeSj^l| tMonlmjjour j verncilnes*:^**^^ Dr,|u,g„.o ^ leThoronet o ^^ ^^ S^^^.T^^^yZ^^""''-^ -^ 1 — y*^°">'^^g:j„„^J/^^| ^^^riX JjZ/^-r"""^ \\. /" ""^^ — -- '" \ / Xi/^^''°'°"'^»^TsH^=-^^C^L ^~0 ^ \. t" ^■'^"'^ ^""''*^\/.,&^Gnmai J \ ^■^>4^_^ Be S^S^Tpofwz \1 ^ \ j^-ii£Zy,^-u.^ KIG. II. ROMAN THEATRE, ARLES. the spectator with a sense both of the great magnificence of the building when complete, and of the terrible and long continued series of disasters to which it has owed a demolition so complete. It should, however, not be omitted to mention that it was first dismantled by the Bishops, who carried off its marbles to decorate their churches. The remains of three parallel walls, with a space between them, under the level of the proscenium, have 56 ROMAN PERIOD. given rise to various theories as to their use. The most likely view seems to be that the apertures were used for lowering the curtain into before the performances began, as was then the custom, instead of raising it, as is done in modern times. The theatre is supposed to have been seated for 16,000 spectators. Several fine sculptures, now in the museum of Aries or the Louvre, have been dug out of the ruins of this structure. Aries possesses the only ancient Obelisk in Gaul. It stands in the "place," opposite the entrance to the cathedral, and is set on the backs of four lions, raised upon a pedestal. It was elevated to this eminence in 1676, after having lain for long in the bed of the river. The shaft is of grey granite, 47 feet high, but it is not of an elegant form, and tapers too rapidly towards the summit. It originally formed the spina of a Roman circus, where it was found in 1389. In the front wall of the Hotel du Nord (in the Place d'hommes) are inserted the fragments of two Roman granite columns with Corinthian caps, and part of a pediment (Fig. 12). But unfortunately the traveller, while enjoying the hospitality of the patron of the " Nord," and sleeping with his head perhaps within a few feet of these remains, cannot have the satisfaction of imagining himself a dweller in a real Roman edifice, as it is evident that they are not in their original position, but have been brought from a distance at some remote time and set up here. There are a few remnants, close to the river, of a building said to be the Palace of Constantine, including a brick tower called " La tour de la Trouille." This is a palace which has had many and varied occupants — passing from its Roman masters down to the Kings of the Ostrogoths and Visigoths, the Kings of the Franks, and ARLES. 57 the Kinc^s of Aries, the " Holy Roman Emperors " (when they came here to be crowned Kings of Aries), and the Counts of Provence. In Roman times there was a space to the east of the town used as a cemetery, and called the Elysii Campi, or Champs Elysees, now the " Alyscamps." This necropolis FIG. 12. PLACE d'hOMMES, ARLES. was by tradition supposed to have been specially conse- crated by our Saviour himself, and consequently became a very favourite place of burial. Princes and dignitaries of Church and State desired to rest here. Bodies com- mitted to the river (along with the suitable burial fees) 58 ROMAN PERIOD. were sure to reach the Alyscamps. It was celebrated by the poets Dante and Ariosto, and became of world-wide fame. Chapels and churches were erected in the vicinity, there being no less than nineteen at one time. But the translation of the body of St Trophime, A.D. 1152, from the Alyscamps to the cathedral of Aries, seemed to take away the prestige of the former, and from that time it gradually decayed. FIG. 13. THE ALYSCAMPS. During its palmy days in the early centuries, this ceme- tery had become greatly enriched with splendid monuments and sarcophagi, partly heathen and partly Christian, but all designed and executed after the Roman or Grecian manner. At the Renaissance these ancient classic monu- ments were specially prized and admired, and many of them ARLES. 59 were removed. Sarcophagi were distributed as specimens of early Christian art to Rome, Lyons, and other towns ; the place was gradually deserted and destroyed, and the monuments were finally turned to common and ignominious uses such as cattle troughs and bridges over the ditches in the fields. Now the few remaining tombs have been col- lected and placed on each side of the road leading to the chapel of St Honorat (Fig. 13), where they pro- duce from their posi- ^ tion and their classic forms a striking re- semblance to the burial places of the Romans, which lined the wayside at the en- trances to their cities, such as the Appian wa}' at Rome, and the approach to Pompeii. A large number of the finest sarcophagi have fortunately been preserved in the Aries museum. Some of them certainly belong to Pagan times, but most of them are of later date. Many are adorned with bas-re- liefs, representing the hunt of the Stag or Wild Boar, Apollo and the Muses, and other classic and allegorical subjects. FIG. 14. FROM ARLES MUSEUM. 6o ROMAN PERIOD. FIG. 15. TOMB OF CORNELIA, ARLES. ARLES. 6i ':^?^. A museum has been established in the disused Gothic Church of St Anne, in which some fine examples of classic sculpture are preserved. Besides the Pagan sarcophagi above referred to it contains some Roman or rather Greek sculptures of considerable purity and beauty; the Grecian descent and culture of the country being distinctly observ- able in these monuments — just as the same Greek feeling prevails in the paint- ings and sculpture of Pompeii. The frag- ment of a statue of a fe- male dancer (Fig. 14) is particularly graceful in pose and in the ex- ecution of the drap- ery. The sarcopha- gus (Fig. 15), with an inscription and two well carved festoons, is called the Tomb of Cornelia. Fig. 16 shews a finely carved oak wreath and vase on the monument to the "good Goddess," and a beautifully sculptured though mutilated bust of the Empress Livia. Fig. 17 represents a frag- ment of very spirited carving of foliage said to be from the frieze of the Arc de Triomph, an amphora and a Corinthian capital. The Museum also includes a large number of early FIG. 16. FROM ARLES MUSEUM. 62 ROMAN PERIOD. Christian monuments. That in Fig. i8, representing scenes from the Hfe of our Saviour, exhibits figures carved in the Roman manner, and wearing the Roman costume, but degraded in style, — evidently the work of the Low Empire. FIG. 17. FKOM ARLES MUSEUM. Christ occupies the central compartment, and four wide arches contain figure subjects, — those on the extreme right and left representing the Magdalene and Pilate, while the ARLES. 63 FIG, 18. FROM ARLES MUSEUM. two central compartments contain saints bearing palm branches. The arcade on this sar- cophagus is supported on pillars with composite caps and bases, and shafts orna- mented with flutings and twists, similar in character to the shafts of the early mediaeval cloisters. The archivolt is a veritable architrave with leaf enrich- ment carried round the arch, and filled in with a scallop shell. It thus forms a distinct and instructive example of the manner in which the late Romans dispensed with the straight architrave, and adopted the arch springing directly from the caps of the col- umns, as will be more fully explained further on. It will then be shewn how this monument illustrates the transition from the leading features of the Greek trabeated style to those of fully developed Roman Architecture, and also the mode in which Roman art was continued into Christian times. 64 ROMAN PERIOD. Most of the early Christian sarcophagi are carved with Biblical subjects symbolical of the new birth, the great Sacrifice, the Resurrection, the Last Judgment, &c., such as the creation of Adam and Eve, Moses striking the rock or raising the serpent, Jonah and the whale, Daniel and the lions, the parables and miracles of our Lord, &c. These form as interesting a series of early Christian sculptures, combined with late Roman features, as Is anywhere to be found. On the east side of the town are the remains of some parts of the Roman walls, built in their usual massive manner. These consist of portions of the gate of the town, by which the Aurellan way entered, flanked by ruined round towers. NiMES (Nemausus). Situated at no great distance from FIG. 19. Aries, and at the base of the hills which bound the plain of the Rhone, Nimes formed the capital of the Voices Arecomiques (or Inhabitants of the flat country). In B.C. 121 it submitted voluntarily to Rome, and a few years B.C. Augustus planted a colony there. Being enriched with baths, &c., by Agrippa, Nimes soon became an NIMES. 65 important town surrounded with walls and towers, and pro- vided with all the usual public buildings. It had reached the height of prosperity when it was ravaged by the Vandals in 407. In 472 it fell under the power of the Visigoths, who established themselves in the town, and made the amphi- theatre their fortress. After suffering the usual course of sieges and destruction by the Saracens and Franks, Nimes early declared itself a Republic. In 1 185 it came under the suzerainty of the Count of Toulouse, in which condition it continued to flourish till it finally passed to France under FIG. 20. AMPHITHEATRE, NIMES. Louis VIII., along with the other domains of the Count of Toulouse after the Albigensian wars. Although Nimes was a comparatively obscure town in the days of the Empire, the remains of its Roman monu- ments are the finest in Southern Gaul. The Amphitheatre (Fig. 19) is not quite so large as that at Aries, nor is the interior f Fig. 20) so well preserved, but the exterior is more E 66 ROMAN PERIOD. complete. It measures 437 feet by 332 feet, with thirty-two rows of seats which contained about 20,000 spectators. The amphitheatre is now well seen, owing to the removal of the paltry buildings which had invaded it both within and with- out. Like all such Roman works it is constructed with the most massive materials, built without cement, and all bound together with solid stone lintels and arches. Fig. 21, a view in the corridor on the first floor, gives some idea of the colossal strength of the masonry. But these great stone lintels, massive as they are, indicate a vicious form of con- struction, many of them being cracked and shattered by the weight of the arches resting upon them. The exterior is of the usual design of such edifices having two arcades superimposed one on the other, with upright pilasters, or engaged columns, between the arcades supporting horizontal entablatures. Each arcade has sixty arches. The pilasters of the ground tier are square, and have no base, while the engaged columns of the upper tier are round and of the Doric order ; above the latter is the attic, partly demolished, but still containing 120 bold consoles with holes to receive the masts which supported the velarium or awning. There are four principal entrances at the four cardinal points ; that of the North ornamented with a cornice resting on two bulls' fore quarters. Similar ornamental bulls were introduced in the Temple which stood where the Cathedral is now built, and on the fine gate of Augustus of this city. Some therefore think it a kind of coat of arms given by the Emperors to the town. Others imagine that these features- were adopted in order to flatter the Emperor Augustus, some bulls' heads having been sculp- tured on the house in which he was born. A few sculptures are still visible on the amphitheatre, including two gladi- ators, and the Roman wolf A very large part of the ornament is left in block, only NIMES. 67 the western division being finished, the carving of the remainder never having been completed. The podium surrounding the arena is low, as at Aries, thus confirming $'^^,^^^^^^'p}\\\[i^A\-''K'')Z^.^^=M^W' Merimee's views as to the provisions which required to be adopted for the safety of the audience. 68 ROMAN PERIOD. The interior has been greatly restored, so as to make it available for a large modern audience, and the amphi- theatre is now used, amongst other exhibitions, for the annual branding of the young bulls of the Camargue, which, from the lively description of it given by Alexandre Dumas, seems to be a stirring spectacle, not unworthy of this classic arena. In ancient times the lowest or first series of seats Wvas set apart for the senators ; the second series for the knights ; the third for plebeians ; and the top rows for the slaves. The last being the most quarrelsome it was considered desirable to endeavour to prevent squabbling by marking off each person's seat. This was effected by means of lines cut in the stone, some of which are still visible in situ. Some years ago there existed in the first precincts divisions similar to those of boxes in modern theatres. The celebrated Maison Carree at Nimes (Fig. 22) is pro- bably the purest piece of Roman work to be found north of the Alps, and cannot fail strongly to impress the beholder, especially if he here sees for the first time a genuine Roman temple. The design doubtless owes much of its beauty and purity to the Grecian spirit of the locality. The building is small, being only about 80 feet by 40 feet. The portico, with its ten Corinthian columns, and enriched pediment, is very fine ; but the effect of the flank view, in which the columns attached to the cella are visible, is not so satisfactory. The temple is surrounded by thirty columns in all, including those of the portico, which stand free, and the engaged columns of the flanks and rear. This is what is called the pseudo-peripteral plan — the true peripteral temple having the columns detached so as to form an ambulatory all round the cella. The former is the arrangement usual in Roman temples, which, according to Fergusson, never follow the genuine peripteral type. It is. NIMES. 70 ROMAN PERIOD. however, worthy of note, that the Plan of this building with its deep porch is rather Italo-Etruscan than Greek, and thus adheres to the traditional type observed by the Romans. The cornice is perhaps rather over-enriched and is indicative of a late date, when classic art was in decadence ; but the frieze is beautifully designed, and the style as a whole is remarkably pure and elegant. Various ingenious attempts have been made to decipher the letters of the bronze inscription (which were originally fixed on the frieze of the portico), by means of the holes formed by the bolts which attached them to the stone work. The reading which seems most probable from its agreeing with the style of the building, indicates that it was dedicated to two nobles distinguished with the title of " princes of youth." It is as follows : — M. CAESARI AUGUSTI F. COS. L. CAESARI AUGUSTI F. COS. DESIGNATO PRINCIPIBUS JUVENTUTIS. This inscription necessarily places the Temple in the age of the Antonines, since the only princes known to whom the above names and title of Principes Juventutis will apply, after the sons of Agrippa, were Marcus Aurelius, and Lucius Verus, adopted sons of Antoninus Pius. From excavations around the edifice it has been ascer- tained that the Temple formed a centre from which colonnades extended on either hand. It thus probably stood at the end of a Forum, the colonnades around which enclosed shops and places of business or pleasure. This edifice has passed through many vicissitudes ; and it is marvellous how it has survived all the various uses or abuses to which it has been subject. It was naturally in the course of events first changed from a Pagan Temple into a Christian Church ; in the eleventh century it formed the council chamber of the municipal body ; and at a later time NIMES. 71 it was degraded into a stable, when the flutings of the columns were grated off to allow carts to pass between them. It then became attached to an Augustinian Convent, and was used as a mausoleum and place of burial. More recently it was occupied as the Hall of meeting of the revolu- tionary tribunal, and still later as a corn market. Now it has been put in good order, and contains the local museum of anti- quities. This Museum comprises some good sculpture, especially a fine statue of Venus (Fig. 23), and numerous antiquarian fragments, — many for want of room being rang- ed round an enclosure in the open air. Portions of Roman mosaics and foundations of an earlier Roman building have been discovered under the soil of the Maison Carrie, thus shewing that it has been erected at a later period than the first occupation of the site by the Romans. According to Merimee the style accords with the time of the Antonines, when the decadence had begun, and when richness and multiplicity of details replaced the simple majesty of the first century. He also points out various FIG. 2.T,. STATUE OF VENUS. ^2 ROMAN PERIOD. irregularities in the structure which would never have been tolerated in the earlier period, — such as, that the columns are not equally spaced, that there is an unequal number of modillions on the opposite sides, that the caps are too low, and the shafts of the columns too long (being \o\ diameters in height). But notwithstanding FIG. 24. NYMPHyEUM, NIRIES these defects the Maison Carree is a building of which Nimes and France may well be proud. The Nymphaeum or Temple of the Nymphs at Nimes (Fig. 24), with its accompanying fountain, is another charming and quite unique structure. The fountain bursts forth in great abundance at the base of a hill called Mont Cavalier. It is enclosed in a space which was formerly a Roman Bath, and is then led away through wide open con- NIMES. 73 duits or canals, all lined with stone and faced with pilasters. The whole is situated in a pretty public garden to which the fountain gives a special character. In this garden too, are found the ruins of the above temple, formerly called of Diana, which, however, is now supposed to have been a Nymphaeum, or Temple dedicated to the Nymphs, and forming part of the Baths. The interior contains twelve niches of good design, and the roof was constructed with large stone arches or transverse ribs, between which the space was filled in with a plain waggon vault or flags of stone. This kind of vaulting was also adopted, as will be further explained afterwards, in the construction of the early Christian churches of Syria, and had undoubtedly great influence on the design of the first vaulted churches of Provence. The Nymphaeum now contains a museum of busts and statues. This temple is shewn, by an inscrip- tion, to have been built along with the Baths in the time of Augustus. The variety and elegance of its details are further evidence of the Grecian taste of the people of the district. The aqueduct from the Pont du Gard terminated in a reservoir near this point. The Tour Magne (Fig. 25), on the top of the hill above the Fountain of the Nymphs, is a Roman building, the object of which has given rise to much discussion, with- out any definite conclusion being arrived at. It seems, however, most likely to have been a mausoleum. The plan is octagonal, and the walls are built with rough ashlar. The structure is hollow, and from 90 to 100 feet high. It was attached to the walls of Augustus, and in later times was converted into a fortress by the Count of Toulouse. The general resemblance of the design of this monument to that of Augustus at La Turbie, which we shall meet with further on, is very striking. Two of the Roman gates of Nimes remain. The 74 ROMAN PERIOD. Porte d'Auguste, founded B.C. i6, has a double arch for vehicles, and two side openings for foot passengers flanked by two towers. Like the Roman gates of Autun these FIG. 25. LA TOURMAGNE, NIMES. two towers contained stairs leading to the walls, and formed posts of observation. The other gate, the Porte de France, lies to the west of the amphitheatre, and has one wide archway. "J^ ROMAN PERIOD. Pont DU Gard (Fig. 26). This magnificent specimen of Roman engineering is situated at a distance of about 13 miles N.E. from Nimics, on the way to Avignon, and can now be reached by rail. It formed part of an aqueduct (partly in tunnel and partly in open canal) of about 25 miles in length, which brought an ample supply of water to Nimes. This work is said to have been built by M. Agrippa, son- in-law of Augustus, 19 years B.C. It has thus for 1900 years defied all the attacks of man, both barbarian and civilised, as well as the elements, to which so many other Roman monuments have succumbed, and still stands almost as perfect as at first. The arcades abut at either end on the slope of the hills at the base of which flows the river Gardon. The aqueduct measures 160 feet in height, and 882 feet in length on the top. It is composed of three stages, all built with enormous blocks of stone placed together without cement, and presents probably the most stupendous example of the solidity of Roman workmanship in Gaul. But it is roughly and irregularly constructed, as if utility alone had been considered, and no regard paid to beauty ; the arches are unequal in span, and the structure itself is bent in its length. The arches are constructed, those of the two upper arcades with three, and those of the lower arcade with four distinct courses in the breadth of the structure. These courses are composed of stones of immense size, placed side by side, but not otherwise joined together. Above the upper tier lies the conduit for the water, 5 feet high, and 2 feet wide, covered over with immense flags, which even the Goths seem to have despaired of being able to destroy. The conduit is lined with strong Roman cement, which still remains sound and good. The projecting blocks observed on the flanks and under the arches were intended to receive scaffolding for the execution of repairs, should ST CHAMAS. "jy these ever be required in a work so simple and substantial. " What a grand faith," exclaims Merimee, " must the constructors of this aqueduct have had in the eternal duration of the Roman Empire, when they made provision for repairing this gigantic and enduring work ! " The bridge placed alongside the lower arches is of modern construction, having been erected in 1743. Leaving Aries for Marseilles we traverse a country as bare and uninteresting as an African desert. To the right, on the western side of the Rhone, lies the great plain of the Camargue, the delta of the river, composed of mingled salt mud and stagnant pools, the result of the contest between the waters of the Rhone and the sea ; the former constantly pouring down immense volumes of debris, and the latter, obeying the impulse of the wind, as constantly driving it back upon the land. But the railway, keeping on the eastern side of the river, runs through a different but not less remarkable plain called the " Crau." This consists of an immense accumulation of shingle, composed of water-worn and rounded stones of all sizes — the fabled scene of the fight of Hercules with the Ligurians, when Jupiter rained down these stones to provide the hero with ammunition. This extensive plain was a barren wilderness until a system of irriga- tion was introduced by the construction of the Canal de Craponne, whereby the water of the Durance is brought down for its fertilisation. Having at last crossed the Crau we arrive at St Chamas, where the eye is relieved by the bright and peaceful prospect over the Etang de Berre, an extensive branch of the Mediterranean almost entirely surrounded with land. St Chamas is a quaint old town, with some of its houses hollowed out of the rock and traces of ancient ramparts. About half-a- mile distant may be seen an interesting Roman Bridge 78 ROMAN PERIOD. called the Pont Flavia. It is constructed with the usual solid masonry, and spans the river Touloubre with one arch, which is abutted by the rocky banks. The entrance at either end to the roadway over the bridge is through an arch, decorated with Corinthian columns and entabla- ture. These archways are well preserved and are illus- trated in Fergusson's " Handbook of Architecture." The columns are surmounted with lions, and the frieze bears an inscription shewing that the structure was erected by one of the Flavii. Some distance north from this, on the slope of the chain of the Vernegues, which divides the valley of the Durance from that of the Rhone, are to be found the relics of a small Corinthian temple, originally preceded with a peristyle of four columns in front, and pilasters of return on each side, of which, however, only one single pillar now survives. This was doubtless the site of the ancient Ernaginum. In early Christian times this temple seems to have been converted into a church, and a circular-headed window opened in the wall of the cella. A chapel dedicated to St Cesaire was in the tenth century erected against the north wall, with a door into the main church, now built up. The temple is well illustrated in Texier and Pullan's " Byzantine Architecture," and is said to be " full of the sentiment of pure Greek art." The carving of the capital, as shewn in Texier's drawing, is in the best style. "The proportions of the entire column, which are excellent," says Texier " and the foliage of the capital, which seems to have been inspired by that of the monu- ment to Lysicrates, prove that this little building, concealed amongst the mountains of Provence, was the work of a Greek artist of the colony of Massilia." It has already been pointed out how capriciously the TOULON. 79 Roman remains have been preserved in Southern Gaul. While a small provincial town like Nimes possesses so many splendid examples, the great and ancient cities of Marseilles and Narbonne have scarcely a single relic of their Greek or Roman civilisation left. At Marseilles some fragments of walls with an archway and some subterranean vaults under the Church of St Sauveur are the only remains of the splendid edifices which no doubt once adorned this ancient and important city. All along the coast between the Rhone and the Pyrenees, many towns existed and flourished under the Empire, but there is now scarcely a fragment of Roman work to be found in the whole province. Leaving therefore for the present this south-western district, we shall now follow the great Aurelian way which conducted from Spain and Gaul eastward into Italy. This road passes through the celebrated Riviera, the favourite winter resort of the delicate from every country in Europe, and even from America. It consists of a narrow strip of land between the lower spurs of the Alps and the sea ; but this level strip is frequently inter- rupted by branches or roots sent down from the mountains which run out as Capes into the Mediterranean, enclosing in their arms beautifully sheltered sunny bays, each having a town or village of its own. The Roman road clung to the mountains, the engineers finding it easier to span with bridges the higher rugged ravines of the torrents than the broad channels of the rivers near their mouths, where the shingly and shifting foundation was found insecure. Of the towns and stations which existed alone o this route in Roman times, some vestiges may still be traced. Toulon, now the great naval arsenal of France in the Mediterranean (formerly Telo Martius), contains no Roman 8o ROMAN PERIOD. buildings ; but some miles to the eastward, on the road by the coast leading to Hyeres, the ruins of an ancient Roman town called POMPONIANA have been discovered and partly excavated — exposing to view portions of the walls of houses, vaults, walls of enceinte, frescoes, fragments of sculpture, aqueducts, baths, &c. The wall of a quay presents the peculiarity of being built above a basement formed of large cubes of stone, superimposed, but not united with cement, which seems to be of Cyclopean work. Moving eastward we pass Le Luc (Forum Voconii) in the middle of the fertile " garden of Provence," where one Roman sculpture of a boar hunt has been preserved ; and following the course of the river Argens, with the rocky mountains of Les Maures on the right we arrive at FrejuS, an important sea-port in Roman times, and then known as Julii Forum. This town is supposed to have been first occupied by the Phoenicians, and afterwards by the Greek colonists. It was enlarged and improved by Julius Caesar and Augustus. It then possessed a valuable harbour at the mouth of the river Argens, to which Augustus sent the fleet of galleys which he took from Anthony at the battle of Actium ; but the sediment of the river has now silted up the harbour, and formed a flat plain of about a mile in breadth between the ancient port and the sea. The protecting walls of the harbour, with a solid obelisk at the end, which no doubt marked the entrance, still remain, but are now high and dry on the plain. Adjoining these are the walls of a strong fort or castellum for the protection of the port, built with Roman masonry of small sized cubic stones. The " Porte dor^e," is an archway close to the railway, built with similar masonry, divided with courses of brick work, now greatly restored and renewed. It is FR1':UTS. 82 ROMAN PERIOD. supposed to have been the gate between the port and the town. Some ruins of the baths have been discovered adjoining this. Considerable remains of the ancient Roman city walls, enclosing five times the extent of the present town, still remain. Close to the railway station relics of the " gate of Gaul," and other Roman works are observable. Following these from the railway station towards the left, the ruins of the Roman Amphitheatre (Fig. 27), through which the public road passes by a picturesque archway, are soon reached. The interior is fairly preserved, together with the arches which sustained the seats, staircases, &c., but the exterior walls and arcades (if the building ever had an ornamental exterior, which is doubtful) are now completely awanting. The Amphi- theatre is 375 ft. long by 273 ft. wide. The east side rests on the slope of a hill, so that little building was required in that position, but the west side of the structure is raised from the level plain. Continuing round the old walls of the town to the eastward, we find in a garden the ruins of a Roman Theatre. The dimensions of this building, which was of small size compared to those we have met with at Orange and Aries, are quite traceable, but the scena is gone all but the foundations, and only some walls and ruined arches of the auditorium remain above ground. A little further round the walls, traces are observed of the great aqueduct which brought the water of the river Siagnolles to Frejus from a distance of above 20 miles. On turning the north-east angle of the walls, the ruined piers of the aqueduct are seen stretching across the plain. At the above point the conduit is in a canal owing to the height of the ground. On reaching the main road leading from Frejus to the eastwards, the aqueduct takes a sudden bend to the east, and follows the road for a considerable FRKJUS. 83 distance. At this bend was an entrance gate of the town, called the gate of Rome, a portion of which still exists. From here a branch canal took the water to the port. In its long course the aqueduct is sometimes in cutting, and sometimes carried on lofty piers and arches Sy feet wide. Those near the town (Fig. 28) arc amongst the finest speci- 7)U^ FIG. 28. AQUEDUCT, FRKJUS. mens, but some portions in the more remote valleys also still retain their arches, and at one place the aqueduct is carried in two parallel canals on separate arches. Between Frejus and Cannes, the Roman Via Aurelia passes inland through the chain of the Esterelle mountains, whence the Romans obtained much of the granite and porphyry found in their monuments. At Cannes and neighbourhood there are a few Roman relics. A bridge over one of the small streams which descend from the 84 ROMAN PERIOD. hills through the town is said (but this is doubtful) to be of Roman origin. A delightful walk of an hour from Cannes over the hills leads by Vallauris to Clausonne, m FIG. 2g. AQUKDUCT OF CLAUSONNE. where the wxll preserved remains of the Roman aqueduct (Fig. 29) which conveyed the water supply to Antibes are still to be seen. At Antibes, the ancient Roman Antipolis, there are no Roman remains ; but according to M. Lentheric, a stone has been found here with a Greek inscription, giving proof of the ancient worship of the Hellenes in this region in the fifth century B.C. At Vence, the ancient Vcntium, a town some seven miles inland, a number of Roman inscriptions are built into the wall of the Cathedral, and two granite columns are preserved, which are supposed to have been anciently CEMENKLUM. «5 .,'/ 86 ROMAN PERIOD. presented to the town by the city of Marseilles {sec Part VI.) Crossing the wide and dangerous channel of the Var (formerly the boundary between France and Savoy) we arrive at Nice. Nice (or Nizza), although now the most important town on the Riviera, possesses no ancient buildings. In Roman times Cemenelum (now Cimiez), the chief city of the Maritime Alps, stood on a lofty site about three miles up the river Paglione from the modern town. FIG. 31. CI.MIEZ (Looki)ig S. IV.) This ancient city has almost entirely disappeared, its only relics being the ruins of a small amphitheatre (Figs. 30 and 31), through the centre of which the public road now passes, and some excavated hypocausts in the garden of a villa adjoining. The amphitheatre measures 214 feet long by 178 feet wide, and it has been calculated that it was capable of containing about 8000 spectators. The form of the arena and the slope of the first series of seats can LA TURBIE. 87 be distinctly seen, but otherwise the building is a complete ruin. A few of the perforated corbels for the support of the poles which carried the velarium may, however, be still observed on the exterior. But the want of archi- tectural features is to some extent compensated by the 'UiM, X. '^Uc^ -.^ KlG. 32. Mf)M;MENT TO AUGUSTUS, LA TURl'.IK. grandeur of the view^s obtained from the walls, comprising the whole of the coast from Bordighera on the east, to the Cap d'Antibes on the w^est. Proceeding in that direction, a drive along the magnificent Cornice-road soon brings us to the ancient boundary between Gaul and Italy at La Turbie (Turbia or Trophaea), a small town stand- 8S ROMAN PERIOD. ing on an inland pass formed by a notch in the mountains, which here rise in great precipices directly from the sea. On this neck a trophy was built in commemoration of the victories of Augustus over the Alpine tribes. The monu- ment (Fig. 32) has been of great size, and is built with large blocks of stone. It probably stood on a square base, on which was erected the great circular mass above. It was adorned with statues, and a colossal figure of the emperor crowned the top. The design would thus resemble a great many of the splendid mausoleums erected about that time in Italy. As above noticed this edifice bears a strong likeness to the Tour Magne at Nimes. The massive Roman work is still traceable in the lower parts filled in with rubble between. Fragments of an inscription have been found in the ruins commemorat- ing the triumphs of the divine Emperor and High Priest Augustus. In mediaeval times this monument was, as usual, converted into a fortress, as the work of the upper part still shews. It is executed in inferior masonry, and the cornice is Italian in character. The fortress was blown up by Marshal de Villars in the seventeenth century. The gateways of the town (see Part VI.) and other structures have been built with massive stones from the ruins of the trophy, which, as so often happens, has been used as a convenient quarry. A splendid view of the coast is obtained from the summit, including Monaco, Monte Carlo, Mentone, and point after point to the eastward leading into Italy. But though we now stand on the borders of Italy, we should still have far to travel through the land ere we encountered such a fine series of Roman structures as those we have just been contemplating. Not till we reach Verona, or Rome itself, are monuments to be found comparable with the amphitheatres of Aries and Nimes, or the theatre of LA TURBIE. 89 Orange ; and there is probably no temple even in Rome so complete and striking in its unity and spirit as the Maison Carree at Nimes. But our way lies not across this border. We must now turn back and follow in the later edifices the course of Roman Art after the Fall of the Empire, and the growth and development of the new styles which sprung from it. hi-jTT^^-^^i^frfTW- ^m^^MMra^ MS^^SSi^ffiffi^B V. 'T"^HE transition from the architecture of Rome to that J- of mediaeval times forms one of the most interesting and instructive epochs in our art. The whole history of Roman art is that of a transition from the external trabe- ated style, with its horizontal entablature, which was common to the early races of Greece and Italy, to the complete development of the internal arched architecture, which was the final outcome of Roman constructional forms. The leading features of that Italo-Greek architecture contain a reminiscence or survival of the primitive elements of wooden construction, from which thev were doubtless traditionally derived, although in the course of time their origin had been lost sight of Thus the upright pillars with their flutings are idealised descend- ants of the Egyptian column, which again represents a bundle of reeds tied together. The horizontal entablature is derived from the beams laid across the heads of the pillars, in accordance with the earliest and most natural mode of wooden construction. The pediment is the evident continuation (both in place and time) of the couples and ties of a wooden roof of the simplest and most primitive design ; while the side cornice represents the projection of the eaves, and the triglyphs and modil- lions are the imitative survivals of the ends of the cross beams or ties and the sloping rafters of the wooden roof. For centuries this trabeated principle prevailed in Rome ; EARLY ROMAN ARCHITECTURE. 9I but together with it there existed a disturbing element, which at first appeared to be small and insignificant, but which nevertheless contained the elements of the greatest revolutions in architecture which the world has yet seen. That little feature was the arch, the distinguishing prin- ciple of true stone construction — the seed containing the germ from which, through Roman cultivation, have sprung all the great families of mediaeval architecture, whether Byzantine, Gothic, or Saracenic. The earlier architecture of the Romans was doubtless chiefly derived from that of the Etruscans, who, like the Greeks, followed the trabeated principle. This origin is distinctly traceable in the plans of the Roman temples, which are never truly peripteral, or surrounded with a detached colonnade, like those of the Greeks, but have a deep portico at one end only, in front of the cella. Of this arrangement we have seen a beautiful example in the Maison Carree at Nimes. But the Central Italians must have early received some impressions from the Hellenic art of Magna Grecia, and the way would thus be opened for the introduction at a later period of the finer de- velopments of Greek architecture which were so univer- sally followed during the Empire. Meanwhile the arch, the antagonistic element to the trabeated principle, was gradually progressing ; and from its primitive obscure use in substructures, conduits, and similar engineering situa- tions, it had forced itself into notice above ground, and had gained recognition in the elevations as a proper archi- tectural element. Hence arose the combination, so con- spicuous in the architecture of the Romans, of trabeated features, such as pilasters and entablatures, with the arched method of construction which they had adopted from an early period, and of which they ultimately shewed them- selves such masters. The amphitheatres and the triumphal 92 TRANSITIONAL PERIOD. arches of the empire well illustrate this mixture of arched construction, as shewn in the round-headed wall openings, combined with trabeated decoration, in the form of horizontal entablatures supported on engaged columns or pilasters. This mixed style long prevailed, and ex- amples of it are to be found in every part of the Roman world. But in later times, when purity of taste had begun to decay, the Romans gradually gave fuller scope to their noble constructive powers, and allowed them to find a worthier expression in their designs. This took place chiefly in their engineering works, such as the Pont du Gard, and in their interior architecture, as, for instance, in the great halls of the Baths of Diocletian and Caracalla, the Basilica of Con- stantine (or Maxentius) and other similar works, in some of which immense intersecting vaults were successfully executed. The simple barrel or tunnel vault is of very ancient origin, and was adopted by the Romans from the earliest times. They also freely employed round intersecting vaults for covering spaces of all sizes up to the great examples above referred to. But the most astonishing feat of the Romans in connection with vault construction is their adoption and application of the dome. In the Pantheon at Rome we have an example of that species of vault introduced at once in its perfect form in the largest example in the world. The portico of this temple belongs to the age of Augustus, and it is therefore thought by many that the rotunda and dome are of the same date. It is very remarkable that no smaller Roman domes of earlier date are to be found, and that this style should, as it were, be born in perfect manhood without having passed through the stages of infancy and growth. These no doubt existed, although we have as yet been unable to trace them. Possibly, as USE OF THE ARCH. 93 Professor Baldwin Brown suggests, the dome is of eastern origin, and its enlarged construction may have been worked out in some of the Hellenistic cities, such as Alexandria, where the earlier examples have now perished. Along with the introduction of the above new and splendid development of vaulting in their interiors, the Romans still adhered in the decoration of their exteriors to the Italo- Grecian portico, with its entablature and pediment. It was not till the time of the Lower Empire that these elements came to be modified and slowly aban- doned. The stages by which the trabeated forms were by degrees stripped off can, however, be distinctly traced. The arches and vaults employed in the baths, tombs, &c., no doubt conduced to that result. In these the arch became the important feature internally, and naturally in course of time it assumed a more prominent position externally also. Archivolts, or curved architraves running round the arches, such as were in common use in buildings like the Colosseum, had gradually intruded themselves amongst the Greek pilasters and entablatures of the exterior elevations ; while in later edifices, such as the palace of Diocletian at Spalatro, the straight architrave was omitted, and only the arched one retained. The early Christian sarcophagi shew the same important step. In these a common design consists of an arcade containing the figure of an apostle in each arch, and these arches or archivolts spring directly from the caps of the columns, without any straight architrave being employed. Of this a good example has been given above, page 6;^. In all transitional styles it is difficult, and indeed scarcely possible, to draw the line where one style termi- nates and another begins. This is especially difficult in connection with the passage from Roman to mediaeval 94 TRANSITIONAL PERIOD. architecture. The latter was in fact for centuries not a different style but simply a continuation of that of the Empire. After the adoption of Christianity the purposes to which the Christian buildings were applied was certainly very different from that of their prototypes, but the architecture was the same. The circular domed edifices raised by the Romans as mausoleums were imitated by the Christians in their circular baptisteries ; \vhile the style of construction employed in the great basilica or pillared hall lighted by a clerestory, was exactly copied in the nave or large vessel of the Christian Church. The continuity of style is complete ; there is no break. The same Corinthian or Ionic pillars, the same entablatures, the same roofs and vault are used in both. So close is the resemblance between the Christian circular baptisteries (several of which we shall meet with in Provence) and Roman circular monuments, that the former are generally regarded as Roman temples converted to Christian uses. The early churches are usually called basilicas, and have hitherto been supposed to be derived from the Roman basilica. But Professor Baldwin Brown, in his recent interesting and learned work " From Schola to Cathedral," endeavours to prove that this is not the case. The basilica had no doubt the form of a pillared hall with central and side aisles, the former lit by a clerestory, but it had no apse, or if there was one it did not occupy the prominent position of that feature in the early churches. The origin of the apse, which was an essential feature in all churches, containing as it did the seat of the Bishops in the centre and those of the presbyters on either side, is attributed by Professor Baldwin Brown to the memorial cellae erected by Pagans and Christians alike in the cemeteries. These often assumed a domed or apsidal EARLY CHRISTIAN EDIFICES. 95 form, and were much resorted to on saints' natal days, for commemorative festivals and religious ceremonies, held in the cemeteries above the spot where the martyr's bones reposed in the catacomb below. At a later time, when these relics had been transferred to crypts below the altars of the churches, the apse was a feature naturally introduced to complete the resemblance to the original tomb. As regards the nave, the scholae or halls of meeting of private societies are regarded by Professor Baldwin Brown as the principal model of the early church. Under the emperors the Christians were allowed to form burial guilds, and these, like other guilds, had their scholae The schola often had an apse containing the seat of the president ; and the above author is of opinion that the large churches built after the conversion of Constantine are rather enlarged scholae than copies of basilicas. However this may be, the type of the early Christian church or basilica presented to view an elongated hall with two or four rows of pillars, dividing it into three or five aisles, with a lofty triumphal arch at the end of the central nave, leading into a wide open space raised some steps higher than the nave, and in which stood the altar. Beyond this was the invariable apse with its semi-domed ceiling adorned with mosaics, and containing, elevated by a few steps above the floor, the throne of the Bishop, and the seats of the Presbyters. The whole building was covered with an open wooden roof Some of these early churches have been preserved or restored in Eome — such as San Paolo fuori le Mura, Sta Maria Maggiore and San Clemente. There is every reason to believe that the above was the usual form of early churches in the West. At Ravenna, which was the principal city in Italy during the Lower 96 TRANSITIONAL TERIOD. Empire, being the seat of the Exarch, the representative of the Emperor in the West, there are fine examples of the various kinds of early Christian religious edifices, dating from the fifth to the seventh century. The great Church or Basilica, used for the assembly of the whole con- gregation, is represented in St ApoUinare Nuovo. It has the usual row of columns on either side of the nave, separ- ating it from the side aisles, and supporting a flat upper wall splendidly decorated with mosaics, the whole being ornamented with Roman details. The upper portion of the wall is pierced with clerestory windows, and at the east end is the great apse. The Baptistery or Ceremonial Church is as usual octagonal and is domed. Here also the walls are covered with fine mosaics. Another extremely interesting building at Ravenna is the church of San Vitale. This edifice (whether designed as a monument or as a church is uncertain) is octagonal and domed, very much after the style of the temple of Minerva Medica and similar Roman structures. San Vitale has a special interest from its having formed the model adopted by Charlemagne for the church which he erected at Aix-la-Chapelle, to serve also as his own mauso- leum. It thus constitutes an example of a Roman design reproduced in Ravenna, under the late Empire, as a Chris- tian structure, and again serving as a model for a mediaeval mausoleum as late as the eighth century. This shows dis- tinctly the continuity of Roman design and its direct influence on the art of later times. The above three edifices at Ravenna present fully de- veloped examples of the three chief buildings required in connection with the church services up to the ninth century, viz., the church, the baptistery, and the mausoleum. As we proceed we shall meet with proofs that the same classes BYZANTINE ART. 97 of edifices were in use and were carried out in a similar manner in other parts of the Western Empire. The circular or octagonal baptistery is of frequent occurrence in Southern Gaul. Examples of circular churches are also not awanting, but there is every ground for believing that the basilican form of church, like that of St Apollinare, was the plan most generally adopted in Western Europe. At Ravenna, an early circular tower or campanile, generally similar to the square ones at Rome and else- where, still exists. This is a feature the origin of which has not yet been accurately determined. The prevailing opinion, however, now is that these towers were at first erected as places of observation and defence, being in that respect somewhat similar in their conception to the round towers of Ireland. As in San Vitale, one form of a Roman octagonal-domed building is followed, so at San Lorenzo in Milan another design of a somewhat similar character is carried out, showing that the basilican form, although general, was not universal. In consequence of the destruction caused by the inva- sions of the Barbarians, by fire or otherwise, very few edifices now exist in Western Europe of the time between Justinian and Charlemange. During all that time of disaster in the West, the Eastern Empire still maintained itself in splendour, and gave encouragement to architecture and the fine arts. From an early time the Byzantine architects showed a preference for the dome over the intersecting vault, and it is possible to follow in the still existing edifices, the mode in which the domical form of roof was gradually worked out, until in the great church of Sta. Sophia, erected under Justinian, in the sixth century, the largest and noblest building of the style was successfully completed. In the details of the style of the Lower Empire, as 98 TRANSITIONAL PERIOD. practised in the East, there is considerable evidence of Greek taste. The sharp thistle-Hke sculpture of the foliage is designed in a manner not unlike that of the Corinthian capitals of the Choragic Monument of Lysicrates at Athens. The Byzantines also excelled in flat and delicate carving, such as that generally executed in ivory or fine wood, and in ornamental metal work and jewellery. When the West began to revive, this Byzantine art naturally produced some influence on it. A very remarkable example of this occurs in the church of St Mark's at Venice, erected about A.D, 950, which in every feature — in plan, in distribution of parts, in the use of the dome, and in its mosaic decorations, — is a distinct importation from Constantinople. But the art of the East was destined to produce, at a later period, a much stronger effect, as we shall afterwards see, in Provence and Aquitaine. Besides the domical structures of Constantinople, another series of Christian buildings v/hich had a great influence on Western architec- ture exists in the East. A large number of churches have been brought to light in Syria by the work of Count Melchior de Vogiie. These correspond in general features with the early churches of the West. They comprise a central nave and side aisles, separated by rows of piers, with nave arches thrown longitudinally between them. The nave is also crossed transversely with arches cast between the piers, and these are abutted by arches thrown over the side aisles. The latter, in order to resist the thrust of the central arch, require to be placed at a consider- able height. The side aisles are thus rendered unnecessarily lofty, and are therefore divided into two storys with a floor which forms a gallery. The nave piers and their transverse arches are placed pretty close together in order to carry the great flag stones of which the roof is frequently com- posed, and which are supported upon them. Although the EARLY CHURCHES. 99 roof is in some cases flat, the general system of construction of these Syrian churches is very similar to what is found in the oldest churches of Southern Gaul ; and which, as already mentioned, was also used in the Nymphaeum at Nimes. There can be little doubt but that the Syrian structures were carefully studied by the numerous monks who visited the East in the eleventh century, while Palestine was in the hands of the Crusaders, and that they were thereby helped forward in the enterprise which was then absorbing the attention of the Western architects, viz., how to roof their churches with stone vaults. Hitherto the Western basilicas had been roofed with timber. A few examples of these early basilicas have escaped the universal destruction, and serve to indicate what the other churches which existed before the eleventh century were like. The Basse CEuvre at Beauvais is a well known speci- men. It has a row of square piers on each side of the nave, separating it from the side aisles and carrying, on round arches, the upper walls containing the windows of the clerestory — the whole being covered in with a wooden roof It was probably terminated to the east with a semi- circular apse, and at the west with a narthex or porch. These early churches were no doubt all of very simple construction, the only ornaments being the marble columns and carved work which in some localites were available from Roman buildings. Where these existed the style adopted naturally followed the Roman forms, but in dis- tricts where they were absent the style gradually passed into the Romanesque, under the influence of the new elements imported by the Northern invaders. We have seen how Charlemagne attempted to follow a Roman structure in his great church at Aix, and that is a distinct indication of the general tendency. The chief object at 100 TRANSITIONAL PERIOD. this period of transition was to produce an effective internal design, the exterior being invariably very simple. In this also the system by which Roman architecture had been developed continued to be carried out. When the new political conditions of the different divisions of Europe had become somewhat settled, these principles were worked out separately and independently in each country and province, and produced a great variety of styles, all comprehended under the general title of Romanesque. They were in reality all derived from ancient Roman architecture, but by their very variety they indicate the new spirit which was now beginning to express itself. As above mentioned the great desideratum in the eleventh century was a simple form of stone roof. The earlier wooden roof had been found so liable to destruction by fire, that great efforts were now made to provide a fire-proof covering. At San Miniato, near Florence, there still stands a very fine basilica of the beginning of the eleventh century, which shews one method in which this was attempted to be done, and which recalls the mode of construction of the Syrian Churches above refered to. San Miniato is divided into three long bays in its length by circular stone arches, springing from clustered piers, thrown across the nave, each bay being again sub- divided by three longitudinal archivolts resting on simple pillars. The above great transverse arches do not, as in the Syrian examples, carry the roof, which is in this instance of wood, and is thus not quite fireproof; but even if the timbers were destroyed by fire, the three transverse arches would tend to bind the structure all together, and prevent further ruin. SAN MINIATO. lOI Z)U<'i: FIG. 33. SAN MINIATO. 102 TRANSITIONAL PERIOD. In the church of Notre Dame du Pre at Le Mans in the north-west of France, there is another example of a similar form of roof, constructed in the middle of the eleventh century. In Provence the system of vaulting generally adopted was of a more complete character, derived in all probability, as already mentioned, from the Roman system (as used in the Nymphaium at Nimes), and perhaps also aided by the examples of the vaulted churches seen by the Crusaders in Syria. When the revival of the eleventh century took place, the Provencal churches were usually erected on the basilican plan, which doubtless was the traditional one. These churches are small, but they generally embrace a central nave with two side aisles, each terminated to the eastward with an apse. The roof is almost invariably composed of a pointed barrel or tunnel vault, with strengthening transverse ribs springing from the caps of pilasters carried up from the nave piers, as for instance in St Trophime at Aries. The side aisles are also arched, each with one half of a pointed vault thrown against the upper part of the nave wall, so as to abut the central vault. The roof consists of tiles laid directly on the extrados of the arches, after the Roman manner, so that there is here nothing liable to suffer from fire. There is, however, it will be noticed, one remarkable divergence from the Roman model, in which the vaults and arches are always round. In Provence they are invariably pointed. This form of vault, as mentioned by Merimee, Fergusson, and others, \\as adopted, not from choice but as a necessity, or at least a convenience of construction. The pointed form was found to have several advantages over the round. It was easier of construction, a matter of great consequence in those rude times ; it exerted less thrust on the side walls, AQUITAINE. 103 and was therefore more stable ; and it fitted better the slope of the tiled roof covering. It is evident that the roof of the side aisles, in order properly to abut the central vault, had to be carried up to a considerable height. This height being more than was necessary in the aisles, is sometimes divided into two storys, the upper one forming a gallery — an arrangement which was frequently adopted in Lombardy and the Rhineland, and also, as we have seen, in the Syrian churches above referred to. One great objection to the Provencal system of vaulting is that the churches are very dark — a clerestory being obviously impossible con- sistently with safety. Numerous expedients were adopted to provide more light, such as by introducing windows in the gables, and by heightening the side walls so as to admit of a small clerestory over the roof of the aisles. But the latter was found to be a very unsafe course, and at the best only clerestory windows of very small size could be introduced, so that the long barrel vaults still remained dark and gloomy. In Aquitaine an entirely different system of vaulting was accidentally introduced, and threatened at one time to spread itself over the whole of Southern Gaul. The story of the importation of this style, and the various modifications arising out of it, is somewhat strange and remarkable. Owing to the pirates who infested the Straits of Gibraltar, the trade from the Levant with the West of France and Britain, was carried on by means of caravans, which conveyed the goods across the country, from the Mediterranean to the Bay of Biscay. The goods landed at Marseilles or Narbonne were thus carried by Limoges to La Rochelle and Nantes, where they were again shipped for the North of France and Britain. The town of Perigueux, situated in the centre of Aquitaine, at that time probably 104 TRANSITIONAL PERIOD. the richest country in Gaul, became the head-quarters of the Venetian merchants, by whom this traffic was chiefly carried on. These Venetians, as they had in the tenth century imported the plan and decorations of St Mark's at Venice, from the East, so they soon afterwards resolved to carry the same model with them into Aquitaine. At Perigueux they erected a church exactly after the plan of St Mark's, being in the form of a Greek cross, crowned with one dome over the central crossing, and four domes over the four arms of the cross. The general idea of this church of St Front at Perigueux is undoubtedly borrowed from St Mark's, but the execution seems to have been entrusted to a native artist ; for, although the conception is Eastern, the style of workmanship is that of the locality. In the original the arches and domes are spherical, while here they are polygonal and pointed, which we have seen was the Provencal system of construction. The penden- tives which fill up the angles under the domes are rudely executed in horizontal corbelling, not dressed as portions of a spherical vault, as they would have been by a scientific Eastern architect. The church of St Front at Perigueux had great influence on the subsequent architecture of Aquitaine and the West of France. The plan of St Mark's was not followed in other examples, the old traditional basilican plan being preferred and adhered to ; but the dome raised upon pendentives, as introduced at St Front, became the common form of vaulting in Aquitaine and the West of France in the eleventh and twelfth centuries. In the churches thus constructed the side aisles are frequently omitted, and the building consists of a single hall, roofed with a series of domes resting on transverse arches, which are abutted with large internal buttresses. \\'c thus find in Aquitaine and the South generally two important THE DOME AND THE SINGLE NAVE. 105 derivations from St Front, viz., 1st, the domed system of vaulting, and 2nd, the single or aisleless nave, — the latter being sometimes vaulted with domes and some- times with groined arches. As late as the thirteenth century the influence of the dome made itself felt in the churches of Aquitaine, Poitou, and Anjou ; while the in- fluence of the plan of the single aisleless nave continued to be prominent in the churches of Languedoc long after the dome was abandoned, and even after the Gothic of the North had invaded the Southern provinces. It thus happens that early churches such as the Cathedrals at Toulouse (Fig. 34) and Frejus {see Part VI.) present a mixture of these ideas, being sometimes found designed on the plan of the aisleless hall, but at the same time roofed with groined vaulting. The buttresses in all these single nave churches are frequently internal, and form deep recesses, which are utilised as side chapels. At a distance from Perigueux as a centre, domes are sometimes used, as is the case, for instance, in Auvergne, but in Provence the dome is generally limited to the space over the crossing. In the latter locality the Byzantine influence exhibits itself in a different direction, being chiefly confined to details and subordinate features. But here another factor comes into play. The presence of the Roman monu- ments still existing in Provence has evidently tended to impress a Roman character on the architecture of the district. So strikingly indeed does some of the Provengal architecture resemble Roman work, both in general design and detail, that it has frequently been maintained that it is actually the work of the Lower Empire. The style of Provence in the twelfth century differs on this account considerably from, that of the other Romanesque styles. The revival which took place all io6 TRANSITIONAL PERIOD. over Europe in the eleventh and twelfth centuries occurred in Provence also, but the result there was somewhat peculiar, the effect of the Roman remains being to pro- duce in many of the features of Provencal architecture FIG. 34. TOULOLSE CATHEDRAL. a closer resemblance to the Romanesque style of Rome and Italy than to that of the Rhineland and the North. The towers and campaniles of Provence also either correspond in design with those of Italy or are imitated from Roman monuments in the country. The circular baptisteries, of which a good many PROVENCAL ART. 107 examples survive, are like those in Rome, constructed with columns and caps from ancient buildings, or are wrought in imitation of them. Sculpture also abounds in Provence, being inspired by the abundant remains of ancient work in this favoured province of the Empire.. Along with the imitations of Roman work, there is also, as already remarked, a con- siderable infusion of Byzantine influence. This, according to Viollet-le-Duc, may be observed in the polygonal form of the apses ; in the polygonal cupolas supported on a series of corbelled pendentives ; in the flat arcades em- ployed to decorate the walls ; in the mouldings with small projection and numerous members; in the flat and delicate ornament ; and in the sharp and toothed carving of the foliage. Other writers, however, are of opinion that too much weight has been attributed to the influence of Byzantine art, and that almost all the above elements may be accounted for by the Roman traditions of the locality. It is doubtful in how far the Roman buildings which survived in Provence and the imported classic taste of Byzantium were beneficial to the arts in that country. They no doubt gave an impetus and motive which would otherwise have been awanting, and thus assisted the Provencals in making the early start they did in the revival of their architecture. But on the other hand they acted prejudicially to that revival, in impressing on it the stamp of the classic trabeated style, which in their absence it would have escaped, and might probably have been developed in the freer and more natural manner which occurred at a later date in the North. The early use of the pointed arch in the vaulting of the Provengal churches is another striking feature of the architecture of the district. Much has been written about I08 TRANSITIONAL PERIOD. the origin of the pointed arch and the date of its in- troduction into Western Europe. In the North of France its first use occurred in the twelfth century, and it was at one time maintained that the Provengal churches, from their having pointed vaults, must necessarily be later than that date. There is now, however, no question as to the greater antiquity of many of the Southern buildings, thus proving that the use of the pointed arch was adopted in the South considerably earlier than in the North. We have already seen that that form of arch was first used in Provence as a constructional expedient, and not from any preference for the pointed form. The original idea may possibly have heen derived from the Moors in Spain, amongst whom the pointed arch was common from early times, and w^as employed as a decorative feature. In Provence its use was limited to the vaulting, the round arch being preferred for all the ornamental parts of the architec- ture, and it continued to be so employed till the thirteenth century. It is a striking circumstance, observes Merimee, that at the moment when the round arch was entirely abandoned in the North the pointed arch experienced the same disgrace in the South. In the North the pointed arch became the decorative form, when in the South the round arch was preferred. The position of the pointed arch is thus completely reversed in the North and in the South. The greater part of the vaulted constructions of the thirteenth century in the South are exclusively round, the advancement in skill, both in execution and in the use of materials, having rendered that form more generally available. Numerous examples of this employment of the round arch will be found in the following pages. The Roman and Byzantine influences were naturally strongest where the ancient remains and Eastern orna- ments were most frequently met with. As we retire BURGUNDIAN ARCHITECTURE. IO9 from the Mediterranean northwards and westwards the Roman buildings become less numerous and the signs of Byzantine commerce diminish. In those various countries different styles were naturally developed. These are divided by Viollet-le-Duc into the schools of Toulouse, Poitou, Auvergne, Burgundy, &c., all having distinct characteristics in plans, elevations, form of towers, ornament, sculpture, and every detail. Of these various schools the Burgundian was, during the twelfth century, in advance of all the others, not only in the size and magnificence of its buildings, but also as regards progress in design — efforts being there made to free the ornaments from the conventional and stereotyped patterns of classic art. Viollet-le-Duc endeavours to account for this advance- ment in Burgundian architecture by the suggestion that it possibly arose from the study of the paintings of Byzantine MSS., which were numerous in the monas- teries, and therefore more frequently under the eyes of the monks than the purely architectural forms of build- ings. These paintings preserve considerable freedom of treatment both as regards natural expression in the features and dramatic action in the figure, and are much less bound and fixed by traditional and conventional rules than the architectural forms and ornament. The artist monks of the Burgundian convents were thus led to look to nature as their model in sculpture, and their attention was gradually turned to natural objects as their guide in the representation of foliage, as well as figures. This process, in course of time, opened the way for an entire departure from ancient precedent, and led to the wonderful development of the natural school of the Royal Domain, which took place in the end of the twelfth and beginning of the thirteenth centuries. no TRANSITIONAL PERIOD. At the head of the Burgundian school stood the great Bcndictine Abbey of Cluny. {See ante, p. 20). The church of this Abbey was the largest building of its time, although unfortunately not one stone of it now remains upon another. Cluny had numerous dependencies and offshoots which were all animated with the same spirit, and spread a taste for richness and magnificence in architecture, wher- ever they were planted. But the period we are now considering was one of awakening and expansion, not only in the direction of architectural art, but also in every department of intel- lectual and religious development. It is not therefore to be wondered at that all men were not actuated by the same feeling of admiration for splendid buildings and paintings. Many of the religious rather sympathised with the severity of the old ascetics. It appeared to these reformers that all this sumptuous and splendid mode of life was not in accordance with the fundamental principles of their religion, and they longed to return to the simplicity of the primitive church. Amongst those who raised their voices most strenu- ously in this behalf, was the great St Bernard, who even went the length of separating from the Clunisians, and devoted his energy to the encouragement of the new order of the Cistertians, which was destined to play an important part in the future history of the Church and its architecture. Of the severe rules of this order, those relating to the erection of buildings, were amongst the most stringent. These were required to be of the simplest form, and to be entirely free from ornament and decoration of every kind. At first this maxim was strictly adhered to in all the buildings of the Cistertians, which are therefore of the baldest possible description, as the numerous examples hereafter illustrated in Provence and elsewhere show. But PERIODS OF PROVENCAL ART. Ill this very seventy of style seems to have had great influence in clearing the way for the introduction of a new and more natural art, by sweeping away the last remains of the ancient traditional forms, and leaving the course clear for the invention of novel ornamentation derived from natural objects. This may be regarded as the second phase of Provencal art. The first comprised all those primitive structures, the style of which was founded on Roman or classic design. But this second phase discarded all such ornament, and retained only the structural elements which had up to this time been de- veloped. These of course included the use of the pointed arch, which is always employed in the vaulting and all the important structural features, while the round form is frequently retained in the minor arches. Of this bare but vigorous style no finer example can be cited than the Abbey of Thoronct (to be afterwards described), but the whole country abounds (as we shall find) with examples, both large and small, of this reformed or second period of Provengal architecture. After a time the Cistertian strict- ness was gradually relaxed. The more ornate style of the Clunisians was found to be more in accordance with the feelings and taste of the times ; and the Cistertians ultimately came to vie with them in the beauty and richness of their edifices. But, as above pointed out, the traditional Roman and Byzantine elements were entirely banished, and a new and natural system of orna- ment adopted. Up to the date which we have now reached the progress of the great monastic centres of Burgundy and the cities of the South had been in advance of that of the Royal Domain, and the Nothern provinces generally. But from the end of the twelfth century many circum- stances combined to reverse that position. The country 112 TRANSITIONAL PERIOD. of the Franks had become settled — the restless spirit of that people, which had found expression in the Crusades, had exhausted itself; the idea of the one great and holy Roman Empire had passed away, and the various countries of modern Europe were gradually consolidating themselves and forming separate nationalities. The Feudal system, which tended to break up all general authority, was gradually being subjected to the growing power of a central supreme ruler. Trade and commerce were reviving. The towns and corporations which had grown up under the fostering care of the monasteries, or under the shadow of the great castles of the nobility, were now assuming a more prominent and inde- pendent position. They perseveringly pressed their claims on their superiors, whether lay or ecclesiastical, and were by slow degrees obtaining charters and liberties. The Bishops whose sees were connected with the towns encouraged the citizens in this course, with the view of strengthening their own power and importance, so as to enable them to keep pace with and if possible overcome the great influence of their rivals the monasteries. This growth of the popular element in the towns naturally led to the employment of laymen in connection with the design- ing and execution of the works of the cathedral and other ecclesiastical edifices attached to the various sees. The monks, who had hitherto been the sole possessors of the requisite knowledge and practical skill, had by their schools, and by the guilds of tradesmen A\'hich they had encouraged, sown the seeds which were now springing up in a form they had not looked for, and producing a crop of lay artists, who were soon to leave their old masters behind. The monastic system of carrying on everything according to rule had long held architecture in bondage. Under the new impulse all conventional LAY ARCHITECTS. II3 rules were abandoned, and the artists trusted to the inspiration of nature for their guidance. Hence it followed that whether in planning, in construction, or in ormanen- tation, the forms so long reverently followed by the architects of the monasteries, were speedily dropped by the lay artists of the towns, and a new art sprung up with the most marvellous rapidity. To the new school of artists nothing which would naturally and logically suit their requirements came amiss. The round arch was the traditional form of the ecclesiastics, but, the lay architects of the North finding (as the builders of the South had long previously done) that the pointed arch was more flexible and amenable to their requirements, forthwith adopted it. This enabled them to overcome what had hitherto been the great difficulty with the round arch, viz., to erect intersecting vaults over spaces of any form, whether square or oblong, and at the same time to keep the apex of all the vaults at any desired height. The transverse arches and the wall arches being thus pointed, soon led in the most natural manner to the window arches within the latter being also made of a pointed shape, so as to conform to the outline of the wall arch, and by an easy transition the pointed arch was soon adopted for all the wall openings as the most flexible, and most in accordance with the spirit of the new style. In like manner the old conventional forms of decoration, derived from Byzantine carvings and MSS. or from Roman remains, were entirely abandoned, and inspiration in decor- ative design was sought in the natural flowers and plants of the soil. The intellectual development, no less than the artistic, of this great period of revival was boldly represented in its architecture. The timid forms of traditional construction were soon left behind, and scientific methods were intro- H 114 TRANSITIONAL TERIOD. duccd. The clumsy mode of sustaining the central vault by the half vault of the side aisles was superseded by the bold and beautiful form of the flying buttress, loaded with pinnacles where needed to secure stability. This scientific invention enabled the architects to dispense with heavy walls and to bring the whole pressure of the vaults on to points, where they were discharged by the flying buttresses. The side walls were only required as enclosing screens, not as supports, so that there was free scope and every inducement for the expansion of the windows, which rapidly progressed till the whole building became, in striking contrast to the dark and gloomy structures of the monastic regime, an edifice of marvellous lightness and elegance, illuminated from floor to vault with walls of glowing glass. The rapid and extensive development of the Gothic style of the North is one of the most remarkable facts in the history of architecture. Within the century follow- ing the first appearance of the style in the pointed vaulting of the abbey church of St Denis, erected under the Abbe Suger in 1144, this style reached its highest point. During that period it found expression in most of the great cathedrals of the North of France, such as Paris, Charters, Sens, Amiens, Beauvais, &c. This oc- curred contemporaneously with the long and brilliant reign of Philip Augustus, under whom the royal power became consolidated, and the royal domain extended to an extraordinary degree. As the royal domain extended, its Gothic architecture extended with it, and even passed beyond it, and produced a striking effect on the provinces, such as Provence, not yet absorbed into the kingdom of France. Of this we shall meet with several remarkable examples, as in the cathedrals of Carcassonne and Narbonne, where the GOTHIC ARCHITECTURE. II5 designs are pure Northern Gothic, and were furnished by a northern architect But these and similar structures ahvays strike one as having the appearance of exotics ; they are evidently imported plants, not native to the soil. There are also, as we shall see, many other buildings in the South in which some of the features only of the Gothic style are adopted, and which exhibit various attempts to ingraft its details on the native art. But even this is not successful, the buildings having neither the lightness and elegance of the Gothic, nor the massive grandeur of the native style. In later times, when Provence and a great part of the Riviera had passed into the kingdom of France, its period of vigour and independence had faded away, and its architecture only presents a picture of the various foreign influences under which it lay. This is seen in the examples of the flamboyant work of the French, and in the Italian Gothic introduced by the Genoese, who were long masters of the Riviera. All other architecture, however, soon yielded to the revival of the classic style, which here, amongst so many Roman relics, found a congenial soil. The great development of Gothic architecture in the North was not limited to churches and other ecclesiastical structures, but extended to every species of building. For it is one of the leading characteristics of Gothic, that it is available for every variety of architectural requirement. It is a free and natural style, not subject to the arbitrary rules of monastic or academic systems, but ready to apply itself in the simplest and most direct manner to all human wants in the way of building. The Gothic lay architects therefore naturally directed their skill to the proper development of Domestic and Castellated Archi- tecture, as well as Ecclesiastical and Monastic. Of the Il6 TRANSITIONAL PERIOD. former, many most interesting examples are to be seen in the Southern towns ; and of the castellated architecture, we shall meet with not only such splendid examples as the Pope's Palace at Avignon, and the great castles of Villeneuve and Beaucaire ; but we shall also have an opportunity of examining, at Carcassonne and Aigues Mortes, the towns which possess probably the completest and best preserved specimens, now extant, of the military architecture of the Middle Ages. That kind of architecture was, as was natural, especially in the South, to a considerable extent founded on that of the Romans. This will be more fully explained and illustrated, when we come to treat of the fortifications of Carcassonne, which are partly Roman or of Roman foundation. In the North the early fortresses consisted of earthen mounds, protected by palisades and ditches. Such were the defences of the native Gauls, which Caesar found so boldly defended. To these succeeded the strong towers of masonry, of which the Norman keep is the well known type. Stone-built towers of that description gradually superseded the wooden fort set upon the top of an earthen " motte " or mound which formed the central stronghold of the earlier fortresses. Masonry then, step by step, took the place of wood in the defences ; first, as we have seen, in the keep, and then in the enclosing walls. As the science of attack improved, the latter were made stronger, and were further fortified by the construc- tion in connection with them of numerous strong towers. These were generally round in the North and square in the South. The means of active defence were chiefly from the parapet, At first the parapets of the walls and towers were armed in time of war with wooden enclosures, called "hoards" or "br^teches," projected on short wooden beams. These enabled the defenders to overlook and protect the SYSTEMS IN NORTH AND SOUTH. II7 base of the works, which were then the weak points of the fortifications, and were liable to attack by sapping or mining. The assailants carried out this kind of assault by rolling up their sappers to the walls in " cats " or " sows " (small wagons strongly constructed and defended on the top with bags of wool and wet hides), which could only be destroyed by great stones and beams, hurled down from the projecting " hoards " above. The sockets for this wooden armature of the walls still exists unaltered in the thirtenth century fortifications of Carcassonne and Aigues Mortes. By degrees the wooden hoards were abandoned, being found liable to destruction by the fire balls or " Greek fire," which the crusaders had learned the use of in the East. Parapets of masonry were then substituted for them, projected on bold stone corbels, which left intervals between the parapet and the face of the wall, called " machicolations," through which the defenders could rain missiles on the assailants. In the fourteenth century these corbelled parapets are amongst the most prominent and picturesque features of the castles and fortifications of the period. In course of time the stone parapets were further improved and heightened into several storys, the lower ones being covered, and the upper forming an open crenellated walk. In the fifteenth century this system reached its height, and produced in the lofty towers and walls, crowned with their numerous boldly overhanging works, some of the most magnificent works of the military architecture of the Middle Ages. We shall have occasion to refer to the various systems of defence adopted in the different castles and towns to be visited, when attention will also be drawn to the differences of the systems adopted in the North and South. We shall also find a remarkable application of castellated features in the churches of the South, where, after the twelfth century. Il8 TRANSITIONAL PERIOD. almost every ecclesiastical structure is carefully fortified. This produces in the churches of the South one of their most striking peculiarities, and gives them, instead of the light and gracefully aspiring character of the Northern Gothic structures, a reflection of the grim and stern aspect of the feudal castle. The peculiar church architecture just referred to, no doubt derived its origin from the constant state of alarm and disturbance in which the Southern provinces were kept by the Albigensian wars, and the attacks of the Moors and Corsairs by sea and land. Some place of refuge and defence was required by the harassed inhabitants, who naturally fled to the church and fortified themselves therein. Frequently the cathedrals were comprised within the precincts of the Bishop's Palace, which was fortified like a feudal castle. The cathedral being the largest building was eagerly seized upon as an important part of the fortifications, and even when the design was in Northern Gothic, had externally at least to adopt many of the defensive features of the South. Of this remarkable illustrations occur at Narbonne, Beziers, and Frejus. We have now rapidly sketched the various steps by which Roman architecture was gradually transformed, from being in its decorative features an imitation of the classic trabeated style, into an embodiment of the true principles of arcuated or genuine stone construction, as exhibited in the fully developed Gothic of the thirteenth century. We have seen that this was by no means a simple process, and that it was only accomplished by the ordeal of the destructive though purifying dissolution of the Dark Ages, whence the true spirit of Roman construction emerged, cleared to a great extent of the extraneous elements with which it had been so long encrusted. But although the true features of arcuated architecture now BYZANTINE INFLUENCE. II9 slowly began to be developed, they were both aided and retarded by the surviving relics of Roman art which existed in the West, as well as by the influence of the classic taste which continued to prevail, although in a modified and expanded condition, in the East. The country through which we are about to travel is remark- ably favourable for the study of the effects of these various influences. We have already seen how rich it is in genuine Roman structures. In our further progress we shall note how these examples served as models for the revival of the architecture ; for so closely were the ancient designs frequently followed that the new structures were almost complete resuscitations of the style of the Lower Empire. We shall also have many opportunities of observing the influence of the modified classic art imported from Byzantium. Thence came the dome which forms one of the most important elements in the mediaeval archi- tecture of Aquitaine and the South, as well as numerous details and ornaments which served as the foundation or motive for much of the architectural decoration of the West, especially in Provence. How strongly these influences produced their impress on the architec- ture of the region we are to traverse, will be apparent ; and it will probably be agreed by all that although the art of Provence was thereby advanced at first, the chief tendency of these classic reminiscences was to encourage an adherence to traditional forms, which pre- vented such a free growth and development as was afterwards displayed in the Northern districts, where the classic elements were less abundant. But in one respect at least the architecture of Provence deserves our gratitude and admiration, for, amidst all its classic surroundings, it boldly adopted and adhered to the true principle of 120 TRANSITIONAL TERIOD. arcuated construction, and introduced the use of the pointed arch. Although in its earHer stages this im- portant feature was accompanied and encumbered with the revived details of Roman work, still, as we shall see, in its later phase, it entirely and completely discarded them ; and in the twelfth century, under the guidance of the Cistertians, Provence produced a simple and natural style of arcuated architecture in which every feature is regulated by strict adherence to the genuine principles of stone construction. Of this simple but strong and impressive style we shall meet with many fine examples. Up to this time the Provencal architects had led the way, but the period had now arrived when their principles were to be taken up and carried out with the boldness and energy of the Northern kingdom of France, then in its youthful prime. The lay architects of the North, seiz- ing on the Provencal principle of the pointed arch, which they at once perceived to be so flexible and easy of application to every requirement, soon developed from it the magnificent system of the perfected Gothic of the thirteenth century. This was at once felt and acknow- ledged on all hands to be an immense step in advance of anything hitherto attempted in the West, and was speedily allowed to overshadow, and finally to supersede all other varieties of mediaeval development. Of this result numerous illustrations will occur in the course of our journey ; but we shall also observe how tenaciously the original forms of construction and plan were adhered to in the South, even after the Northern Gothic had been accepted as supreme in all minor details. VI. HAVING now glanced rapidly at the general history and various phases of the architecture of Provence during the Middle Ages, we shall recommence our journey at Lyons, and visit the various places on our route south- wards to Marseilles, and thence westwards and eastwards along the Riviera, where architectural subjects are to be found, giving a more detailed account of each in its turn, and specially noting those of the MEDIAEVAL PERIOD. At Lyons the traveller is at once introduced to the local style in the Church of the Ainay, which however is much modernised and restored. Some portions of the walls may be as old as the tenth century, but the con- secration of the existing building (barring subsequent restorations) took place in 1107. The four granite columns of the choir are possibly antique. The church has the Basilican form, with central nave and side aisles. The square lantern over the crossing, which forms a dwarf tower externally and cupola inter- nally, is peculiar to this part of the country. The square tower at the west end (Fig. 35) with its successive stages of small windows, has a far-off resemblance to the ancient brick campaniles of Italy — a resemblance which we shall find more strikingly illustrated in more Southern examples. The peculiar incrustations in red and other coloured stones, which have a pleasing and Eastern effect, are a feature of common occurrence in the churches of the Auvergnat, I 22 MEDI/EVAL PERIOD. not far distant from Lyons towards the south-west. The pointed doorways are modern, but are reproductions of a restoration of the twelfth century. The cathedral is a fine specimen of the mixed style of this part of the country, the choir being partly FIG. 35. THE AINAY, LYONS. Romanesque of the end of the twelfth century. The flat arcades of the interior (Fig. 36), composed of large trefoiled arches, resting on fluted pilasters, are very characteristic of the Burgundian style. The idea of these pilasters is derived from those of the Roman gates at Autun. In the cathedral LYONS. 123 there as well as at Tournus, and other towns of Upper Burgundy, such pilasters are of frequent use. The form of the clerestory windows seems to have been bor- rowed from these arcades. The choir has an apse, but no aisle running round it, as invariably happens in the North. Externally it presents a curious gallery with twisted shafts and in- laid coloured stones, like those of the Ainay. The towers at the transepts are a remarkable feature. The nave is Nothern Gothic work of the thirteenth and fourteenth centuries, — but the vaulting is sexpartite, a form entirely abandoned in the North at that date. Some of the carving on the west front is very vigorous and fine,recalling the splen- did work on the portals of the north and south transepts of Rouen. Altogether this building presents in the choir and transepts a singular mixture of the styles of Upper Burgundy, with those of the Rhine on the East, and Auvergne on the West ; while the nave is an example of a transplanted design of Nothern Gothic. In descending the Rhone the valley soon narrows, and we pass into the gorges amongst the mountains. On one of the rocky heights which jut out into the valley, the Jt^^^-f I FIG. 36, ARCADES IN CATHEDRAL, LYONS. 124 MEDL^VAL PERIOD. ancient spires of Vienne, and the summit of Mont Pipet, crowned with its Roman citadel, stand boldly out against the sky. The town occupies a strong position and commands the pass, hence it was occupied as a fortress by the Allobrogcs from early times. Afterwards an important city under the Romans (as already mentioned in Part IV.), it continued so during the Middle Ages. But it suffered severely from the attacks of invaders, being first ravaged by the Lombards, and afterwards by the Saracens. In the ninth century Boson, King of Burgundy and Provence, made Vienne his capital. After the fall of that kingdom, the city de- clined, and became the posses- sion of the Dukes of Albon, who governed under the title of Dauphins of Viennois, till 1 349, when Humbert II. ceded the country to the King of France. The towers of the two most ancient churches, viz., St Andre-le-bas and St Pierre (Figs. 37 and 38), are very fine examples of the campa- nile-like designs of the South, and strikingly resemble that of the Ainay at Lyons. The former is ornamented with the FIG. 37- ST ANDRE-LE-BAS, VIENNE. arcadlng SO characteHstic of the churches of the Rhine and Lombardy, some of the miniature arches resting on corbels carved with grotesque heads. The tower of St Pierre has the large trilobed arch, also common in the region to the eastward. LYONS. 125 St Pierre is very ancient and shews masonry constructed somewhat after the Roman manner, with courses of brick- work dividing the rubble. The west entrance is pre- ceded by a porch or nar- thex in an early style. St Andre-le-bas was the chapel of the Duke of Burgundy. This church has a single nave (in the style of the south-west provinces), with groined vaulting and heavy but- tresses, but the interior has been completely re- stored. An inscription fixes its date as 1 142. There are also some re- mains of a fine cloister adjoining. The cathedral of St Maurice is, like that of Lyons, a mixture of dif- erent styles, and has few of the merits of any. It was begun in the eleventh century, and not completed till the sixteenth. The plan is that of a basilica with an apse at the east end of the choir. There are a central nave and side aisles, but the latter stop at their eastern extremity with square ends, and are not continued round the central apse. The eight eastmost pillars of the nave belong to the twelfth century, and are partly decorated with fluted pilasters in the style of Upper Burgundy. The caps are "historied," or carved with FIG. ST PIERRE, VIENNE. 126 MEDIEVAL PERIOD. figures after the Romanesque style ; while the arches are pointed and ornamented with billet mouldings. Above and below the triforium gallery is a course of red stone containing sculptures of all sorts of subjects, like the inlaid work of Auvergne. The vaulting is of the four- teenth century. In the sixteenth century the proportions FIG. 39. ST MAURICE, VIENNE. of the cathedral were found defective, the buildine beino- considered too short for its length, and several bays were then added to the west end in the florid Northern style of the period. The west portal (Fig. 39), with its richly carved tracery and sculpture, standing as it does at the top of a VALENCE. 127 lofty flight of steps, rendered necessary by the slope of the ground to the westward, must have been a fine example of its style before the statues and carving, which so profusely adorned it, were destroyed during the wars of religion, by the Baron des Adrets, in 1562. The cathedral is 300 feet long by 1 00 feet wide, but, owing to the mixed character of its design, it is somewhat heavy in effect. A remarkable ex- ample of a double round tower of Renaissance art (Fig. 40) stands close to the ancient Forum, and several specimens of an- tique houses of all ages are to be seen in the busy and picturesque streets. The next town of importance reached is Valence, which, how- ~ ever, is not very rich in architectural subjects. The cathedral (St Apol- linaire) is of the twelfth century, and shews some special features indicative of the influence of the style of Auvergne, such as an arcade on the outside of the nave, with alternate round and straight sided arches. The caps of the nave piers are very Corinthian in character, and the roof is a tunnel vault. The apse is round, and is strengthened with buttresses in the form of small shafts. FIG. 40. HOUSE IN VIENNE. 128 MEDIEVAL PERIOD. a feature very common in Auvergne But this and the other churches have all been reconstructed in Renaissance times. The Maison-des-Tetes (Fig. 41), near the Place des Clercs is a well preserved and telling specimen of a florid , domestic facade of 1534. f In descending the Rhone the traveller cannot fail to notice that the precipitous mountains which bound the plain on the west side of the river are frequently crowned with the shattered remains of mediaeval castles. Of these one of the most striking is the Castle of Crussol (Fig. 42) opposite Valence. This great castle, now reduced sj'jfe' to a mere fragmentary heap of ruins, was formerly the FIG. 41. MAisox-DEs-FETEs, VALENCE. strottghoM of thc family of Crussol, Dues d'Uzes. It forms a fine feature in the land- scape, and commands a splendid view of the course of the Rhone and the valley of the Isere, with the Alps to the eastward. But it is now so ruined that a closer inspection is somewhat disappointing to the architect. A few miles lower down the very interesting ruins ot the Monastery of Cruas are seen on the same side of the river. This may be conveniently reached by the rail- way on that side, or from Montelimar. The latter course forms a beautiful drive, without taking the traveller going south far from his direct line. Crossing the Rhone by the bridge of boats not far from the station, the ruins of what once was the powerful castle of Rochemaur meet CRUAS. 129 the view, crowning the rocky height in front, and ex- tending great walls of enceinte down to the village at the base. The detached tower forming the keep, which FIG. 42. CASTLE OF CRUSSOL. could only be approached by a draw-bridge, now stands a shattered ruin on its isolated peak. A drive of a few miles along a level road, above which on the left rise great masses of basaltic rock forming fantastic figures not unlike the ruins we have just passed, brings us to the village of Cruas, where we discover two architectural subjects of some importance. On the hill above the village stand the ruins of the ancient monastery, now greatly dilapidated, and having the space between the walls choked up with the steep and irregular streets of a small town. The monastic buildings have almost entirely disappeared, the materials having doubtless served for the construction of the shabby houses which now occupy their place. Some portions of the enclosing walls, however, still survive, together with one very interesting edifice, which remains I I30 MEDI/EVAL PERIOD. / ; 'Vvl ^I'-H.^liyi: (' f- li^ CRUAS. 131 tolerably entire. This is the ancient chapel of the abbey, originally a building of the twelfth century, but which in the fourteenth ccutury was engulphed by the enclosing walls and fortifications then erected, and heightened so as to be converted into a keep (Fig. 43). The interior has, however, been preserved untouched, and shews the simple FIG. 44. MONASTERY CHURCH, CRUAS. style of the Cistertians of the twelfth century (Fig. 44), The plan consists of a single nave with plain pilasters set against the side walls, from which spring the flat transverse 132 MEDIEVAL PERIOD. arches which strengthen the round tunnel vault. The east end is terminated with a semi-circular apse roofed with a spherical dome, and ornamented with the small arcaded pattern so common at that period. On the left or northern side wall arches are introduced, as if for a side aisle, but there is no appearance of any aisles ever having existed. The plain round arched west doorway still exists, and the line of the original gable above it is distinctly observable in the masonry {see Fig. 43). The keep built round and over the church is of remarkable design. Large round buttresses have been added at the outer angles, with square buttresses at the sides, and both are carried up so as to receive the arches which support the parapet on the top. These arches spring from bold corbels projecting from the buttresses, and are set well forward from the face of the walls, so as to leave a space between the main wall and the parapet. This space forms a long opening or machicolation, by means of which the base of the walls could be defended against hostile operations. We shall see by and by that this is the same form of machicolation as was adopted in the Pope's Palace at Avignon, and elsewhere in the South. The parapet is crenellated, and, from the beam holes still visible in the walls, we may infer that it was provided with wooden hoardings for defence. The church in the village at the base of the hill (Fig. 45) has also some points of special interest. It is of early twelfth century design, and has a vaulted subterranean crypt with numerous sculptured caps. The upper church has a square tower at the west end, and a transept with three circular apses opening out of it to the east, — the central apse forming the choir, and the side apses lateral chapels. Over the crossing rises an octagonal lantern, containing a dome crowned with a smaller circular lantern. The CRUAS. 00 whole composition and style of ornamentation strongly recall the architecture of the Rhineland and Lombardy. The thin strips of pilasters on the apses and lantern, with small arcade-enrichment between, together with the general form of the lantern, strikingly recall the churches of Bonn KIG. 45. CHURCH AT CRUAS. and Cologne. The western tower again is similar to those we have left behind at Vienne and Lyons. This church, like many others we shall encounter, illustrates what has above been stated as to the universality of the one style which prevailed over the " Empire," before it was broken up into separate nationalities. 134 MEDI/EVAL PERIOD. Soon after leaving Montelimar with its frowning citadel, in which there are some ancient Romanesque details, and a great tower of the fourteenth century called the " Tour de Narbonne," we observe on the opposite side of the Rhone the picturesque town of ViVIERS, clustering on a pyramidal rock, and appropriately crowned with the cathedral and spire. The church is of the fourteenth century, a single nave without aisles. It is said that the crowded and narrow streets contain some old houses, but the place is apparently more picturesque than architectural. We now approach the country in which the peculiar elements of the Provengal style become distinctly apparent. About four miles north-east from Pierrelatte, the ancient town of Garde Adhemar may be seen towering aloft on the crest of a bold promontory about 500 feet high. This towqi contains a Romanesque church with an eastern and western apse, after the German fashion, a rather remark- able feature here, but showing, like the ornaments already referred to, an influence from the Rhine. The side aisles are vaulted with quarter-circle arches, and the exterior is finished with a small belfry and steeple. About six miles to the south-east of Pierrelatte lies the village of St Paul-TROIS-CHATEAUX, where another very remarkable church is found. The town was of some importance from Roman times downward, and retained its bishop's see till the Revolution. Several fine Roman sculp- tures have been found in the locality, and are preserved in the Calvet museum at Avignon ; and a few remains of Roman structures and columns are still to be seen. But the most interesting edifice in the town is the ancient cathedral of the tw^elfth century. As this is the first building we have met with which is characteristically Provencal in style, so it is also one which preserves in a very distinct and marked manner the traditional Roman ST PAUL-TROIS-CHATEAUX. 135 features of that style. The annexed geometric view of one of the exterior bays (Fig. 46.) shews how close is the imita- FIG. 46. ST I'AUL-TKOis-CHATEAUX. Part Of E.xtcrior (froiH RevoH). tion in the Provencal architecture of the twelfth century of that of the Roman structures which no doubt then existed on the spot. The pilasters, crowned with their complete entablature of architrave, frieze, and cornice, and filled in with an intermediate arcade, might be part of a Roman amphitheatre (such as those at Nimes and Aries) ; and indeed it is supposed that traces of an ancient amphi- theatre have been discovered at St Paul. Every detail might belong to the Lower Empire. The ornaments of the cornice are directly imitated from the modillions and leaf enrichments of Roman work ; and the (^^^ and dart, 136 MEDl/EVAL PERIOD. and other classic details are freely used throughout. The interior ornament is equally Roman in design. The east end is terminated with an apse, which has eight fluted columns. The two side aisles are covered with half wagon vaults, and the nave, which is unusually high, with a simple tunnel vault. This locality brings us for the first time into contact with a tradition of which we shall find many traces in various parts of Provence, viz., that the Gospel was in- troduced into this country by the family of Lazarus, and some other contemporaries of Christ, who had been driven hither by persecution. At St Paul the story goes that the first bishop was the blind man whose sight was restored, and who assumed the name of Restitutus. About three miles from St Paul may be seen the monument of this saint, said to be of very ancient and curious construction. It is partly built into the church, and is ornamented with a remarkable frieze, containing a rude representation of the last supper. The station of La Croisiere is the nearest to a very remarkable specimen of medieval construction, the PONT St Esprit. This celebrated bridge was planned and begun in 1265 by Jean de Tensanges, the abbot of the order of Cluny, in the district of St Savourin du Port, which belonged to the abbey. It was thirty years in building, but we have proof that the work was well planned and skilfully executed, in the fact that it subsists till the present day. The length of the bridge is about 3000 feet, and the width of the roadway is 16 feet. There are twenty- two arches, all semi-circular in form, and constructed with carefully wrought courses of arch stones, forming separate rings set together side by side, but not bonded into one another. This mode of construction was probably bor- rowed from the bridge of St Bcnezet at Avignon, which AVIGNON. 1 37 aeain derived it from the Roman Pont du Gard. Over the piers are smaller arched openings to allow the water of the high floods of the Rhone to pass freely through. Like the Pont St Benezet at Avignon the Pont St Esprit does not run straight across the river, but is bent at an obtuse angle against the current so as to resist its pressure. The bridge was fortified at both ends by castles erected by the suzerains on the opposite sides of the river. These remained till the seventeenth century, when one of them was brought into connection with the citadel of the town constructed by Louis XI IL This was the last bridge erected by the " Freres hospitaliers pontifes " (of whom we shall hear more at Avignon). After the thirteenth century neither Communes nor Nobles found it necessary to apply to the monks for their aid as architects and engineers. By that time the lay architects had super- seded them, in the manner above described (Part V.) Passing next close under the rocky heights crowned with the picturesque ruins of the castles of Montdragon and Mornas, the massive wall of the theatre of Orange rising high above the plain arrests the eye. A little further on the ramparts and gates of the small walled town of COURTHEZON are visible close to the railway ; soon after passing which, the bold outline of the great Palace of the Popes discovers itself to view towering on its rock above the town of AviGNON. On nearer approach, the city walls and gates, sur- mounted with bold corbels and machicolations, and the numerous towers and spires of the churches, unite to give a striking, first impression of the city. As- it is chef-lieii of the department of Vaucluse, and the See of an Arch- bishop, Avignon is a town of some business and prominence. The traveller will here find better accommodation than he generally meets with in the country towns. This may 138 MEDLEVAL PERIOD. therefore be regarded as a good place to establish one's headquarters for a few days, both for the purpose of seeing the very splendid monuments of the town, and also as a convenient centre from which excursions may be made to the interesting Provencal churches of early date, which abound in the vicinity. Although Avignon was an important Roman colony, it has already been remarked how barren it is in Roman remains. After the fall of Rome, it passed successively through the hands of the Burgundians, the Franks, and the Visigoths : it was twice taken by the Saracens (730 and 737), and twice delivered by Charles Martel. After- wards it became part of the Kingdom of Aries, and subsequently capital of the Marquisate of Provence. In the twelfth century the community declared itself a free and independent city, and erected new walls and fortifications. Avignon ranged herself on the side of the Albigenses ; and, as previously mentioned, she was be- sieged and taken, and in 1251 became subject to the Count of Provence. In 1308 an event happened which had a very important bearing on the subsequent history of the city. Pope Clement V., finding his position in Italy insecure amidst the dreadful factions which rent that country, judged it prudent to retire to Avignon, where he would be under the protection (if also under the power) of the King of France. Avignon thereafter continued for more than a century the Holy See, and during that time seven Pontiffs and two Anti- Popes reigned in this new Rome. As already narrated. Pope Clement VI. purchased the suzerainty of Avignon and the control of the Venaissin from Jeanne, the Queen of Naples and Countess of Pro- vence, in 1348. Successive Popes used every exertion to render the place secure, and especially built themselves, AVIGNON. 1 39 on the Rocher-des-Doms, the immense Palace, which still forms the most prominent feature of the town. The walls and fortifications were begun in 1349, and finished in 1368. When the Popes returned to Rome, Avignon was governed for them by a Legate, who was displaced in favour of the Republic in 1797. The Palace of the Popes is well situated for defence. It stands on the top of an abrupt rock, round the base of which, on the north, sweeps the deep and rapid current of the Rhone. The rock is perpendicular all round the east and south sides, and is thus cut off from the town ; while on the west, where alone the site is approachable, the access is steep, and is protected by the lofty and menacing walls of the Palace {see Plan, Fig. 49). The Church of Notre Dame des Doms (A) occupies the summit of the rock, and is of much older date than the Pope's Palace. The porch of this church (Fig. 47) is extremely interesting as an example of Provengal archi- tecture so strikingly ancient in character as to have been long held to be a classic structure of the Lower Empire, It exactly resembles a Roman design in its general idea, forming, as it were, a compartment of a classic edifice, with a fluted Corinthian column at each side, and an arched doorway or opening between. On the columns rests an entablature, and the whole is crowned with a triangular pediment. The Corinthian capitals, the cornices with Q%g and leaf enrichments, the mouldings, imposts, &c., are all strikingly Roman in character. The inner doorway to the church is similar. Merimee points out that the size of the stones used in this porch does not correspond with Roman work, being smaller than Roman large work and larger than Roman small work. Also that the stones of which the columns are composed arc 140 MEDLEVAL PERIOD. AVIGNON. 141 wrought with tails bonded into the wall (alternating right and left), which he regards as contrary to classic practice. The bull's-eye of the tympanum is also not Roman, but might be an addition. It is probable that the sides of the porch were originally open. The date of this porch has been the subject of much discussion ; but it seems most likely that it belongs to the early part of the eleventh century. It was at that date that architecture began slowly to revive ; and this is pro- bably one of the first efforts. Designers would then natur- ally fall back on the classic forms, of which examples were abundant around them. There are many instances in which the early mediaeval architecture can be traced to Roman structures found in their vicinity. We have already met with one striking example at St Paul-trois-Chateaux ; and it was previously shewn how the gates of Autun influ- enced the architecture of a large district, in which pilasters, copied from those of the Porte d'Arroux, are universally used instead of round shafts. We shall also presently see how the dome-topped campaniles of Provence are also copied from Roman monuments, such as that at St Remy; and how in almost all the churches throughout Provence Roman columns, caps, cornices, mouldings, and enrichments are freely imitated. But these imitations are generally in- complete, and invariably contain defects or omissions, which shew that they are imperfect copies, and not real Roman work. Such imperfections affect the details rather than the general style. In the instance before us, it is stated that the cornice of the antique part of the tower above the porch is copied exactly from that of the attic of the Arch at Orange. The interior of Notre Dame des Doms is an example of an early Provengal church, but not a very favourable one, as it has been frequently altered and added to. The choir is of 1 671, and the lateral chapels are of the four- 142 MEDI/EVAL PERIOD. tccnth century, while Renaissance balconies in marble have been added in front of the gallery, over the side aisles. In the choir is a remarkable chair of the twelfth century, in white marble, which was the seat of the Pope ; and the tomb of John XXII. (Fig. 48), in one of the side chapels, is a fine specimen of the imported Northern Gothic style. The tower, partly destroyed in the fifteenth century, was repaired in 1430 ; and the colossal statue of the Virgin was added in 1859. The walls of the interior were once decorated with frescoes by Simone Memmi, but they are now almost obliterated ; and the in- terior is so dark, that the few fragments remaining cannot be seen. Originally the church consisted of a single nave, without aisles, vaulted with a pointed barrel-vault, strengthened with transverse ribs and internal buttresses, being, as above explained, one of the ar- rangements common in Provence. The east end terminated with an apse, the bay in front of which is vaulted in a remarkable manner. A dome is frequently introduced in this position ; but in the present instance, owing to the width of the bay being small compared to the width of the church, a square space on which to raise the dome could not readily be obtained. To FIG. 48. MONUMENT OF POPE JOHN XXII. AVIGNON. FIG. 49. PLAN OF THE PALACE OF THE POPES, AVIGNON, from ViolIet-le-Duc's Dictionnaire. 144 MEDLEVAL PERIOD. accomplish this, successive arches are thrown across between the transverse ribs, rising with the curve of the latter and advancing over one another, till the central space becomes a square, on which a lantern, with eight Roman-looking columns, is raised and supports an octa- gonal dome above. In the twelfth century the rock, on the summit of which stands the Church of Notre Dame des Doms, was covered with habitations and gardens, which were dominated by the ancient castles of the Podesta and the Bishop. Pope Clement V., on his first arrival at Avginon, occupied the Convent of the Dominicans; and John XXII., in 1316, lived in the building which existed in his day where the Pope's Palace now stands. In 1336 Benedict XII. de- molished w^hat his predecessors had erected, and rebuilt the northern part of the existing Palace (Plan, Fig. 49 — from Viollet-le-Duc's Dictionnaire), being the side next the Cathedral, on a grand scale, from plans by the architect Pierre Obreri. His works terminated at the " Tour de Trouillas," or the great donjon (B) at the N.-E. angle, and is marked by another immense tower (B) at the west end of the range, called the " Tour de la Cache." The south face (E) of the northern courtyard, and the southern walls of enceinte were constructed under Pope Clement VI. It was also he who acquired the suzerainty of Avienon and the Comtat Venaissin from Oueen Jeanne in 1347. The southern front of the palace was completed by Pope Innocent VI., including the great Chapel, or Consistorial Hall (G), a building about 170 feet long by 50 feet wide, roofed with pointed and groined vaulting. The great tower (H) adjoining to the south contains the sacristy, &c. Urban V. levelled the space which forms the Cour d'honneur (D), excavating the platform out of the solid AVIGNON. 145 rock. Owing to the slope of the ground, this court is about one story lower than the older northern court. The same pontiff further erected the east wing, and added the seventh tower, called the Tour des Anges. Gregory XL left Avignon and returned to Rome in 1376. Avignon was thus occupied by the Popes from 13 16 to 1376, or sixty years, during which time there reigned six Popes. They were all Southern Frenchmen, a circumstance which probably had considerable influence on the style of the architecture, which is undoubtedly quite that of Provence, and has small affinity with the style then in use in Italy, notwithstanding that the name of the architect Obreri sounds somewhat Italian. The construction, mouldings, vaults, and defences, are all in the style of Southern French work, and do not recall Italian features. The only Italian details are the paintings on the vaults and ceilings, said to have been executed by Giotto and Simone Memmi. Of these there are unfortunately only a few fragments left. The vault of the great Consistorial Hall was completely painted, but the building having been cut up into several floors in order to convert it into barracks (in which occupation it still remains), the faded and damaged condition of the paintings can well be conceived. The Anti-Popes Clement VII. and Benedict XIII. occupied Avignon from 1379 to 1403. The latter w^as besieged in the palace by General Boucicaut in 1398. The Pope fled, but the palace did not capitulate till 141 1. The buildings suffered severely from fires which occurred in 1378 and 1413. The principal entrance to the palace is on the west side, and opens from an esplanade which commands the surroundings, and w^as formerly divided into several baileys or courts, with walls, towers and gates. The entrance gateway was defended with two portcullises, K 146 MEDI/EVAL PERIOD. with folding gates and double machicolations. It had originally an advanced work in front, which was re- placed in the seventeenth century by a crenellated wall. The appearance of the building, whether it be regarded externally or from the courtyard, is grand and imposing from its vastness and height. The towers and walls are, even in their present crippled condition, most command- ing from their magnitude, the former being about 150 feet in height, while the walls rise to about 100 feet. On entering the great courtyard (D), evidence presents itself of the difference in level between it and the older northern court (C), in the rugged foundation on which the south front of the latter stands, the rock having been cut down, as above mentioned, to the level of the lower court. The frowning machicolations of that side, which look somewhat out of place in a Cour d'hoiinetir, are explained when we remember that under Pope Benedict XII. this formed the exterior of the south face of the palace, before the south courtyard was added by Clement VI. and Innocent VI. The most striking feature of the architectural details of the palace is the machicolations of the parapet. These consist in long grooves opening betweeen the inside of the parapet and the external face of the walls, the parapet being carried on pointed arches thrown between buttresses which project at intervals {see Fig, 47). This form of machicolation (which we have already observed at Cruas) is much used in the southern provinces, perhaps from the prevalence of such works in the churches, most of which were fortified, and where the buttresses which existed for other reasons, were found convenient, and were thus utilized. These long machicolations have the advantage of allowing beams, and other lengthy missiles to be thrown down on assailants ; but the frequently recurring broad buttresses or AVIGNON. 147 wall spaces, which have no defence immediately over them, are a drawback. In the North these long grooves are very rarely used ; a continuous series of machicolations between bold corbels being the form almost invariably preferred. At Avignon the towers were crowned with the latter kind of defences, as the relics of the broken corbels still shew. The Coiir d'hoiineur communicates freely with every part of the structure. To the right, on entering, is observed the arcade which contains the great staircase leading in two flights to the principal apartments on the first floor. Two posterns open from this courtyard, and these are carefully masked in the re-entering angles by buttresses, and defended with a portcullis. A staircase also leads to the upper courtyard. The most ancient part of the palace is the Tour de Trouillas, at the north-east angle, an immense mass which towers above all the other works and formed the Keep. The Pope's apartments in the time of Urban V. were on the first floor of the buildings surrounding the Cour d'honneiir. From the landing of the great staircase, which gave access to the principal apartments, passages were carried round the building in the thickness of the wall next the courtyard. These were carefully constructed and finished with pointed and groined vaults. They com- municated with the various rooms, and also with several staircases which connected the different floors, and led to the defences on the roof The apartmnts of the south court were also joined to those of the north court by these passages. The great kitchen was situated on the first floor of the building next the keep. It has a high pyramidal vault, which gives it a mysterious look, and perhaps led to its being long regarded as the chamber of torture and hall of execution of the Inquisitors. The banqueting hall was 148 MEDLEVAL PERIOD. in the north court, near the kitchen and the keep. The smaller tower (M) in the centre of the east flank (now called the Salle de la Justice) contains in two floors some admirable paintings of the fourteenth and fifteenth centuries, which are in a fair state of preservation. The entire building is of the most massive masonry — the whole of the basement being vaulted and constructed so as to defy destruction. Commencing with the great keep at the north-east angle, and proceeding round the palace by the west, south, and cast, the towers occur in the following order : — north-east — Tour de Trouillas ; north-west — Tour de la Gache, followed by the Tour de St Jean, Tour de St Laurent, Tour de la Cloche, Tour des Anges, Tour d'Estrapade. One circumstance specially noticeable about the design of the palace of the Popes is the entire absence of effort after symmetry in the elevations, such as is generally aimed at in the case of the large palaces or halls of the late Gothic and Renaissance periods. Here the various blocks of building are simply placed where they are required, and the different levels and irregularities of the ground are made available in the most natural and con- venient manner, with the result that the effect is delightfully varied and impressive from every point of view, and at every turning.* The rock on the north side is almost perpendicular, but here also the access had a defence called the Tour St Martin, which is now removed. From this point slopes led down to the gate of the chatelet which protected the bridge over the Rhone. The walls, with their gateways, which still encircle Avignon, were erected between 1348 and 1364 during the * Elevations and details are given in ViolIet-le-Duc's Dictiofinaire, to which we are also indebted for most of the above particulars. AVIGNON. 149 residence of the Popes in the city. These walls (Fig. 50.) do not represent a very important defensive work, even for the time when erected ; they are neither sufficiently high nor are the towers of suitable construction for a really strong enceinte. They are rather an outwork in front of the palace, which was itself a citadel of impregnable strength. At Avignon, as in the South generally, and also in Italy the towers are square, and they are constructed ^^^^!£?^-'ssas&s« KIG. 50. PORTION OF CITY WALL, AVIGNON. ll^esi side. with the side next the town left open, so that in case of being taken by an enemy they could not be held against the inhabitants. They are not built, as the towers on the walls of enceinte of the great castles were, of size and strength enough to stand an independent siege. The large square towers occur at pretty wide intervals, and intermediate smaller turrets are occasionally introduced to 150 MEDIyEVAL PERIOD. strengthen the curtains between them. These are composed of two plain buttresses with a pointed arch thrown across between them near the parapet, behind w^hich there is a long machicolation on the same principle as those of the Palace. At the base of the wall, and between these buttresses, a bold slope or talus is introduced, with the double object of thickening the wall at a point where it might be at- tacked by sap, and also to intercept any stone balls or other projectiles thrown from the machicolation, and cause them to ricochet obliquely against " cats " or other engines brought up to assail the wall. The talus would of course be designed in every case of such a slope as might be best suited for defence, according to the nature of the lower part of the fortifications, whether a ditch or a rocky escarpment. The walls of Avignon were entirely surrounded with a w^et ditch above 20 yards wide, and 15 feet deep below the crest of the counter-scarp. The ditch was supplied with w^ater from the Rhone, the Sorgue, and branches of the Durance. Of the two last rivers the former joins the Rhone above and the latter below Avignon. The bottom of the ditch was paved to enable the sludge to be cleaned out. The ditches have now been completely filled up, and the spaces outside the walls converted into a public promenade. The towers, as above remarked, are for the most part of the square form generally adopted in the South, as distinguished from the round form which was usually employed in the North. The latter w^as considered safer, from its not presenting, like the square towers, any flat surface unprotected by the adjoining curtains against which miners could operate in comparative safety. The parapet is carried on very bold corbels of four and five courses in height, with pointed arches between them. The corbels at the angles being set diagonally, AVIGNON. 1 5 I have a rather greater projection than those at right aneles to the wall, and have therefore an additional course in the height. The arches adjoining the angles would naturally be wider than those on the faces, but to obviate this the corbels next the angle ones are slightly inclined towards them, so as to equalise the width of the openings. This is the general rule in all square towers of this de- scription. The gates of the town are simple arched passages passing through square towers, being a type of gateway of frequent occurrence in the South. They are not protected with flanking towers or angle turrets, such as are invariably employed for greater security in the North. The gate- towers were defended with chatelets on the outer side of the fosse. Of these, the "Porte St Lazare" on the north-east side of the town is the best preserved. This had a fore- work attached to the gateway which protected the draw- bridge. The latter descended on a landing which formed a detached square barbican, fortified with a parapet and angle turrets, and surrounded with a ditch. From this outwork another drawbridge in one of the sides, and therefore at right angles to the main gateway, gave access to the ex- terior roadway. This gateway was destroyed by an inun- dation of the Durance in 1358, and was reconstructed in 1364 by Pierre Obreri, the architect of the Papal Palace. The gateways of Provence, such as those of Orange and Marseilles, were usually similar in design to those of Avignon. At Carpentras and Aigues Mortes examples still exist of gateways pierced in square towers without flanking towers or turrets. Pont St B£nezet. — The two opposite banks of the Rhone were generally in ancient times in the hands of different superiors. Thus, in the fourteenth century, while the Comtat Venaissin on the east belonged to the Popes, 152 MEDI/EVAL PERIOD. the opposite side of the river formed part of the kindgom of France. In order to protect the different domains castles were erected at both ends of the bridge which connected them. The bridge of St Benezet (Fig. 51), which united Provence with the west side of the Rhone opposite Avignon, FIG. 51. PONT ST BENEZET AND CHAPEL OF ST NICHOLAS, AVIGNON. is said to have been built by Petit Benoit, a shepherd of the Vivarais, who believed himself inspired with a mission to carry out this great project. Benoit became the chief of a society of " hospitallers," instituted in the twelfth century for the purpose of building bridges, establishing ferries, and assisting travellers. He had AVIGNON. 153 already constructed abridge at Maupas, when in 1178 he instigated the great undertaking of bridging the Rhone opposite Avignon. This he began in 1178 and finished in 1 1 88. The bridge was almost 1000 yards long, and the roadway is about 16 feet wide including the parapets. Like the Pont St Esprit it forms an obtuse angle against the stream, and the centre rests on a flat island in the middle of the river. There were 18 arches in all, including those on the island. The piers are of a long low form, and their sharp beaks project a considerable way up and down the river beyond the bridge, giving the whole, as seen from the heights of the Rocher des Doms, very much the appearance of a bridge of boats. The alternate piers seem to have had recesses for allowing vehicles to pass, and all had archways above the level of the beaks to allow the passage of the flood waters of the Rhone which are sometimes excessive. The arches are slightly elliptical, or egg-shaped, which renders them stronger at the apex than the semicircle would be. They are constructed with four rings of arch stones in the width of the bridge, formed with carefully cut voussoirs — each ring being separate from, but placed close alongside of, the others. This idea was probably derived from the system adopted in the Roman Pont du Gard (as above explained), which is not far distant. The bridge was cut for defensive purposes in 1395, during the siege of Avignon. It was probably thereafter imperfectly repaired, and in 1602 three of the arches fell; in 1633 two other arches gave way, and in 1670 two more. It is now reduced to the three arches adjoining the chatelet on the side next the town. On the pier nearest the land still stands a picturesque chapel dedicated to St Nicholas (Fig. 51). The floor of this chapel being on the level of the top of the pier was 154 MEDM^VAL PERIOD. considerably below that of the roadway of the bridge ; but the building was so contrived that passengers on the bridge could see down through an arcade into the interior. Access to the chapel was provided by steps corbelled out KIG. 52. TOWER OF VILLENEUVE. on one side of the bridge. At a later period the structure has been raised and modernised. The passage of the bridge was defended on the right bank by the ToWER OF ViLLENEUVE, (Fig. 52), erected in 1307 by Philippe le Bel, under his architect Rodolphe de Meruel. Like most of the work of this period, the walls are ST ANDRE. 155 faced with stones square-dressed, but with the surface left rough. The tower is finished with the usual bold corbel- ling, machicolations, and angle bartizans, and is surmounted by a lofty watch-turret. It will be observed that the style FIG, 53. ORATORY IN CASTLE OF ST ANDRE. o{ this French tower is that of the North, and differs materially from the towers of Avignon above described. In order more completely to protect this part of his domains, Philip constructed, in the end of the thirteenth century, the important fortress of St Andre, immediately 156 MEDI/EVAL PERIOD. opposite Avignon, and close to the small town of Villeneuve- lez-Avignon. This citadel enclosed a large space occupy- ing the summit of a rocky hill, and comprised numerous buildings, including a monastery. The extent of the fortress may be conceived, when it is noticed that enclosed within the walls, in different parts of the large space of vacant ground, may still be seen a convent, with its gardens, and a small town. A portion of the more ancient buildings still survives in the form of a small oratory (Fig. 53) of the twelfth century, with polygonal apse, having a circular arcade, and a cornice containing modillions after the classic manner. This great castle had but one gate, which opened to the southwards, on the only accessible side of the site. That gateway (Fig. 54) is a splendid speci- men of military architec- ture, having a vaulted arch- way 13 feet in width, with finely moulded jambs and arches (Fig. 56). On either side is a large round tower, crowned with a machicolat- ed parapet (Fig. 55), The vaulted passage through the gatehouse was defended at each end with a portcullis and folding gates. The apartments in the towers l-IG. 54. CASTLEOKST ANUKE, VILLENEUVE-LEZ-AVIGNON. with rOUnd {YOUtS, RYC largC P/an of Entrance Gateivay. r ^ • i and finely vaulted with pointed groins, and the floors are all paved. The platform on the top is also of pavement resting on the vault below. The whole building is thus put out of danger from fire. I ST ANDR£. 157 'if m AM '•'^?'^^l /i.5/^ ; 158 MEDI/EVAL PERIOD. KiG. 56. CASTLE OF ST A.NDKE. Interior of Gate^vay. ST ANDRfi. 159 Over the central gateway, and above the towers, rises a large square turret, which was also vaulted and flagged on the top, and provided with a machicolated parapet. This platform, as well as those over the towers, were thus well adapted to receive the large catapults, mangonels, and other military engines in use in the fourteenth century. FIG. 57. CASTLE OF ST AKDRK. Fire/>lacc in Gatehouse. The diagonal walls which fill up the angles next the walls of enceinte contained staircases, &c., and are set at an angle so as to present a front against assailants approach- ing from the flanks. The round wells of the staircases i6o MEDI/EVAL PERIOD. were continued above the roof with round enclosures, which were visible above the parapet in the form of crenellated turrets. itiuL.:u^^ e ^ ^ The rooms in the gatehouse are well finished in ashlar work, and have ornamental chimneys, of which Fig. 57 is a specimen. That over the entrance gateway contained ST ANDRI*:. i6i the apparatus for working" the portculHs. These chambers have been used as political prisons at various times ; and the unfortuate occupants have relieved their weary hours by carving all kinds of memoranda on the walls and floor, amongst which religious symbols and pictures mingle with armorial bearings, initials, and scraps of verse. These FIG. 59. GUARD-ROOM ON WALL, ST ANDRH. carvings are often well executed, and they form a very interesting, although melancholy exhibition. Some remains of the outer barbican which protected the approach to the gateway may still be observed. The walls of enceinte of St Andre present some inter- im l62 MEDLKVAL PERIOD. The great round tower esting and picturesque details at the south-west angle (Fig. 57) and the plain curtains adjoining it are very characteristic of the period, and have more of a Northern than a Southern aspect. FIG. 60. REMAINS OF A GUARD-ROOM ON WALL, ST ANDRE. The interior of the walls, with their parapets and parapet walks, are in good preservation, and form fine illustrations of these features. In the long stretch of the north wall, in which there are no tow^ers to protect the parapet walks or to contain guard-rooms or posts for reliefs of sentries, small chambers were formed at intervals for that purpose on the top of the wall (Figs. 59, 60). These now present a very quaint appearance, and are suggestive of many a cold and weary watch. They were only large enough to hold half-a-dozen men, but they constituted points which guarded the circulation on the " chemins de rondes." They were provided with a fire- VILLENEUVE. 163 place and loops to the exterior, and had little spy-holes looking along the parapet walks. The latter are widened towards the interior of the walls with corbelling, and follow the slope of the ground, with steps at intervals. FIG. 61. CHURCH OF VILLENEUVE-LEZ-AVIGNON. There are several interesting architectural relics in the town of ViLLENEUVE. The church, a Gothic edifice of the fourteenth century, is designed on the Southern plan of a wide hall, but is executed with Gothic details. 1 64 MEDIEVAL PERIOD. and pointed vaulting. The tower at the east end (Fig. 6i) is a good specimen of the massive fortified type of church towers so common in the South. From the ramparts of the castle the ruins of the " Chartreuse du Val de Benediction " are seen in the valley beneath. This monastery was founded in 1356 by Pope Innocent VI., who was buried there, and over whose grave a splendid monument in the style of the Northern Gothic was erected. After being sadly neglected and abused for many years, it has now been removed to the chapel of the hospital. The Churches of Avignon are mostly on the Southern plan of a single wide nave with internal buttresses containing chapels between them, while the ornamental features are almost all derived from Northern Gothic. They are all of the fourteenth century, and that of St Pierre has an elaborate Gothic front in the flamboyant style practised in the North in the sixteenth century. The "beffroi" of the ancient Hotel-de-Ville, the em- blem of the city's independence, built in 1354, still exists, but is so surrounded with buildings as not to be properly visible. In the vicinity of Avignon, or at least more easily got at from there than any other comfortable resting-place, are many most interesting examples of early Provencal archi- tecture. In the immediate neighbourhood arc the ruins of the Abbey of St Ruf — situated about one mile to the southward. The church has a good apse, and is partly fortified. Two miles to the north-east of the town are found the remains of the Priory OF St Vi^:ran, founded 1 140, and still containing some traces of early paintings. Both are figured by Revoil. At a greater distance from Avignon many more very primitive and picturesque illustrations of early Provencal VAISON. 165 architecture arc to be met with. Of these several may be visited together as they He in the same easterly direction, such as Carpentras, Pernes, and Le Thor. Vaison is also a place of considerable architectural interest, but it is somewhat remote from Avignon, and may be best reached from Orange. In the days of the Empire the town of Vaison, which was of great antiquity, stood on the plain of the river Ouveze, where the soil still abounds in relics of Roman sculpture, tiles, mosaics, hypocausts, and other * works. Some good statues have also been found and conveyed to the museum at Avignon. The cathedral was originally founded at an early period in the same low situation, but the town being exposed to frequent assaults, the inhabitants found it necessary in the twelfth century to remove their houses to a securer site on the hill above. The two divisions of the town are united by a Roman bridge of one span of over sixty feet, which is built, with the usual solidity, across the Ouveze. Connected with the old town are two very ancient churches, St Quinin, and the cathedral, which have sur- vived the many attacks of the Barbarians, and the final demolition of the town by the Count of Toulouse in the twelfth century. These churches are illustrated by Revoil, and shew in all their details a close adherence to Roman design. St Quinin is so very Roman in many of its features that it has been frequently sup- posed to belong to the sixth century, but from the ascertained dates of many parallel instances it is now regarded as a remarkable example of the mode in which the builders of the eleventh century copied the ornament of the Roman works they saw around them, while they at the same time added features of their own invention. Thus the caps are mainly Corinthian in design, but have some figures mixed with the acanthus leaves, in the 1 66 MEDLKVAL PERIOD. manner of the Romance "storied" carvings, the foliage being well executed after an existing pattern, and the figures rudely cut according to the original design of the period. The plan of St Quinin is very remarkable, the apse being triangular externally, and semi-circular, or rather triapsal, internally. The vaults are of the usual pointed wagon form. The cathedral is a church with central nave and side aisles, terminated with three apses. The central one is semi-circular in the interior, but is enclosed in a square envelope on the exterior. The latter is an addition made at a period subsequent to the original construction, and may have been in connection with defence ; an arrangement of which we shall find similar examples at Frejus and else- where. The central nave is roofed with a pointed wagon vault, and the side aisles with truncated wagon vaults, having a long curve towards the outer wall, and a short one towards the nave, and thus acting as flying buttresses against the latter. The cloister and tower, or campanile, are noteworthy ; and a very rare feature is here found in the original bishop's throne, which is preserved in the centre of the apse, as at Torcello and other primitive churches. From historical data, it seems most probable that this cathedral existed in its present state before the destruction of the town in 1160; and as the square envelope of the apse and the vaulting are probably a restoration of a still earlier structure, it seems likely that the oldest portions belong to the previous century. After the destruction of the Gallo- Roman town, the bishop built himself a castle on the summit of the hill on which the new town was erected. The chapel of the castle served as his cathedral till the fifteenth ccntur}', when the existing church of the new town was constructed in lieu CAVAILLON. 167 of the chapel, which was found too small for the growing population. The excursion to Carpentras may be made by rail, and from that point the ancient architectural remains at Pernes and Venasque may be easily reached. At Carpentras, besides the Roman arch already described, the church of St Siffrein and the Gothic gateways of the town are well worth visiting. Venasque contains a very ancient baptistery covered with a dome, and ornamented with marble columns and classic capitals. The whole structure is believed to belong to the Roman period. At Pernes there is a church partly Romanesque and partly Gothic, with a cupola over the choir supported on pendentives, and a crypt of the eleventh century. Le Thor, a small village about 12 miles east from Avignon on the road to Aix, contains, in the church of Ste-Marie-au-lac, a most interesting example of the mix- ture o( Roman and Romanesque features in Provengal architecture. The nave consists of a single hall roofed with a tunnel vault, strengthened w^ith transverse ribs, except the bay next the apse, which is covered with an octagonal dome, formerly surmounted by a belfry. The west facade and porch are very fine, and bear a striking resemblance in style to Notre Dame des Doms and St Gabriel. Cavaillon, besides its Roman remains, contains an interesting early church. It consists of a single nave finished with an apse, which is semi-circular within and hexagonal externally. The original side aisles have been converted into chapels, and the pointed tunnel vault is carried on great piers, with twisted or fluted shafts in the angles towards the top (as at Aix and Aries). 1 68 MEDI/EVAL PERIOD. Amidst the marshes, about half way between Cavaillon and St Remy, is found the small church of Mollcges, formerly the chapel of a Cister- tian monastery. The belfry of this church (Fig. 62) is cited by Viollet-le-Duc as a striking ex- ample of the influence of Roman monuments, such as that at St Remy, on the design of some of the Provencal steeples. It is certainly remarkable that this telling illustration should occur so near the original (see p. 49). In approaching Tarascon, we again observe the opposite banks of the Rhone occupied by two castles representing the dominating powers on either side. The massive rock on the right bank, crowned with high crenellated walls and lofty keep, is the royal castle of Beaucaire ; and the lower but more solid looking pile close to the left bank of the Rhone is the castle said to have been finished and occupied by King Rene of Provence. The history of Tarascon is similar to that of the other towns on the Rhone. Originally a market, established by the Greek colonists of Marseilles, it was converted into a Roman settlement, and retained some of its municipal institutions and liberties under the suzerainty of the Counts of Provence, till they were gradually lost under the feudal system. The church of St Martha, originally built in the twelfth century, on the ruins of a Roman temple, was 62. LE CLOCHEK UE MOLLEGES. rom VioIIet-le-Duc's Dictionttairc.) TARASCON. 169 ^^^ -«*=^ur2-i^^^S5^^ KIG. 63. STE MAKTHK, TARASCON. 170 MEDI/EVAL PERIOD. reconstructed in the fourteenth century, and is of the usual Southern plan with Gothic details. The south porch of the twelfth century church however still exists, and is a very beautiful example of the Provencal style (Fig. 63). In general character it corresponds with the finer instances we shall meet with at Aries and St Gilles, although on a reduced scale. The round and octagonal nook shafts have caps partly copied from the Corinthian, and partly carved with Romanesque figures. The numerous fine mouldings of the arch contain a curious mixture of Roman and Mediaeval ornaments, in the classic egg combined with the Gothic dog-tooth enrichments. The small arcade above, with alternate fluted pilasters and round shafts, all finished with enriched caps resting on a cornice supported on carved heads, have an advanced Romanesque character. This church is dedicated to Martha, the sister of Mary, who along with Lazarus and other primitive saints, are traditionally supposed to have converted the south of Gaul to Christianity. Martha is said to have endeared herself to the people of Tarascon, by delivering the town from the power of a hideous dragon, which feat is celebrated annually by an extraordinary procession, in which the Tarasque (a pantomimic dragon) makes a great figure, followed by representatives of all the members of the holy family, and attended by multitudes of people. The Castle of Tarascon (Fig. 64) stands on a rock which rises but little above the level of the river. Begun by Louis II. of Provence in the fourteenth century, it was finished by King Rene in the fifteenth. It is now a prison, so that the interior is not easily accessible. There is here a curious mixture of the Southern square tower with the Northern round form, while the smaller details are all of the Northern Gothic style. The general TARASCON. 171 172 MEDI/EVAL PERIOD. effect is fine, although somewhat heavy, and the details of the entrance gateway, with its separate drawbridges for carriages and foot passengers, and its ornamental parapet and corbels are particularly noteworthy. Tarascon has some good bits of architecture in its narrow but somewhat picturesque streets, — the winding stair and projecting turret being vtery effectively treated -iSU'i.^i^ - l-'U;. 65. HUUKE IN TAkASCON. in one instance (Fig. 65). The gateway of the town (Fig. 66) on the cast is also simple but good, and quite Northern in style, having two round towers flanking the entrance archway. BEAUCAIRE. 173 Beaucaire. — Crossing the bridge of boats from the castle of King Rene, the bare Hmestone rock surmounted by the Castle of Beaucaire meets the view (Fig. 68). This castle was anciently a possession of the Counts of Toulouse, During the Albigensian crusade it was besieged by Simon de Montfort, and an interesting account of the siege operations by himself still exists. While engaged in the FIG. 66. GATE OF TARASCON. siege he was attacked and defeated by Raymond VII. (1216). Although now a complete ruin internally, the walls exist all round and shew the great extent of the fortress (Fig. 67). The outer enceinte, and its long approach by wide flights of stairs from the west, can still be traced, as also the outline of the outer and inner bailey. The gateway of the latter, in a fragmentary state, still survives. The immense strength of the fortalice is dis- tinctly apparent, owing to the height and steepness of the naked rock on which it stands (Fig. 69). Almost the only defensive building in fair preservation 174 MEDIy^iVAL PERIOD. is the remarkable donjon which rises high above the walls. This tower (Fig. 70) is of the very unusual form of a triangle in plan ; that shape having probably been adopted in order FIG. 67. PLAN OF THE CASTLE OF BEAUCAIRE. to fit a projecting spur of the rock. The basement floor (not accessible) was doubtless entered from a trap door in the floor above. It has no openings to the outside. The stair BEAUCAIRE. 175 FIG, 68. CASTLE OF BEALXAIRE FROM S.-E. m^^m p-i. -"^1 pi^ =^ ^' ^ i^ -^^-/ FIG. 69. CASTLE OF BEAUCAIRE FKO.M N.-K. 1/6 MEDIEVAL PERIOD. to the first floor is straight and is carried up in the thickness of the wall. The first floor forms a triangular hall with groined vault of peculiar form, has a fireplace in one angle, and is lighted with small loops. From this floor the stair- no. 70. PLANS OF THE KEEP. case is carried up as a wheel in the south angle of the walls. The top floor has a segmental vault which carries the flat stone roof This is formed of stone flags all overlapped and laid in regular courses, each slightly higher than the others as they rise towards the centre. The staircase turret stands independently upon this platform, and has a sloping stone roof The parapet is very perfect, and is, as usual, projected on bold corbels (Fig. 71). Owing to the sharp angles of the plan, the inclination of the corbels near the angles towards one another (in order to keep the arches over them as equal as possible) is much greater than usual — more marked than that, for instance, of the corbels at Avignon (above BEAUCAIRE. 177 ^^ o ^ M 1/8 MEDIEVAL PERIOD. referred to, p. 1 50). The corbels at the angles which are rieht ancfles have the usual additional courses in the height. A bold ovolo moulding runs round beneath the corbel-course, the object of which is to keep the inner face of the machicolation well clear of the front of the wall, so that stone balls or other missiles thrown down would run no risk of being diverted from their course by striking any of the projections of the rough-faced masonry with which the tower is built. The parapet is provided with large embrasures, and the merlons or spaces between are pierced with loops of the crossed shape adopted in the fourteenth century. The parapet wall partly carried on corbels is seen winding round the summit of the wall of enceinte {see Fig. 71), with steps where the heights vary; and in the south-east angle of the inner courtyard adjoining the ruined gateway from the outer to the inner courtyard, there still stands the very interesting twelfth century chapel of the castle. This oratory is generally similar in design to the one within the castle at Villeneuve {ante, Fig. 52). The door- way at the west end is round-arched, and contains details which are remarkably characteristic of Provence, the purely Roman ql^^ and leaf enrichments being mixed with dog- tooth and other ornaments of Romanesque design. The small square tower which crowns the west gable is peculiar, being more in the style of the belfries further North and East, than those of the South. From Tarascon a branch railway runs to St Remy (the Roman ruins at which have already been described), and from that point the strange old town of Les Baux may be reached. Les Baux. — This ancient but decayed fortress is one of the most picturesque and remarkable objects in the LES BAUX. 179 district. It is situated on the top of a rocky height (Fig. 72), not far from where the Alpines begin to rise from the plain of the Rhone, over which it has a commanding and extensive prospect. Formerly a considerable fortified town, it is now deserted, save by a few wanderers and beggars, and presents the melancholy appearance of an abandoned city, of which the empty houses are fast falling into ruin. This, however, as we shall hereafter notice, is by no means a solitary example of a Southern town over- taken by a similar fate. But Les Baux has this striking peculiarity to distinguish it, that it is a city not built, but FIG. 72. FORTRESS OF LES BAUX. excavated out of the rock. It is not uncommon to find houses cut in the rock in several parts of France, where a dry and soft formation renders such an operation suitable, and, as is well known, rock-hewn temples, tombs, and other buildings abound in Egypt, Syria, and the East. Possibly some of the great chiefs of the family of Les Baux (who were distinguished Crusaders) may have adopted the idea from examples they saw in the Holy Land. The town is now almost a heap of ruins, although some fagades of good Renaissance design still adorn the silent streets. The castle, which covered a large part of the site, had walls composed of solid rock, the superfluous material l8o MEDI^.VAL PERIOD. being cut away both on the inside and outside. In some cases the rock, which is a soft limestone, and decays by exposure, has given way quicker on one side than another, with the result that large masses of " w^all " have fallen either flat on the ground, or in solid blocks down the cliffs. In other instances towers have toppled against towers, like trees cut at the foot, producing a most confused and over- turned appearance, as if the result of siege or earthquake. With respect to the architecture, says Merimee, " The exceptional situation of the town of Les Baux has given rise to a style which scarcely furnishes any indications of the ancient epochs of its history ; however, I have seen nothing which appeared to be older than the twelfth century. A church in fair condition seems to be of the epoch of transition. In the right aisle are seen a cornice and transverse arch enriched with dog-tooth and zig-zag ornaments. The rest of the church has been repaired in the fifteenth century, and several very elegant chapels have been added to it." This church is illustrated by Revoil. On the south side of the town a bas-relief of three large figures and part of a Latin inscription, carved to a great scale on the face of the rock, have given rise to some extraordinary theories. The figures are called Les Trois Maries or Tremaie. Many observers regard them as Roman, and suppose that they represent Marius (the conqueror of this district, about lOO B.C.), his wife Julia, and a Syrian prophetess or sorceress called Martha, who accompanied the great leader and foretold his victories. But M. Lentheric, in his interesting work on the Villes Mortes de la Mcditerranee, already referred to, takes an entirely different view. He contends that these figures represent Lazarus and the two Marys ; and considers the existence of the church dedicated to the " Saintes Maries " (which we shall reach by and bye), together with the above LES BAUX. l8l figures and inscription, and the traditions of the country, sufficient proof that tlie family of Lazarus and their companions were really the first missionaries of Chris- tianity in Southern Gaul. There is another large inscription and two more figures on another rock, but they are too much decayed to be accurately interpreted. There seems to be no doubt that a town has existed here from the time of the Romans, although no Roman architecture can now be detected. In mediaeval times it was the home of the famous family of Les Baux, whose history (written by Jules Canonge) comprises much of that of Provence from the tenth to the fifteenth century. In the tenth century Les Baux was already one of the largest towns of the country, and was for long the seat of a famous Court of Love. In the thirteenth century the " Seigneurs des Baux " possessed seventy-nine free burghs. They were amongst the most powerful and boldest barons of the land, and acquired great titles and possessions, being in turn the Princes of Orange, the Counts of Provence, Kings of Aries and Vienne, and Emperors of Constantinople. They commanded fleets and armies, and became podestas of the free towns. They also distinguished themselves as Crusaders, and joined Charles of Anjou in his conquest of Naples. In following the history of this distinguished race one gets a more lively and impressive idea of the life and manners of those stirring mediaeval times in Provence than can easily be found elsewhere. But the family lost their prestige when Barral des Baux, podesta of the free town of Aries, betrayed the republic to Charles of Anjou. Les Baux from this time declined, and the castle was finally dismantled by the Duke of Guise ; the town was abandoned and the fine mansions fell into decay, a process which is still in progress. 182 MEDIEVAL PERIOD. both by the action of nature and at the hands of the peasantry of the neighbourhood. Les Baux may be got at either from Fontvieille (famous for its quarries of " Aries stone"), to which there is a raihvay from Aries, or from Tarascon, in either case driving to Paradou (six kilo- metres from Fontvieille, and sixteen from Tarascon), or from St Remy. A few miles from Tarascon, on the road to Aries, the ancient church of St Gabriel rises amidst the ruins of the FIG. 73. CHURCH OF ST GABRIEL. IVesi Front. (From Rci'olL) still more ancient Roman city of Ernaginum. A large number of tombs, similar to those we shall presently ARLES. 183 meet with at the Alyscamps near Aries, but of the plainest form, are here found along with fragments of inscriptions, statues, and other antique relics. The church of St Gabriel, like so many others in Provence, comprises in its design a mixture of classic and Romanesque features. The west front (Fig. y^) is one of the finest of its kind. The entrance doorway, with its fluted column, its imitated Corinthian capitals, and high pitched pediment full of classic enrichments, might easily pass for a structure of the Lower Empire. The bas-reliefs represent the creation and the visit of the angel Gabriel to the Virgin, — the personages being identified by their names inscribed beside them. The upper part of the front exhibits a great archi- volt springing from imposts on each side of the portal, above which is a straight cornice supporting a second pointed archivolt. The latter contains a small circular window richly ornamented with classic leaves and other enrichments, and having the symbols of the four evan- gelists placed around it. The church has a single nave, covered with a pointed tunnel vault. The buttresses are more pronounced than usual, which may indicate a tran- sition towards the later Provengal style, and seem to point to the date of the building being late in the twelfth century, notwithstanding its very classic features. A short journey now brings us to Arles, the ancient capital of the province, and one of the chief architec- tural centres of our district, both as regards classic and mediaeval art. The principal mediaeval edifice of Aries is the church of St Trophime, the patron saint. It is a large and important structure, containing specimens of all the peculiarities of Provencal architecture on a complete and extensive scale. The nave of the church was erected in the twelfth century, and is quite distinct in character l84 MEDIyEVAL I'ERIOD. from the beautiful western porch and the splendid cloisters which belong to the older and more ornate period of Provengal architecture. The choir and apse were rebuilt in 1430 in the Northern style. The nave (Fig. 74), like that of all the Southern churches of the same age is very simple internally. This is the first fine example we have met with of the second period of Provencal architecture — in which .the plain and rigid Cistertian style superseded the earlier and richer architecture of which we have observed so many remarkable specimens. Thus the piers (Fig. 74) arc merely square blocks of masonry, with flat projections or pilasters on each face, carried up to receive the small mouldings or imposts from which spring the wall arches on each side of the nave (between it and the side aisles), and the transverse arches, which strengthen the pointed barrel vault of the central nave. The latter consist of two rings, the inner arch springing from the main pier, and the side orders from fluted classic-looking columns introduced in the angles of the main piers to receive them. The side aisles are very narrow and lofty, and are roofed with one half of a pointed vault thrown as an abutment against the upper part of the nave wall. The nave windows are flanked by twisted columns with Romanesque caps. The pointed arches, resting on four strong piers, which carry the central tower, arc seen at the crossing of the church, with a lofty plain wall forming the lower part of the tower, resting upon them. This partially cuts off the view of the choir from the nave, and indicates that the vault of the original church was much lower than that of the existing nave, the roof of which is nearly twice the height of the arches of the crossing. The latter, forming the support of the tower, could not be removed when the nave was rebuilt and enlarged. The tower (Fig. 11) rises high above the roof I aki.es. l-IG. 74. ST TKOFHl.ME, AKLES. i86 xMEDLEVAL PERIOD. of the church. It extends to three full storys and an attic crowned with a pointed roof having a very flat slope, The two lower storys have the arcaded Roman- esque ornament so common in Lombardy and Germany, while the upper story shews three Corinthian pilasters on each side. The tower is heavy, but recalls the general effect of the Italian campanile, and corresponds in style with the earlier work of the portal and cloisters. FIG. 75. WEST rOKTAI- OK ST TKOPHIME, AKLES. ARLES. 187 The elaborate and beautiful western portal (Fig. 75) is fortunately well preserved. It has the appearance of having been added in front of the plainer wall of the nave, and is thus generally stated to be of more recent construction than the nave, but we believe that the portal is much more likely to be part of an older building, which has been preserved in the re-construction of the nave. Portals being generally highly ornamental features, were frequently so preserved. We have met with good examples of this at Notre Dame des Doms and at Tarascon, and others will occur as we proceed. The central arch is almost insensibly pointed ; but whether intentionally or accidentally it is difficult to say, — most likely the latter, from its being so indistinct. This porch is probably an imitation on a small scale of the much grander one of St Gilles (to be referred to immediately). The engaged pillars, with their carved caps and bases so strongly akin both to classic and Romanesque work, stand on a high stylobate approached by a wide flight of steps. The space between the pillars is formed into a series of niches, bordered on each side with an enriched pilaster and filled with the figure of an apostle or an early saint. The sculpture of these figures, although Roman in general character, shews a leaning towards Byzantine design, especially in the rich carving of the jewels and ornaments on the dresses. The tym- panum over the central doorway, which is divided into two openings with a central shaft, contains the figure of Christ in glory surrounded with the emblems of the four evangelists, and in the soffit of the arch are two tiers of half length adoring angels. On the lintel are sculptured the twelve apostles seated ; while the frieze on the right hand of Christ contains the just, clothed and received by Abraham, and that on the left the unjust, represented as naked and being dragged by a demon with a chain I 88 MEDLEVAL PERIOD. backwards through flames. The leaf, egg, and other enrichments arc quite classic, while the modillions support- ing the cornice of the gablet over the porch have the usual Romanesque character. This porch strikes one at a glance as being of a totally different style from the body of the church. The latter belongs, as already mentioned, to the reformed Cistertian style of the twelfth century, while the former is in the older and more florid Proven(^al style of Romanesque, although probably earlier in the same century. But the most delightful structure connected with this very interesting church is the cloisters. The oldest por- tions of these belong to the commencement of the twelfth century. The four arcades enclosing the cloister garth are complete. That adjoining the church wall (the north side) is the oldest, while the eastern side (represented in the sketch Fig. 76) is not much later in date. The other two sides are Gothic restorations of the thirteenth century. The two first galleries are splendid specimens of the florid style of Provencal art. They are constructed with piers of considerable size and solidity, which occur at the angles and at regular intervals, the intermediate spaces being filled with round arches resting on coupled columns. The roof is covered with a barrel vault, built with carefully wrought arch stones, and strengthened with boldly moulded transverse ribs thrown between the solid piers and consoles on the inner wall. The latter and the string course between them are about two feet higher than the cornice on the side of the arcade from which the vault springs, thus giving an awkward shape to the transverse ribs. This arrangement probably arose from the original construction of the roof, which was composed of tiles laid on the outside of the vault, and formed a '* lean-to " against the church, like that of the cloisters ARLES 190 MEDIEVAL PERIOD. of Mont-Majour, to be treated of presently. In the thirteenth century, when the two other sides of the cloister were restored, the outer \\'all was raised so as to convert the sloping roof into a level promenade, furnished with stone seats along the parapet. The angle piers are so designed as to receive the springing of three transverse ribs — one at right angles across each of the adjoining galleries, and one diagonally under the line of the junction of the two barrel vaults. The intermediate piers are strengthened with an external buttress in the shape of a square classic-looking pilaster, fluted and provided with a capital imitated from the Corinthian. The piers are all adorned with sculptured figures of large size. Those in the original work are well preserved, having been cut in the solid, while the statues in the two Gothic arcades, which were executed in separate stones, have been removed and destroyed. The coupled columns and caps are all executed in grey marble, and the latter are amongst the finest examples of the " storied " carving of the period, every cap containing a subject from sacred history. The wall of the church next the north cloister contains a beautiful Romanesque arcade, wath fluted pilasters (Fig. j6}) The Gothic parts of the cloister have piers alternating with coupled columns, and the details have evidently (as sometimes occurs) been executed so as to correspond in design with the older work. Of the bas-reliefs on the piers the best are the most ancient. The same general remarks on the style apply here as in the case of the porch ; there being a great mixture of classic and Romanesque influence in both. In this great structure we thus find an epitome of Provencal art. The cloisters and porch, representing the richly decorated Provencal form of Romanesque ; the nave. ARLES. 191 the plain reformed style of the Cistertians ; while the choir exhibits the weak sort of Northern Gothic imported in the fifteenth century, which is entirely without interest beside the more impressive examples of genuine Provencal architecture. It will be observed that in the main structural features the pointed arch is employed, while in the portal, cloisters and windows the round arch is used. At the "Alyscamps," the famous cemetery of Aries (described in Part IV.), several remains of the numerous churches and chapels formerly connected with it may still be seen. The church of St Honorat is the most important. FIG. 77. "cLOCHER" of the church of ST HONORAT, ARLES. {Yrom R^VoH.) It is of very ancient foundation, but has been frequently repaired and restored. The west doorway, with its zigzag 192 MEDIi^VAT. PERIOD. and other enrichments, is evidently of the twelfth century. The tower or "clocher" (Fig. jj) also appears to be of that date, and bears the usual character of Provencal Romanesque. The dome which covers it is, however, a somewhat unusual feature. A few other ancient churches are to be seen at Aries, but they are all much decayed or altered. The churches of Notre Dame la Majeure and Ste Mao-deleine, are very ancient foundations, but there is little of the old work left. St Cesaire is also ancient, but is converted into private houses, and there are only scraps of the original structure remaining. After being united to France, and thus delivered from the incessant struggles maintained in earlier times between the Bishops, the Podestas and the counts of Provence, Aries exhibited numerous signs of growing prosperity. The union with an established power seems to have imparted a considerable impulse to the prosperity of Provence, which began to revive under a settled government ; and Aries, as the chief town, naturally benefited greatly from the improvement. Indications of this amelioration are met with at every turn in the narrow streets, which abound in fine examples of Renaissance work. The early picturesque style of French Renaissance, so usual in Anjou and on the banks of the Loire, is of frequent occurrence here. Of the above tendency Fig. j'^ may be taken as an example, shew- ing by the striking arrangement of the staircase in the courtyard, how picturesque this style may be made when suitably and naturally treated. We may also observe in the midst of the abundant ruins of the ancient Roman architecture of this city, numerous palaces in the classic style of the sixteenth century ; the revival of which the ancient works had lived to w^itness, and probably had also helped to forward with suggestions for their design. ARLES. 193 The buildings of this period in Aries are particularly rich in tabernacles or niches at the corners of the streets, filled with the image of a saint, before which hangs a FIG. 78. RENAISSANCE HOUSE IN ARLES. N 194 MEDIAEVAL PERIOD. lamp. These are not uncommon in most continental towns, but here some of them arc very finely designed and add much to the generally quaint and striking character of the houses. Of the Renaissance buildings of Aries the Hotel de Ville is worthy of observation. The Tour de I'Horloge (1550), is a good specimen, and the vaulting and general effect of the pillared hall and staircase are fine (1675). About three miles from Aries stand the ruins of the great monastic establishment of MONT-MAJOUR, which comprise a most interesting series of structures, illustrative of Provencal architecture in all its stages, from the primitive rock-hewn hermitage of St Trophime to the fully developed church of the Cistertian style, concluding with a rich and luxurious edifice of the time of the Renaissance. This monastery is situated on a rocky hill which rises out of the flat plain of the Rhone, and which, in Roman times, was undoubtedly an island surrounded by the waters of the river. Near the base of the south-east side of the rock, a cave is said to have formed the hermitage of St Trophime, the patron saint of Aries (Fig. 79). To preserve FIG. 79. PLAN OF HERMITAGE OF ST CESAIRE, MONT-MAJOL'R. and consecrate this hermitage it was converted into a chapel, and enclosed with an arcade (the inner one) cut in the rock. To this again at a later time an outer wall has been added so as to form a chapel, dedicated to St MONT-MAJOUR. 195 Peter, on the exterior of the cave. Beyond the east end of the chapel there are three additional rude chambers hol- lowed out of rock. One of these, which is nearly filled with a great stone seat, is called the confessional of St Trophime. At the west end there is a space forming a kind of entrance porch or narthex. The ancient chapel or hermitage is entirely excavated in the rock, and has a seat left along the inner side, which being continued round the east end forms a step up to the choir. This chapel may be of a very early date, but it is impossible to fix its age from the total absence of architectural features. FIG. 80. HERMITAGE OF ST TROPHniE, MONT-MAJOUR — CHAPEL OF ST PETER. The outer chapel (Fig. 80) is not of so great antiquity, but the ornament of the caps and form of the tunnel 196 MEDIAEVAL TERIOD. vault belong to the earliest period of the Provencal style — probably the ninth or tenth century. The exterior is seen at the bottom of Fig. 85. The monastery was erected on the upper part of the rock, and was surrounded like a feudal castle with a fortified wall of enceinte. It was also protected by a keep or citadel, such as frequently occurs in these Southern monasteries, exposed as they were to attack on all hands. The church of the monastery of Mont-Majour is an example of the severe style of the twelfth century, and likewise of the aisle-less plan of the Southern provinces. This church was founded in 10 16, and was conceived on a very large scale, but little seems to have been done during the following hundred years, the most of the work being in the style of the twelfth century. It consists of an upper church and a lower church or very large crypt. The latter extends under a large part of the space occupied by the upper church, and, like it, is in the form of a Latin cross. The nave of the church is very short, owing to the works having been stopped for want of funds to complete it on the extensive scale on which it was originally projected. The crypt is all vaulted with circular arches, and is extremely dark, the only light admitted being what can penetrate into it from the small windows in the apse. The arrangement of the choir of the crypt is peculiar. The altar stands in the centre, and round it runs a wall with five wide arches opening on a gallery which follows round the apse, and from which chapels radiate in the various faces of the octagon. The chief altar is thus visible from almost any part of the choir. The upper church forms one great hall with a transept and apse, and is roofed with pointed tunnel vaults strength- ened with transverse ribs, but is entirely without ornament. ] MONT-MAJOUR. 19; .rtv\\ k.>^\- 198 MEDI/EVAL PERIOD. It has, however, an effect of simple grandeur and spacious- ness owing to its size ; but from the shortness of the nave, there is a want of due proportion in the various parts. The choir, as is usual in Cistertian churches of this date, is very short, the apse beginning almost at the transept. The whole building is solidly constructed with good ashlar work. The west doorway is round arched, and is surmounted with a large pointed window from which the principal light in the church is obtained. The exterior is as unornamental as the interior. The east end (Fig. 8i) is finished with a polygonal apse, the windows of which KIG. 82. CLOISTERS, MONT-MAJOUR. in the upper church arc simple round arches springing from shafts recessed in the jambs. The exterior of the apse of the crypt is peculiar, owing to the form of the r MONT-MAJOUR. 199 segmental depressed arches, enclosing deep recesses, at the inner end of which are the small windows of the crypt. The depressed form of arch was probably adopted owing to the want of height and the desire to admit as much light as possible. The same segmental form is also employed in the cloister arcades. The apse has been heightened at a late period and the interior made circular. An enriched Gothic chapel has been added to the north transept in the fourteenth century, and extensive Gothic buildings, now in a state of total ruin {^see Figs. 8i, 82) have been extended to the south of the church. The Abbey of Mont-Majour contains a cloister (Fig. 82) with the same style of ornament and sculpture, but much simpler in design than that of St Trophime. The cloister walk is covered with a plain barrel vault constructed with carefully wrought stones, strengthened with transverse ribs resting on " storied " consoles built into the wall. The arcade is formed with segmental arches springing from solid piers, and fluted pillars, with the simplest cornice. Each large arch is filled in with three small round ones, springing from light shafts with elaborately carved caps. The buttresses are fluted like those of St Trophime. The original lean-to roof, covered with stone flags and provided with large rude gargoyles and corbels, is here preserved, and shews what that at Aries was like when first constructed. The cloister here, as at St Trophime, is in the original Provencal style, and is probably a relic of an older series of structures which existed before the present church was erected in the second Provencal style of the twelfth century. A remarkable specimen of a plan more common in the East than the West occurs in the chapel of Ste Croix (Fig. 83), which seems to have been the mortuary chapel of the monks. The main building consists of four apses arranged in the form of a Greek cross, and crowned over the 200 MEDIAEVAL PERIOD. crossing with a square dome. This is preceded by a square porch with simple barrel vault, separated by a door from the chapel. The whole aspect (Fig. 84) and arrangements of the edifice have a strange and foreign appearance, and recall the architecture of the East. At the same time the high triangular pediments of the exterior, and the cornices, egg mouldings, modillions, and the simple cir- cular arch of the doorway, are all features characteristic of the late Empire ; while the ornamental cresting and other details are illustrative of the Eastern character impressed on Roman w^ork at Byzantium, and thence CHAPELLE DE SAINTE CROIX MONTMA JOUR fH-HfH FIG. 8^ transported into Western Europe. In the porch is an inscription attributing the foundation to Charlemagne, but Merimee clearly proves that this is a forgery, and that the date of the building is 1019. The chapel is only lighted with three small windows, which open upon a little enclosure where numerous shallow graves have been excavated in the rock. A door in the south apse also opens into this graveyard, so that the bodies might be carried into it from the chapel after the service had been performed. Several similar graves are cut in the rock in front of the porch. These excavations are all very MONT-MAJOUR. 201 small, some no more than 3 feet long, and do not appear ever to have been occupied. Mcrimee is of opinion that in order to give their shrine as much appearance of antiquity and sanctity as possible, and especially to MORTUARY CHAPEL, MONT-MAJOUR. enable it to compete with the very successful cemetery of the Alyscamps at Aries, the monks had not only put up the fabricated inscription above referred to, but had also caused these trenches to be cut in the rock to represent the graves of martyrs. 202 MEDIEVAL TERIOD. -^^ -i V I MONT-MAJOUR. 203 We have already seen that this monastery was fortified and surrounded with walls. But it was chiefly strengthened with a great donjon, such as the abbots, who were also great feudal lords, frequently constructed for their own security, and that of the monks and their treasures, in case of extremity. This keep (Fig. 85) was erected in i [ i Lj ^ m^ GROUND FLOOR PLAN FIG. 86. MONT-MAJOUR— I'LANS AND SECTION OF KEEl'. 1369 by Pons de I'Orme. It is very substantially built with square-dressed stones, the surface being left rough or bossy, as was the custom at that time. The building (Fig. 86) is a simple parallelogram, 48 feet by 32 feet, with a slight projection at one angle to contain the staircase. 204 MEDIEVAL PERIOD. The doorway gives direct access to the ground floor, which is vaulted with a pointed tunnel vault, ornamented with ribs springing from corbels {see section). A cellar oc- cupies part of a lower story, which also contains a well. The vault over the ground floor may possibly have formed a separate dark loft or store, for storage of provisions, &c. The lower portion of this floor has one window only. The hall, or chief living room, was on the first floor. It is provided with fire-places and cupboards, and is lighted by two windows on one side, furnished with stone seats. The height of the tower from the basement to the parapet is about 80 feet, and the top forms a platform supported on a pointed arch. The space between the lower and upper vaults was divided into three floors, with wooden beams and joisting. The corbels for these still remain, but all the woodwork is destroyed. The platform on the top is surrounded with a parapet supported on bold corbels. At the angles the parapet is rounded off, so as to give the effect of projecting angle bartizans. From the corbels seen on the exterior of the south side of the tower, at the first floor level, it seems probable that some kind of wooden platform was constructed between the keep and the outer wall, from which the passage between them, which formed a principal access to the abbey, might be vigorously defended. One cannot help being struck with the peculiarly military aspect of the tower, and its strange proximity to the more sacred structures of the abbey. The ruins of some Gothic erections and of the sumptuous edifice, begun by the Benedictine monks of the eighteenth century, but interrupted by the breaking out of the Revolution, are visible in Fig. 81. A short run by rail westward from Aries takes to the ancient town and abbey church of St GiLLES. ST GILLES. 205 This church, which is unfortunately but a fragment, possesses the finest portal in Provence, in the same style as that of St Trophime at Aries. The town stands on the branch of the Rhone called Le Petit-Rhone, which bounds the delta on the west. It bore originally the name of Vallis Flaviana, and is supposed to stand near the site of an ancient Roman city. An abbey was founded here by St ^gidius (or St Gilles) in the sixth century, around which the town gradually clustered. St Gilles was the chief priory of the Knights of St John of Jerusalem, and became a place of such importance that the Count of Toulouse took one of his titles from it, being also called the Count of St Gilles. It was here that Raymond VI., Count of Toulouse, in 1209, did penance for the murder of the Papal legate, Pierre de Castelnau, and for the part he took on the side of the Albigenses. The church of St Gilles was designed on a grand scale, befitting the condition of the place at the time, but seems never to have been completed, the works having been interrupted and destroyed during the crusades of the Northern Franks against the Albigenses of the South. These wars formed a sort of sequel to, or continuation of the invasions of the barbarians. The South of Gaul, having preserved much of its Roman civilisation and municipal institutions, had become sooner settled, and had more quickly revived from anarchy than the North. This led to an independent intellectual and religious development, which did not conform to the ideas of religious unity then prevalent. Crusades against the Infidels in Syria and Africa had now become somewhat stale and unprofitable ; but a crusade against the rich provinces of the South had great attractions, and was heartily supported by the rest- less and unsettled people of the North. Hence arose (as already pointed out) the long and cruel war in Aquitaine 206 MEDIEVAL PERIOD. and Languedoc — the Crusaders being led by Simon de Montfort, and the people of the South by the Count of Toulouse. In these disastrous and bloody campaigns the whole country suffered terribly. The towns were besieged and sacked, and the buildings destroyed. Amongst others, St Gilles dates its decline from the devastation then inflicted on it, and from which it never recovered. The following inscription, said to be copied from an older one now lost, occurs on the wall near where the ancient cloister stood: — " Anno Domini, iii6, HOC TEMPLUM SANCTI EGIDII ^DIFICARE CEPIT MENSE APRILI FERIA 2^ IN OCTAVA PASCHAE." The church of St Gilles was thus begun in 1116 by Alphonse Jourdain, son of Raymond IV. of Toulouse. There still remains a portion of a subterranean church, which formed the substructure of the intended great build- ing above, and which dates from the first half of the twelfth century. It is well lighted, and divided into two with a row of columns supporting two low cross vaults, orna- mented with dog-tooth enrichments. In the midst of the outline of the greater works, which can still be traced, rises the existing small church, which has all the appearance of a temporary erection. It is in a late style and of small importance architecturally, but it marks the decline of the wealth and prosperity of the town from its state at the time when the great church was founded. The really great and valuable work, however, at St Gilles is the splendid triple portal (Fig. 87), which is by far the largest and richest example of Provencal decoration. Every part of the surface is covered with work, either sculptured with figures or enriched with ornament, and although the remainder of the building ST GILLES. 207 208 MEDIEVAL PERIOD. is incomplete, every detail of the portal is finished in the minutest manner. At the top of a wide flight of steps rises an elevation consisting of six pillars (five plain ->» i»CijiK .i »■ iliUJiiiibr -^Uh- FiG. 88. SOUTH DOORWAY OF ST GiT.LES. (Enlarged). and one fluted) with capitals closely imitated from the Corinthian model. The bases are of unequal height, ST GILLES. 209 shewing that the shafts have been possibly borrowed from an ancient source. The columns sustain an archi- trave, frieze, and cornice, which, however, are interrupted by the round arches of the three doorways. The arches of the two side entrances rest on the two end pillars, while that of the central doorway, which is wide and is divided into two openings by a central pilaster, springs from two smaller columns set upon pedestals, and also provided with Corinthian caps. On the bases of the columns of the lateral doors (Fig. 88) bas-reliefs represent David as shepherd and conqueror of Goliath. The shafts supporting the lintels of the doors rest, as was generally the case in Romanesque designs, on lions. The abbot, sitting in the gate to render justice, was placed between these lions ; hence Charters given by him are sometimes dated " inter leones." A stylobate of the height of the pedestals is continued along behind the principal columns, on which rests a series of pilasters dividing the background into recesses or niches containing large statues of the apostles. The figures are executed with some freedom after the Roman manner, and have not such a mediaeval aspect as those of Aries. There is, however, evidence of Byzantine influence in the thin folds of the drapery, and the jewels and embroidered ornaments carved upon the dresses. The pedestals, architrave, cornice, and arch mouldings are enriched wath Roman leaf and egg and bead ornaments, mixed with fanciful Romanesque carvings of heads of animals &c., in the modillions. The frieze is covered with sculptures in bas-relief of Scripture subjects. The central tympanum contains the figure of Christ in glory surrounded by the emblems of the four Evangelists — that of the north doorway the Virgin and Child in the centre, with the adoration of the Magi on one side, and O 2IO MEDIEVAL TERIOD. the annunciation of the birth of Christ to the shepherds on the other. In the south doorway is represented the crucifixion. This portal was probably completed before the breaking out of the Albigensian conflict, about 1 1 50. The portals of St Gilles and Aries are the most splendid productions of Provengal art. They stand almost alone as portals amongst the Romanesque work of the period, which has given rise to the impression that they are importations from a distance rather than a natural sequence from simpler preceding forms out of which they might have grown. It has been above pointed out that in Syria many churches \vere built in the early centuries of the Christian era in which the Greco-Roman style was perpetuated and received new developments. Many of these churches exist between Antioch and Aleppo, in which the general design and details of mouldings are very similar to those of the Provencal portals, the only difference being that in the Syrian examples there are no statues, as all such images were forbidden in the East. That country was taken by the Crusaders in 1098, and remained, as the kingdom of Antioch, under Western government till 1268. The seaports of Provence being the natural centres of com- munication between the Frank kingdoms of the East and West, it seemed natural that some new and foreign ideas should be imported there. Hence it is maintained by some that Syrian models had considerable influence on the architecture of Provence, and that it is to that con- nection that much of the art expressed in the portals of St Gilles and Aries is due. There is, however, really no necessity to go so far afield for the models on which Provengal art in general, and these portals in particular, were based. We have had several striking opportunities of observing how closely the Roman examples were ( ST GILLES. 211 followed in Provencal architecture ; while innumerable instances of the Romanesque spirit which pervaded it before and during the twelfth century, might be adduced from the many beautiful cloisters (similar in style to those of St Trophime and Mont-majour) which abound all over the South of France. These have been preserved, while the churches have in many cases been enlarged and reconstructed in the later and plainer Provencal style. One of the most prominent elements in the older style is the figure sculpture, and there can be no question but that the idea of the statues was derived from the remains of ancient art so plentifully scattered throughout the country. Statues being entirely prohibited by the Eastern iconoclasts, that element can have had no connection with the East, although the treatment of the ornament may be to some extent influenced by Byzantine feeling. The trade between the Levant and the West of the Mediterranean was considerable, and included all kinds of artistic articles, such as furniture, ornamental boxes, dypticks, wooden cases for manuscripts, and carved ivory and goldsmith's work. These were all covered with exquisite carvings, which, no doubt, served as models to the Western nations, and from which they acquired a taste for the special kind of sculpture known as Byzantine. It is from the above sources that the complete and elaborate Provencal art displayed in the portals of St Trophime and St Gilles sprang. Viollet-le-Duc remarks of it that it is rich and striking, but gives the idea of an art either fixed by traditional maxims or in its decadence. He states further, that it only succeeded in producing a curious mixture of diverse imitations of other styles. The originality and vigour of the Northern art was entirely awanting. The former style was satisfied with the imita- tion of works already done, while the latter borrowed from 212 MEDIAEVAL PERIOD. anterior art only the general idea, and created for itself a new development. As already pointed out, the presence of the Roman remains acted on Provencal architecture both favourably and prejudicially ; in the first place, by stimulat- ing it into a kind of early classic revival^ and in the second place, by thus preventing the free and healthy develop- ment of a natural and untramelled style, such as took place in the North. But, so far as the Romanesque style is concerned, that of Provence is probably quite as interest- ing and instructive as any other. The connection with the art of Rome is continued almost without a break, while the conversion of " Roman " into " Romanesque " is carried out with a refinement and completeness which is not to be found elsewhere, and to which the later Northern styles are considerably indebted, especially in the matter of sculpture. St Gilles is the most convenient point from which to visit the solitary and now desolate town of Les Saintes Maries. Situated near the mouth of the Petit-Rhone it was formerly a place of some distinction. Here landed, according to tradition, corroborated by the investigations of Lentheric, Mary Jocobi, sister of the Blessed Virgin, Mary Salome, Mother of the Apostles James (the Greater) and John, their servant Sarah, Lazarus, Martha, Mary Magdalene, and St Maximin (who had received his sight by the word of Christ), having all been driven from Jerusalem by persecution. Mary Jacobi and Mary Salome remained here, and were here buried, whence the name and fame of the town and the crowds of pilgrims who at one time frequented it. The church (Fig. 89) is a very remarkable one. It was built in the twelfth century on the site of one de- stroyed by the Saracens, and consists of the usual single nave, having seven bays in its length, roofed with a pointed barrel vault, and finished with an eastern apse. MARSEILLES. 213 Externally the whole building is surmounted with a crenel- lated and machicolated parapet, and presents the appear- ance of a strong" fortifica- tion, with a keep tower rising above the eastern end. The latter includes the apse, which comprises three chapels, one over the other. The lowest, ^|==] j^n p=| r=s or crypt, contains the tomb of Sarah ; the middle apse forms the choir of the church ; while -~~]|^ above this there rises a third chapel in the tower above the roof, contain- ing the relics of the ^^^ g^ " SainteS Maries." Rude- church of les saintes maries. (From RevoH.) \y sculptured lions adorn the south entrance door, and in the nave there is a well, to supply water to the congrega- tion, who would likewise form the garrison in case of siege. This remarkable structure may be regarded as a typical example of the defensive style so much practised in the South-West of France. Marseilles. — Few relics are preserved in this ancient city of its Roman or mediaeval structures ; of the latter the most remarkable is the church of St VICTOR. We have here an instance of the partial adoption of the Gothic style in the South, and an attempt to combine Gothic details with Southern structural features. This curious church, which stands near the ancient port, is all that remains of the once extensive buildings of the famous monastery founded in the fifth century by St Cassien. Some portions of the primitive masonry are still to be seen in 214 MEDIAEVAL PERIOD. the crypt. The buildings were several times destroyed by the Saracens, but they were finally rebuilt in their existing form about the year 1350 by Pope Urban V. (formerly abbot of this monastery), who also caused to be erected the great square towers and crenellated para- pets which give the building externally the appearance of a fortress (Fig. 90). Some relics of the early Roman- esque work are still visible in the entrance porch. The m4M m i 'T Victor KIG. 90. ST VICTOR, MARSEILLES. general design of the interior (Fig. 91) is that of a basilica, with central nave and side aisles, the former roofed with a pointed tunnel vault strengthened with transverse ribs, and originally without a clerestory, although openings have more recently been cut in the vault. These general dispositions are common in Provencal architecture. But the details of the nave piers, with their numerous small shafts and foliated caps and bases are all borrowed from the MARSEILLES. 215 Gothic of the North ; while the tomb erected in the west- most bay of the south aisle (Fig. 92) is a completely Northern design. The fortification of the exterior is a feature of almost FIG. QI. ST VICTOR, MARSEILLES. universal occurrence in the churches of the South, as has been already noticed, and we shall meet w^ith other instances. This pecuHar characteristic probably dates from the time of the crusades against the Albigenses in the 2l6 MEDIAEVAL PERIOD. twelfth and thirteenth centuries, when the inhabitants were glad to adopt every means in their power to obtain protection, and had to turn even their churches, which were not sacred in the eyes of their assailants, into fortresses for their defence. FIG. 92. MONUMENT IN ST VICTOR'S, MAKSIilLLES. The frequent attacks of the Saracens may also have had some influence in producing this style of exterior in the churches near the sea-coast. AIX-EN-PROVENCE. 217 Aix-EN- Provence, which Is easily reached from Marseilles by a delightful railway route through the mountains, retains few marks of its distinction as the first settlement of the Romans in Gaul. A few Roman walls and pillars from the temple of Apollo, together with some fragments in the Museum, are all that Aix can shew of FIG. 93. ST SAUVEUK, AIX-EN-1'ROVENCE. the original Aquae Sextiae. But the ancient church of St Sauveur and its octagonal baptistery exhibit the Roman influence, extending down to a comparatively late date. The baptistery is of the sixth century, but the upper por- tion has been restored in the style of the eighteenth century, and has thus completely lost its proper character. It is 2l8 MEDI/EVAL PERIOD. octagonal on plan, with eight monolithic granite columns taken from the ancient temple of Apollo set in the angles. The church of St Sauveur was erected in 1103, and is FIG. 94. ST SAUVEUR, AIX. supposed to have been built on part of the cella of the temple of Apollo. It now forms the south aisle of the enlarged cathedral erected in the fifteenth century. But AIX-EN-PROVENCE. 219 this old church (according to Merimec) is itself a restora- tion of a still more ancient building, of which some remains are yet preserved in the western portal (Fig. 93), the archi- tecture of which strongly recalls that of Notre Dame des Doms at Avignon. Here we have the same fluted Corinthian columns and cornice with Roman enrichments, and arched opening between. The small engaged columns FIG. 95. CLOISTERS, ST SAUVEUK, AIX-EN-1'KOVENCE. with twisted and fluted shafts and straight arched lintel are, however, restorations of the twelfth century. To that date also belongs the interior (Fig. 94), with its pointed tunnel vault strengthened at intervals with transverse arches. The arches which carry the dome over the original central compartment are round. The dome itself is octagonal, the angles being filled with arched penden- tives. The piers are simple pilasters, with small classic- 220 MKDLEVAL TERIOD. like pillars introduced in the angles near the top, to carr\- the springing of the transverse arches. This was a common arrangement in Provencal churches, as, for instance, at St Trophime, Aries. The cloister of St Sauveur (Fig. 95) is a fine specimen of the twelfth century erections of that description, so numerous in this part of France. It is built in white marble, and enriched with a great variety of the Romanesque or Lombardic sculpture which distinguished the work of the Northern races. The shafts are particularly remark- able from the great variety of their forms and ornament. Some are octagonal, while others are twisted and fluted, and some are actually knotted together, and nearly all are covered with carved ornamentation. In these and similar works we have very palpable examples of the innovations on the older traditional forms for which the twelfth century is so much noted. Of the later church, the carved Gothic west doors (executed 1503), containing figures of theological virtues, prophets, &c., mingled with Gothic canopies and traceries, are worthy of careful inspection. In his exhaustive work, entitled " Les Villes Mortes du Golfe de Lyon," Mons. C. Lenthcric gives a full and interesting account of the ancient towns of Southern Gaul between the Rhone and the Pryenees. Their origin and fall are shewn to be both attributable to causes arising from the natural configuration of the coast. The land in this locality is flat, and the beach shallow and sandy, while at the same time it is exposed to the full force of the violent storms raised by the east winds which sweep over it from the Mediterranean. The rivers BEZIERS. 221 emptying into this shallow sea bring down large quantities of sand and mud, which, being driven back by the tides and storms, have in the course of ages formed bars or long lines of sandy dunes at some distance from the land. Within these sand banks are thus enclosed long lagunes, similar to the shallow sea, bonnded by the well known Lido, in the midst of which Venice stands. These lasfunes formed convenient and safe harbours for the early Phoenicians and other navigators, and were suitable in depth for the size of the craft then in use. But gradually the floods of the rivers brought down more deposits, and even in Roman times threatened to block up the passages through the lagunes to the open sea. It was only by building a strong wall for the purpose of forcing the river Aude to keep in a certain channel, so that when in flood it might scour out the passage, and by the erection of beacons in the lagune to mark the navigable course, that the Roman port of Narbonne could be kept open. In 1320 a great flood destroyed the retain- ing wall and changed the course of the river, after which the ruin of Narbonne as a seaport was complete. The town is now 8 miles from the sea, and is connected with "la Robine" branch of the Canal du Midi, which unites the Mediterranean with the Bay of Biscay. A similar process to that at Narbonne has contributed to the ruin of several other ancient towns in this province, — a district which has also suffered more severely than any other at the hands of the Saracens. Forming as it does the easiest access from Spain into Provence, it necessarily lay open to constant attack. Besides, the Moors, although driven across the Pyrenees, were still masters of the sea, and as corsairs or pirates they scoured the Mediterranean for many centuries after the time of C. Martel, attack- ing and plundering the smaller towns all round the coast, 222 MED/EVAL PERIOD. and in some instances fortifying themselves on land in strong places whence they could issue to plunder the more inland country. Such was their establishment at the Grand Fraxinet, in the mountainous district lying to the east of Toulon, which is still known as the " chaine des Maures." We shall have occasion to observe some architectural effects resulting from their invasions, particularly how the inhabitants were forced to seek refuge on the rocky heights, and to build their towns on the top of almost inaccessible mountains. The Moors have also left traces of their presence both in the general design and details of several of the edifices of the Western Riviera. Proceeding westwards from Marseilles by rail and passing St Gilles, we reach Montpellier, the architecture of which is chiefly modern. The ancient church of Mague- lonne, situated on the outer boundary of the lagunes, may however, be visited from here. It was fortified and not unlike that of the Stes. Maries. Omitting for the present the wonderful town of Aigues-Mortes, to w'hich we shall again return, we continue our journey amongst the lagunes, past the crowded modern seaport of Cette, and the ancient town of Agde, with its dark church crowned with frowning fortifications, and at last reach Beziers, a place whose architecture claims our attention. BfiziERS is an ancient Roman town, which has still a few relics in the shape of Roman walls, but no classic buildings of any importance. It stands upon a steep hill with almost perpendicular faces towards the river Orbe, which flows round its base. The town was strongly fortified, and held a prominent place as a fortress in the Middle Ages. Large masses of these fortifications are still observable to the right of the terrace at the west 224 MEDI/EVAL TERIOD. end of the cathedral (Fig. 96), now crowned with a large block of building occupied as a House of Detention. The spacious main street of the town ascends the hill from the south-east, and presents on either hand indica- tions of the chief industry of the place in the immense and cavernous-looking cellars filled with innumerable barrels of alcohol, which, being in many cases too numer- ous for the cellars to contain, encumber the street in great piles. The effect of a street composed of these great vaulted caves is unique and remarkable. The Cathedral of St Nazaire stands on the summit of the hill. It was surrounded with a fortified enceinte, and, forming the chief citadel of the town, it was strongly built and designed for defence. The transept is the oldest portion, dating from the twelfth century. The southern angle buttresses are crowned with a parapet, pierced with flanking loop-holes, angled so as to send missiles in every direction. The cornice of these parapets is remarkable, and presents a good illustration of the Oriental or Saracenic in- fluence above referred to (Fig. 97). The south transept com- mands the cloister, the walls of which were crenellated. Beziers suffered more, per- haps, than any other place dur- ing the Albigensian Crusades. On one occasion, when the town was taken, every human being was put to the sword, to the number, it is said, of 60,000 souls. The buildings and defences were in great measure destroyed, and the cathedral was partly rebuilt and re-fortified in the fourteenth century. The west end commands the walls which crown the escarpments above the Orbe, and is strongly defended FIG. 97. TOWER SOUTH SIDE OF ST NAZAIKE, BifiziERS. I Bl^ZIERS. 225 with two crenellated towers, and by a wide arched machico- lation surmounting the west doorway and Rose window above it (Fig. 96). An embrasured parapet is placed above this, and three ornamental corbels jut out from the face of the wall, to enable the defenders to approach the parapet and man it. These corbels are, how- ever, not joined to the parapet, although they divide the long arched machicolation into four smaller ones. The em- brasures and machicola- tions are all provided (as usual in fourteenth and fifteenth century work) with bold beads or mouldings, arrows and ricocheting to prevent bolts from within the APSE, ST NAZAIRE, BEZIERS. parapet. The eastern apse was also rebuilt in the begin- ning of the fourteenth century. Here also (Fig. 98) wide machicolations are formed by arches thrown across between the buttresses, while the parapet above is finished with an open arcaded balustrade, which, in an ecclesiastical build- ing, is more appropriate than an ordinary crenellation, and serves the same purpose equally well. These defences protect the large windows below from being taken by escalade, while, for still further security, the windows themselves are completely covered with strong orna- mental iron grilles. 226 MEDIEVAL PERIOD. FIG. 99. CATHEURAL OF ST NAZAIRE, B^ZIERS. I BfiZIERS. 227 The interior (Fig. 99) exhibits a fine instance of Gothic design engrafted on the Southern ground plan. The choir is a simple wide hall, terminated with an apse of the full width, and containing nine bays ; while the groined and ribbed vaulting, and all the details of the windows, arches, and shafts, with their ornamentation, is entirely Gothic. The lower part has been finished at a much later period with Renaissance woodwork. In the manner in which the apse vaulting is carried out there is a strong reminiscence of the domical form ; while the upright wall above the vaulting, with its circular eye at the junc- tion of apse and choir, is a feature which recalls many Provencal examples. The cloisters are situated to the south of the church, FIG. 100. FOUNTAIN IN CLOISTERS, lifiziERS, /HXy and are in good preservation. Their design is completely Northern, of the somewhat cold style of the fifteenth cen- 228 MEDI/EVAL PERIOD. tuiy. The arcade is open, and without tracery, with large buttresses between, carried up with pinnacles above the balustrade. The fountain in the centre of the cloister- garth is simple but effective (Fig. lOo). The view of the town and cathedral from the river (Fig. 98) is very fine. The great mass of the cathedral is seen towering above the huge remains of the ancient fortifications ; while in the foreground the Orbe is dammed up, and forms the motive power of a number of picturesque mills in the form of towers. An ancient bridge spans the river lower down. Near the cathedral is a house of the fifteenth or six- FIG. lOI. HOUSE IN B^ZIERS. tecnth century, with a quaint bow window (Fig. 10 1). The BEZIERS. 229 great corbels over the window to the left have no doubt been for the purpose of supporting some kind of balcony in connection with the defence of the entrance doorway below. In the district we are now traversing many interesting examples still exist of the ancient Provencal style similar to those already illustrated. At Puisalicon, near Beziers, there occurs a remarkable specimen of a campanile, with three tiers of arched open- ings, like those of Italy {see Fergusson's Handbook). At St Pierre de Reddes, near Bedarieux, the ancient church consists of a long nave w^ith barrel vault, strength- ened with transverse ribs, which spring from a series of FIG. 102. ST PIERRE DE REDDES. (Trom R^VOl'l). double columns, of which the arrangement is evidently borrowed from the Antique (Fig. 102). St Martin de Londres (Herault) may also be mentioned as having a tri-apsal east end, while the exterior is orna- mented with the arcaded pattern so common on the Rhine and in Lombardy. 230 MEDI/EVAL PERIOD. Narbonne. — When the Romans, B.C. Ii8, became masters of Southern Gaul, they estabhshed, under the leadership of an enthusiastic young patrician called Licinius Crassus, a colony in the ancient Phoenician port, dedicating it to Mars, and giving it the name of Narbo Martius. A principal object of this colony was to secure the road into Spain. After a time the first foundation became weak, and, B.C. 45, a new colony was led out from Rome by Tiberius Claudius Nero. Narbo Martius was then capital of the Roman province of Gallia Narbonensis, which extended from the Alps to the Pyrenees. Uuder the Empire, there arose in this favoured colony, on the banks of the Atax or Aude, a complete image on a small scale of Imperial Rome, with its curia, duumvirs, consuls, pretors, questors, etc., and it was adorned with a Forum, Temples, Markets, Baths, and Amphitheatre. Of these fine Roman edifices not one remains. Such of them as escaped the devastations of the Goths and Saracens are said to have been demolished by Richelieu, that the materials might be used in the construction of the new fortifications of the town erected by him. The engineer of these works seems to have had more reverence for ancient art than his princely master, for he collected all the sculptured fragments, and built them into the walls where they could easily be seen. The fortifications thus formed a kind of open air museum of ancient sculptures and inscriptions ; but they have now, in their turn, been removed to make room for the expansion of the town. The Roman monuments, however, have been preserved, and are placed in the mediaeval Episcopal Palace, which has been partly converted into a museum. The important architectural works which still exist are all concentrated round the Cathedral of St Just (Fig. 103). NARBONNE. 231 As at Beziers, the Cathedral formed part of the fortifica- tions of the Archbishop's Palace. It is one of those desifrns in Northern Gothic which look as if transplanted into Southern soil. The whole character of the buildings FIG. 103. CATHEDRAL OK ST JUST, NARBONNE. is Northern. Whether we regard the steep roofs and gables, the sub-divided forms of the vaulting, the sections of the mouldings, the character of the cloisters, the shape of the windows, the dispositions of the plan, or the defen- sive arrangements, the whole design appertains to the style of the Royal Domain. M. Viollet-le-Duc shews the very close resemblance between the plans of St Just and those of the Cathedrals of Limoges and Clermont, in Auvergne. These he regards as the three most splendid and remarkably similar examples of the Gothic of the fourteenth century, and he thinks that 232 MEDI/EVAL PERIOD. they have probably all been designed by the same man. The Cathedral of Narbonne is distinguished by the beauty and skill of its construction. In the fourteenth century the Gothic architects had arrived at great perfection in the art of building. The various forces in connection with the vaulting had become perfectly understood, and here the architect has endeavoured to shew how accurately he could calculate them. All the mouldings are carefully profiled, and the penetrations and junctions admirably managed ; but sculpture is almost entirely dispensed with, even the caps of the columns having no foliage. As a piece of architectural engineering the building is perfect, and has stood without a flaw; but it rather wants interest owing to the absence of ornamentation. It was begun on a great scale, but, owing to want of funds, only the choir has been erected. The vault is nearly as high as those of Beauvais and Cologne. The absence of decoration in the building itself is, to some extent, com- pensated by the richness and beauty of the tombs and monuments inserted between the piers of the choir. That of Archbishop Pierre de la Jugee is speciall}' rich in sculp- ture, and still retains some fine painting. Like most of the churches in the South, St Just is fortified, and, along with the Archbishop's Palace, formed the citadel of the city, and occupied the site of the Roman Forum. The fortifications consist in a double tier of crenellations, which take the place of the usual balustrades over the chapels, and are continued round the apse, with arched passages which rest on piers brought up from the chapels of the " rond point," and are crowned with turrets which, as well as the connecting bridges, are all provided with crenellated parapets. These airy provisions for defence give an unusual and very singular appearance to the exterior of the apse (see view. Fig. 103). NARBONNE. 233 In the twelfth century Narbonne was a place of great importance, but, owing to the silting up of the harbour in the fourteenth century, its commerce and revenues were greatly diminished. The Archbishop's Palace was an immense castle, some- what after the type of the Pope's Palace at Avignon. The ancient city of Narbonne preserved, till the twelfth century, much of its Roman municipal administration — the Commune having councillors with the title of probi hoviines, afterwards changed to that of consuls, who not only carried on the internal affairs of the city, but ne- gotiated treaties with Genoa, Pisa^ and other powers. As invariably happened, however, these rights were en- croached upon by the feudal superiors. At Narbonne the Archbishop claimed the superiority, and in 12 12 he de- clared himself Duke, and received the homage of the Count, who was the lay superior. These different powers in the town were naturally in a state of constant w^arfare, and, in accordance with the usage of the times, the Arch- bishop resolved to fortify himself wathin a castle of strength and dignity commensurate with his importance as Primate of Gaul — a title assumed by the prelate who was in office in 1096. A few portions of the palace of the twelfth cen- tury remain, but it has nearly all given way to works erected at later periods. The building is now converted into the Hotel de Ville and Museum ; and, in order to carry out the alterations required, together with the new works (which were executed under the superintendence of Viollet-le-Duc) some of the old buildings and foundations had to be cleared out. This new work occupies the central space between the two old towers {see Fig. 103). The architect had thus an excellent opportunity of ascertaining the exact form and arrangement of the ancient palace, and of preparing the plan of it given in his " Dictionnaire." 234 MEDLEVAL TERIOD. At the south-cast angle stands the great tower or keep (to the left in the view), commanding the canal and the " place," and overtopping the tower of the Count, which stood opposite to it. This tower was built by Archbishop Gilles Ascelin in 1318, and forms an independent redoubt. It is four storys in height. The basement is circular internally, and, as usual, has no openings to the exterior, being only reached from the floor above by an aperture in the vault. The first floor is octagonal internally and vaulted. It is intended for defence, and is provided with passages in the thickness of the walls, from which diverging loopholes command the exterior in all directions. The third floor is square internally, and has been the living room, being furnished with windows on three sides and a fireplace, and had a wooden ceiling. The top story is also square, and is covered with a pointed vault. It has three windows, and chambers in the wall provided with loops for defence. The construction of the roof and angle turrets is somewhat remarkable. The central platform of the roof is some feet lower than the parapet w^alk, and is connected with it by a series of steps rising along each side. The angle turrets are three storys in height, and access is obtained to the different stages, 1st, from the platform roof; 2nd, from the parapet walk ; and 3rd, by steps up from the latter to the parapet on the top of the turrets. The tower was fortified on its three angles next the outside, with the above formidable turrets, which were probably further armed with some kind of wooden machicolations in time of danger. The fourth angle, next the inner courtyard, contained the staircase with a watch turret carried up above it. The other portions of the palace comprised an immense hall, and the numerous living apartments of the archbishop and his retainers. The entrance was by a long open passage PERPIGNAN. 235 well defended from high walls on either side. Within the fortified enclosure were also the cloisters and chapter house. These are of a somewhat late and cold design, dating from 1375. The roof, which is flat, formed an agreeable promenade within the walls. The Church of St Paul, beyond the canal, is an example of the mixture of the Gothic and Southern styles. The piers are light and lofty, and exhibit a Gothic character mixed with souvenirs of the heavier preceding style, in the small and few windows, the " historied " caps, &c. On the way between Narbonne and Perpignan ample opportunity is afforded, as the railway runs along between the lengthy lagunes and through the dreary salt marshes, of observing the process of silting up which has here been in progress for centuries, and which has had such a marked influence in changing the character of the country, and in affecting the fortunes of the various cities which formerly flourished on the prosperous banks of these inland seas, now so desolate and pestiferous. After passing the lagunes we reach the wide and fertile plain of Roussillon, where the process of silting up has long been completed, and where fruitful gardens now take the place of marshy wastes. Here too the snow-capped Pyrenees, surmounted by the lofty peak of Mont Canigou, come into view, bounding the prospect to the south, and pointing to the vicinity of the Spanish frontier. The language and architecture of the province also emphasise its Spanish character. Perpignan, which stands near the rapid river Tet, has many points which distinguish it from the towns we have just passed further north. A prominent feature of the architecture, doubtless Moorish in origin, is the enormous size of the voussoirs of the arches. In one 236 MEDLEVAL PERIOD. old building, called the Bourse, the voussoirs of the circular arch of the doorway are quite 6 feet in length. Numerous fragments of this peculiar style, and of walls built with the herring-bone work characteristic of the country, are to be met with in the town, but there are no really good and complete specimens. Some of the interior courtyards, with their wooden balconies, are very foreign looking and picturesque examples of the Spanish influence. The castellet (Fig. 104) which defends the gate of the city close to the river, has quite a different aspect from that of French castellated work. It is entirely built in brickwork, even the great corbels of the parapet being of that material. This small castle was erected by Charles V., and formed the original gateway of the town. It consists of two nearly round towers, with projecting circular turrets on their faces, and a double curtain wall between, through which the double gates no doubt formerly passed. The structure is surmounted with an octagonal tower, having a boldly overhanging parapet, which recalls the military architecture of the North of Italy, as exhibited in buildings such as the Badia at Florence and the Castle of Ferrera. The inner archway with its enormous voussoirs still exists. The gateway now in use adjoins the castellet on the east side (on the left in the sketch), and is provided with a drawbridge. This was probably erected when the system of fortification was altered, and the outer works shewn in the sketch and containing embrasures for cannons were erected. In the Cathedral of St Jean (Fig. 105) we have a very characteristic example of the Southern style. It consists, as usual, of one great hall or nave, without side aisles, and with a series of lofty chapels, between the buttresses, which are thus enclosed within the building. The church has a vault of fully 60 feet in width, and PERPIGNAN. '^Zl '3S MEDI/EVAL PERIOD. FIG. 105. CATHEDRAL OF ST JEAN, PERITGNAN. ELNE. 239 is lightly and boldly spanned with pointed and groined vaulting. The apse is similar in character to that at Beziers. The vaulting of this part was completed under Charles V., and indicates its late date by its interpenetrating ribs. There is almost no ornament, the architects of the time giving their attention chiefly to the scientific construction of their edifices. St Jean was founded by Sancho II., King of Majorca, in 1324. This was long before Roussillon came under the direct influence of France, which only took place under Louis XL The style of the building is thus not affected by the importation of the style of the North, as at Narbonne, except as regards the vaulting, which is of a much later period. Some relics of a more ancient Church of St Jean (le Vieux) adjoin the cathedral, and contain some interesting Romanesque work. St Jacques (thirteenth century) has a remarkable tower, and the ruins of the Dominican convent and church contain good cloisters, two sides being Romanesque, and the others fourteenth century work, with caps bearing shields, etc. The citadel, which occupies the site of the castle of the kings of Minorca is now a powerful fortress, a la Vauban. It contains the ruins of an ancient church with a doorway, the voussoirs of which are large, and composed of alternate red and white stone in the style of Catalonia. A very interesting and agreeable excursion may be made from Perpignan to Elne, a ^qw miles further south. Elne, in Roussillon, stands on a height in the midst of the great plain which extends to the base of the Pyrenees near the frontier of Spain, and is a town of great antiquity. It was in ancient times a seaport, but is now separated from the sea by a wide and level expanse of countr)'. 240 MEDIEVAL PERIOD. Elne, or as it was anciently called, Illiberris, was a Celtic city before it was frequented by the Phoenicians as one of their ports. The first Phoenician colony was destroyed before we have any detailed history of the country. It was rebuilt by the Illiberians, and again ruined. Once more restored by Constantine the Great, it continued, so long as its connection with the sea lasted, an opulent and populous place. But when, through the silting up of the water-way, it ceased to be a seaport, its prosperity departed, and the town has gradually declined, till it is now reduced to a mere village perched on the top of a rock. Constantine gave it the title of Castrum Helen^e, whence its present name is derived. In 1285 and 1474 Elne was again besieged and destroyed. These events helped to hasten its decay, and finally its Bishop's See, which had existed from the fifth century, was removed to Perpignan in 1602. Some portions of the ancient walls, built with the herring-bone work so common in this district, have not yet entirely crumbled away, and the town is still entered through a pointed gateway (Fig. 106) built with white marble, the passage through which is provided with a portcullis groove. The ancient church occupies the highest part of the rocky site. It is very plain externally and shews the marks of many alterations. The cathedral had been twice built in the plain, but was destroyed by the Saracens. This led the Bishop Beranger in 1019 to transfer it to its present securer site within the walls of the castle. The existing structure is of the twelfth century. The masonry is roughly built, partly with herring- bone work, and in some cases the arches of the windows are distinguished with dark-coloured stones. The interior is divided into a nave and two aisles, the tunnel vault ELNE. 241 of the nave being pointed and strengthened with round transverse ribs. The side aisles are vaulted with a half arch thrown against the walls of the nave like a continuous flying buttress. The vaults next the west end have, however, FIG. 106. MARBLE GATEWAY, ELNE. been reconstructed with cross ribs, a restoration probably of the fourteenth century. The whole of the work is of the simplest character and almost without ornament. At the east end (Fig. 107) the ancient apse with its circular arcade is visible, rising above the foundations of a larger choir which was begun in the sixteenth century, but still stands unfinished, the works having evidently been interrupted before they had reached the height of 10 feet from the ground. The new choir is designed on the plan of a Northern " chevet " or apsidal east end, with radiating chapels. The campanile is noteworthy as a design of that class of edifices closely imitated from those of Italy. Q 242 MEDIAEVAL PERIOD. I a ELNE. 243 But the most truly attractive and remarkable part of the antiquities of Elne is the beautiful cloister (Fig. 108), which, fortunately, is still complete and in fine preserva- tion. Each side of the enclosure has, besides the angle piers, three intermediate square piers, the spaces between them being each divided into a triple arcade, supported on coupled columns, the shafts of which are ornamented with all kinds of twists and foliated decoration. The whole is executed in white marble, and finished with great delicacy, forming the richest example remaining of this class of cloister, of which so many fine specimens occur in the South. The work is of various periods, from the twelfth to the fourteenth century. The oldest portions exhibit, in their ornament, a strong Byzantine feeling, which the artists of the later periods have endeavoured to imitate in the por- tions of the cloisters subsequently built. The shafts and caps of the later columns are as richly carved as the older ones, but they are covered with ornament of a much less conventional character, and more in the style of the natural foliage universally employed in the North in the fourteenth century. To a later period also belong the groined and ribbed vaults with which the cloister is roofed, and the corbels in the walls from which the ribs spring and which are formed as panels containing figure subjects finely executed. The doorway from the cloister into the church is pointed, and has voussoirs of white and red marble alternating — a style of decoration very usual in the South, and which may perhaps be the result of the proximity to the Moors in Spain. Several interesting bas-reliefs and other ancient frag- ments have been preserved by being built into the walls. Carcassonne. — An architectural description of the edifices of Provence and the Riviera would be incomplete without some account of the two most perfect examples of 244 MEDIEVAL PERIOD. CARCASSONNE. 245 Mediaeval castellated architecture which still exist in the towns of Carcassonne and Aigues Mortes. These are, from « their excellent state of preservation, quite unique, and far surpass in extent and interest the remains of the forti- fications of any of the other cities of Western Europe. The town of Carcassonne is situated on the river Aude, which is spanned by two bridges, one of them dating from 1 1 84. The portion on the left or north bank was a " bastide," or detached town, laid out in the time of St Louis ; the streets being all drawn at right angles, as was usual in the towns then erected on new sites. Such were the numerous villes-neiives constructed by Edward III. in the South-west of France, and which he endowed with certain privileges, in order to induce men to settle in them, and thus increase the population and strength of the country. The ancient cite of Carcassonne stands on the summit of a hill on the right bank of the river. It is still surrounded by its double wall of enceinte, studded with round and square towers, and dominated by the masses FIG. log. CARCASSONNE. of the ancient castle, which rise boldly above the steep and rocky hillside, and present a sight as novel and picturesque as can well be imagined (Fig. 109). The site is naturally a strong one, and was doubtless occupied from a very 246 MEDIAEVAL PERIOD. early period as a primitive fortress. It afterwards became a Roman town, and was surrounded by the Romans with walls. The Visigoths, who were absorbed into the native population and continued the Roman civilisation, rebuilt the walls, some of which still survive, apparently on the Roman foundations and after the Roman manner. The Roman system of fortification consisted in erecting two walls to form an outer and inner face, the space between which was filled up with earth and stones. The level of the ground on the inside of the fortress was kept much higher than that on the exterior, and a broad parapet walk, easily accessible from the interior level, ran round the top of the wall, and was protected towards the outside with a parapet. At Carcassonne the more ancient parts of the curtains are composed of two walls built with small cubic masonry, alternating with courses of thin bricks (Fig. no), the central space being, however, filled, not with earth, but with rubble masonry and mortar. The level of the ground is much higher next the town than towards the exterior. Some of the towers of the Visigoths still remain, and rise considerably above the curtains. These, like the towers of the Romans, are circular to the exterior and square next the city, on which side they are also open, both for the purpose of admitting of munitions being easily hoisted up to them from below, and also to render them useless in the hands of an enemy as against the town. Externally they arc furnished with embrasures at the top, which were provided with a swinging wooden shutter for defence, to support the pivots of which stone hooks are inserted at the eaves. The top is covered with a pointed roof {see Fig. no). The towers were detached from the curtains by CARCASSONNE. 247 FIG. no. CARCASSONNE — TOWERS AND CASTLE. 248 MEDIEVAL PERIOD. a pit or gap in the parapet walk where it adjoined them, so that each tower might form a separate post, and be defended independently. The lower part of the walls, being below the interior level of the ground, was peculiarly liable to be attacked by mining and battering, against which the defenders could make no direct resistance. The besiegers, as they knocked out parts of the wall, supported the superstructure in a temporary manner with wooden props, and when they had completed their mining opera- tions, they set fire to the props, and the wall above fell and formed a breach. Like the Roman permanent camps, these fortified cities had a castle or citadel, which was almost invariably placed on the highest point of the site, and adjoined the enceinte so as to command and defend the town, and, at the same time, be in a position to receive supplies and reinforce- ments from without. Within the castle, again, was a still further security in the donjon, or redoubt, which was detached from the other works, and often had a ditch and an enclosing wall, or chemise, of its own, and could be held after all the other defences had succumbed. Such walls as those of the Visigoths at Carcassonne were suffi- cient to resist the means of attack employed from the fifth to the eleventh century. At that period of revival a great improvement took place all round, and there can be no doubt that the early Crusaders learned much in the East with regard to the science of attack and defence of strong- holds. In the eleventh and twelfth centuries, towers like those of the Normans were erected, which depended for their security on the natural strength of the site, and the great height and thickness of the walls — their height protecting them against assault by scaling, and their mass and position against the mine and battering ram. They were further strengthened with outer walls and ditches. CARCASSONNE. 249 250 MEDIEVAL PERIOD. A very interesting description, illustrative of the manner of carrying on and resisting siege operations, is quoted by Viollet-le-Duc from a report rendered by Guillaumc des Ormes, Seneschal of Carcassonne, to Queen Blanche, on the raising of the siege of that town by Trenceval in 1240. The report details how the be- siegers and defenders battered one another with mon- gonneaux ; how they mined and countermined ; how part of the wall was sapped, and a breach formed, inside of which the defenders raised a wooden bretccJie^ crowned with hoards, and armed with archers. On St Louis' return from his first crusade, he was desirous to strengthen his position in the newly-acquired dominions of the Count of Toulouse. He, therefore, resolved to make a strong citadel of Carcassonne. For this purpose the houses in the suburbs were cleared away, and a new town, or bastide, was established, as above mentioned, for the ejected inhabitants on the opposite side of the river, where the new town now stands. Under King Louis the outer enceinte of Carcassonne was rebuilt (Fig. in). Between this and the inner wall of enceinte a space is left, called the " lices," in which troops can circulate, and patrols and sentries move in safety. The ground of the " lices " is nearly on the same level as the present parapet of the outer wall, while the wall is about thirty feet above the soil outside. The towers are built with an open side next the " lices," so that, even if taken by the enemy, they could not be held by him against the inner walls. St Louis also erected an im- mense barbican, or round redoubt, at the base of the hill, between Carcassonne and the Aude, so as to command the river, and allow of sorties being made on the level ground adjoining it. Philippe le Hardi continued the works of the fortifica- CARCASSONNE. 251 2 52 MEDIAEVAL PERIOD. tions till his death in 1285, his operations being chiefly on the east and south sides. There arc two principal gateways in the walls, the Porte de I'Aude and the PORTE Narbonnaise (Fig. 112), both strongly defended with towers and other works. There are also six posterns, all placed in angles so as to be masked by the towers, and generally several feet above the level of the ground. These were useful for relieving sentries, and for the movement of troops in the " lices." Opposite some of the posterns the outer walls are provided with large barbicans (Fig. 113), in which soldiers might be concentrated for sorties. As above mentioned, the great circular barbican at the base of the hill was also employed for this purpose. Nothing could give a better idea of the multiplicity and complication of the means of defence then employed than the mode of con- nection between this barbican and the castle. The rampart or passage which led to the castle above was especially well fortified. It was steep, and the ascent was interrupted with several cross w^alls with doors, approached by steps which were all commanded from the walls and curtains above, and from a great tower at the top, all armed with bretccJies or hoards. Towards the upper end the passage turned to the right, and was flanked by the defences above. A small gate was then reached, within which the passage doubled back again to the left, and was stopped by another gate, beyond which it entered a narrow covered way of three storys in height, each commanding the one below by means of machicolations or apertures in the floor, so that, if the first floor was gained, the assailant found him- self in a trap, and was battered from above. If all these defences were surmounted, the besieger was only the length of the " lices," and had still above him the lofty walls and towers of the castle, and the strongly-fortified CARCASSONNE. 253 254 MEDIEVAL PERIOD. postern, with its movable bridije, double machicolations, loop-holes, portcullis, and gates. Even within this, the entrance to the castle was impeded by a sloping and turning passage, furnished with numerous doors, and rising for twenty-three feet before the level of the court- yard was reached. Such defences were almost impregnable, and are a good illustration of the intricacy of the fortifications adopted at that period. At a later time such contriv- ances were found to be a mistake, as they impeded the movements of the garrison. They proved a weakness rather than a strength by preventing men from being moved rapidly to a critical point at the required time. The leading idea, at this period, was to render every point of the defences independent of the rest. Each tower is, therefore, a separate fort ; the castle and barbican are independent of the city walls, and could hold out although the town was in the hands of the enemy ; and within the castle there are two independent towers or donjons, which might still form a refuge for the garrison for some time after the castle was taken. The lofty square tower {see Fig. i lo), which was crowned with a bretcche, was carried up to a sufficient height to dominate the town and the whole surrounding country. This structure and some of the adjoining walls date from the twelfth century. The other buildings on the north side of the castle are of the time of St Louis. The inner enceinte of the castle with its towers and gates built by Philippe le Hardi (the latter part of the thirteenth century) are splendid examples of the military works of the period. The walls of the towers surrounding the town are built with solid masonry in regular courses, with the face left rough. The lower part of the curtains is pierced with the long loops, sometimes ii or 12 feet in CARCASSONNE. 255 length, then in use, and the top was fortified with hoardings or projecting wooden galleries, from the floor of which the defenders could drop stones and other missiles on the assailants, so as to keep them off from the base and prevent mining. All the walls and towers were furnished with these hoardings. The square holes in which the beams were inserted for carrying the galleries are still visible both in the outer and inner walls (Figs. 110-113). The towers are placed at suitable intervals to enable the curtains to be defended from them by lateral fire, and some of them are strengthened with a projecting beak to prevent the sappers from approaching when the angle could not be well commanded from the adjoining parapets, as is the case in the tower at the N.W. angle of the walls seen in Fig. III. One large square tower (shown in Fig. in) called the " Tour de I'Eveque " joins the outer and inner enceintes together by bridging over the space between them. It has thus complete control over the lices both from apertures in the vault, and from the hoardings which were projected on the flanks. This tower derives additional interest from having been used by Viollet-le-Duc as his studio while superintending the work of restoration, and it contains a number of fine plaster casts prepared by him. The parapet walk of the inner wall runs all round the battlements. In some cases it is interrupted by the towers (Fig. 1 14), and passes through them ; in other cases it is carried round the exterior of the towers on the side next the town, — the former towers being posts for guards and sen- tinels, and the latter being intended to serve as independent posts for defence. Access to the walls is provided by good open stairs on the side next the town, as shewn in Fig. 114, which represents the interior of the walls at the same place, as Fig. 113 shews the exterior. 256 MEDIAEVAL PERIOD. CARCASSONNE. 257 The ramparts of Carcassonne have been to a large extent restored within recent years ; but still remain untouched on the eastern side {see Fig. 112), where houses have been erected against the inner and upon the top of the outer walls, so as to convert the " lices " into a street. On this side the walls of the town are separated from the surrounding land, which here is rather high, by a wide and deep ditch. The high ground beyond the ditch was originally fiortified with a large round tower (now destroyed) which is supposed to have communicated with the town by a subterranean passage. Above the old houses on the walls are seen rising the great towers of the Porte Narbonnaise, each strengthened with a salient beak. Between these towers is the gate- way. It had no drawbridge, but was defended in front by a great chain, a wide machicolation, a portcullis, and fold- ing gates. In the centre of the vault over the archway there was a large opening, and the inner gateway was strengthened with a wide machicolation, a second port- cullis, and a second gate. Besides these the towers were of course provided with their hoardings and a bretCxhe projected over the gateway. The great angle tower, called the " Tresau," and a large angle bartizan further protected the approach of the gateway, as seen in the sketch. Such were the fortifications of Carcassonne, the chief frontier fortress on the side of Aragon, and there can be little doubt that against the means of attack then employed, they were practically impregnable. The ancient Church of St Nazaire at Carcassonne may be taken as an example of the ruder form which the Romanesque style assumed in a district not far removed from Provence. It occupies the highest point of the height on which stands the ancient fortified cite of Carcassonne. R 258 MEDIEVAL TERIOD. 7 :s^^^-' FIG. 115. ST NAZAIRE, CARCASSONNE. CARCASSONNE. 259 The church is placed near the walls of the city, and the west end is elevated and fortified so as to form part of the defences. The entrance to the nave is by a twelfth century doorway in the north aisle. The building consists of two portions, which form a striking contrast with one another (Fig. 115); the nave of the eleventh century, and the Romanesque choir of the fourteenth, the former of a massive and gloomy design, the latter of the lightest and most elegant Gothic. The older portion consists of a central nave and two side aisles, separated by enormous piers, which are alter- nately plain cylinders and squares with an engaged column on each face. The bases of the piers vary greatly in form — none of them being of Roman design, but all set upon a great square block. The caps of the cylindrical piers differ considerably, but consist of large mouldings, with corbels and billet ornaments. The pier arches are circular, and the aisles lofty, and vaulted with round arches. Rising from the caps of the cylindrical piers are short columns, the caps of which carry the pointed transverse ribs of the tunnel vault of the nave, which is also pointed, and probably belongs to the twelfth century. The caps of these short columns, and of the attached shafts of the square piers, are all very large and bold, and seem to be founded on Roman designs. The light Gothic work of the choir, with its tall slender shafts, and walls composed almost entirely of mullions and stained glass, forms a brilliant termination to the vista of the ponderous nave. It belongs to a much later period than the latter, having been erected by Bishop Pierre de Roche- fort, 1320-30. It is a palpable instance of the extension of the Gothic style of the Royal Domain along with that of the Royal Power, having been erected shortly after Carcassonne was united to France. 26o MEDLEVAL PERIOD. Viollet-le-Duc considers this choir one of the most instructive instances of the scientific method of construc- tion adopted by the Gothic architects of the fourteenth cen- tury ; and he points out that the architect has endeavoured to keep up the idea of the ancient nave in the new work by preser\-ing in the choir the plan of the nave piers — those of the central compartments being square, with attached shafts, while the others are round on plan. We shall now return to Aigues ]\Iortes, which, it will be remembered, was reserved for consideration along with Carcassonne. Aigues Mortes is another town of the age of St Louis and his son Philip the Bold, the fortifications of which have, b}- great good fortune, been preser\-ed almost untouched since the date of their erection. This probably arises from the fact that Aigues ]\Iortes presents one of the most striking instances of the " villes mortes," whose histor}' is so feelingly depicted by M. Lentheric. It stands in the midst of the lagunes and marshes which here cover a large extent of countr}' connected with the delta of the Rhone. The origin of the town dates from the time of St Louis. At that period the Kingdom of France had not as yet extended to the IMediterranean, but King Louis, being a devoted Crusader, was very desirous that his countr>' should possess a port on that sea, from which his armies might embark in their expeditions against the Infidels. This there was some difificulty in obtaining, the harbours on the coast being almost wholly subject to the Count of Beziers or the Count of Provence. It happened, however, that a small portion of the sea-coast, including a lagune and a navigable canal, which belonged to the ancient and wealthy Abbey of Psalmodi was available, and this King Louis secured from the monks in the year 1248, in exchange for other lands near Sommiere. At AIGUES MORTES 261 262 MEDIEVAL TERIOD. this place there existed an ancient tower, called the " Tour de Matafere,'* said to be of the time of Charlemagne, who had bestowed it on the abbey. The Tower of Matafere was rebuilt by St Louis, and renamed the " Tour de Constance " (Fig. 1 16). It is of great size, and was designed to form the citadel of the projected town of Aigues Mortes. It has frequently been supposed that, in the time of St Louis, this tower was washed by the waters of the Mediterranean, and that the sea, which is now some miles distant, has receded since then. But M. Lentheric shews most distinctly that this is a complete mistake, and that the coast line was, in the thirteenth century, precisely where it now is. At that time, however, the town was surrounded with the waters of an inland lagune, through the shallows and marshes connected with which a canal had to be kept open for access to the sea, as was formerly the case at Narbonne,. and still is in the lagune of Venice. The canal by which St Louis embarked on his crusades was called the Canal Viel. It was about five miles in length from the town to the opening in the sand dunes, called the " Grau Louis," where it debouched into the sea. Since that time the canal from the town to the sea has three times changed its course. For about a century after the time of St Louis this port was greatly frequented by merchants from Genoa, but it has long been little used, and all the commerce of Aigues Mortes has now died away. The walls of Aigues Mortes were traced out by St Louis, but the superstructure was executed by his son, Philip the Bold. The latter in 1272 took possession of the country of Toulouse and arranged with the Genoese Boccanera to construct the walls of Aigues Mortes for a sum equal to 88,500 francs. The town is laid out as a regular parallelogram with streets at right angles, AIGUES MORTES. 264 MEDI/EVAL PERIOD. like the bastide of Carcassonne on the north side of the Aude. The walls are built with solid masonry, having the natural surface left rough or bossy. Fifteen towers surround the city and strengthen the curtains at the angles and on the flanks. There are nine gates, two principal ones, and the others smaller. Being only a fortification of the second order the defences of Aigues Mortes are not nearly of so complete a type as those of the important fortress of Carcassonne. The towers are generally round, though some of them, following the Southern fashion, are square and project only slightly (Fig. 117). The gateways pass directly through the square towers, which, as we have seen at Avignon, was a decidedly Southern custom ; and none of the circular towers have strengthening beaks. The towers are so placed with reference to the walls that some of them, as at Carcassonne, interrupt the parapet walk, while in others it is carried round the outside of the inner face of the tower, and is supported on large mouldings which form a continuous corbelling. This is shewn in the view of one of the towers above a gateway taken from within the walls (Fig. 118). The stairs giving access to the walls and the interior of the loopholes are also seen in this view. The walls of the town, which are about 30 feet high, are all provided with a crenellated parapet, having long loops in the merlons between the embrasures. The wall heads have also been defended with wooden hoardings, the holes for the beams which carried them being very distinctly visible all round the fortress. The lower part of the wall is perforated with very long narrow slits. The interior recesses connected with these are formed with wide splays like window bays, and are provided with stone seats for the defenders {see Fig. ii8j. Probably the great AIGUES MORTES. 265 266 MEDI/EVAL PERIOD. length of the loops was to enable bowmen to operate both while standing on the floor and on the seats, or even on temporary wooden platforms at different heights, and also to aim their arrows either high or low. The open staircases leading to the walls are carried up on the side next the town in the same way as those of Carcassonne. In approaching the town from the north the PoRTE DE NiMES (Fig. 119) is first seen in front, while a long vista of the northern wall with its towers stretches to the left, and the Tour de Constance terminates the view to the right. This gateway has as usual a large strength- ening round tower on each side, containing guardrooms j &c., and .is so arranged as to form an independent post. Till the fourteenth century, gateways of this descrip- tion were defended with folding gates, portcullis, machi- colations (or apertures in the vault over the entrance passages), and with bretCxhes or hoardings projecting over the entrance, pierced with single, double, or even triple tiers of loopholes from which to attack the assail- ants. But there were as yet no drawbridges. At the Porte de Nimes evidences may be observed of a drawbridge, wrought with long balanced beams or levers passing through the wall, having been used ; but it has evidently been introduced at a later time. The walls of Aigues Mortes were entirely surrounded with a wet ditch (a few indications of which still remain), but it has for the most part been filled up and converted into a promenade. The ditch would be crossed with moveable wooden bridges which could be easily removed or destroyed. A projecting stone balcony is corbelled out from one of the round towers of the Porte de Nimes. This was no doubt a station from which audience could be given to heralds or others wishing to communicate with the AIGUES MORTES. 267 11^ 268 MEDIEVAL PERIOD. town without the necessity of opening any of the gates or other defences. The fortifications present on plan a right angled parallelogram about 600 yards from east to west, by 150 yards from north to south, with a curved portion cut out of the north-west angle. At this point stands the donjon, or Tour de Constance {see Fig. 116), built by St Louis, as above mentioned, on the site of the ancient Tour de Matafere in order to form the citadel of the town. This tower is of the simplest possible design, being a plain cylinder about 70 feet in diameter, with a talus or slope near the base. It is about 100 feet high, and was no doubt originally crowned with overhanging hoardings, and when fully equipped would present an appearance not unlike the well known great Keep of Couci Castle. The Tour de Constance was surrounded with a special ditch, and was connected with the town walls by means of narrow wooden gangways, which could be easily removed. The top has been altered in the sixteenth century, and made into a platform, and provided with a parapet suitable for guns. Above the circular staircase in the thickness of the wall the watch turret rises to a considerable height, and is crowned with the iron grille which for long contained the fire which illumined the canal, and served as a beacon to the ships. Simple as is the exterior of this keep, its interior is full of interest and beauty. The walls, as high as the first floor, are 20 feet in thickness. The basement contains the storage and has a well in the centre, over which an eye in the vaults above allows water to be raised to every floor. The entrance door is on the first floor on the side next the town, and there is also a postern on this floor on the side next the country. From the landing at the former, a staircase leads to the second floor, and is so AIGUES MORTES. 269 contrived that the lower part is completely overlooked and commanded from the upper part. At the landing where the staircase gives access to the great apartment on the upper floor, a beautifully arched and groined lobby is constructed, and is decorated with Gothic shafts and enriched caps. The great hall on the first floor is vaulted in one span, with large pointed ribs springing from finely-carved caps. On the level of the floor there are recesses in the thick walls, giving access to long loops which descend far below the floor, so as to enable the defenders to shoot down as close as possible to the base of the tower. The postern is also seen from the inside (although now built up externally), with its portcullis (or rather a modern imitation) in sittc. The interior is lit only by the narrow loop-holes, and is, therefore, very dark. A gallery runs round in the thickness of the upper part of the walls of the hall, with windows look- ing into the apartment from which it might be watched and commanded. Between the recess of one of the loops and the postern a fireplace is introduced, with an oven in the wall behind it. The hearth is covered with a boldly projecting hood, supported on two brackets carved with foliage. The angles of the hood have ornamental crockets, and the hood itself is carved in imitation of tiles. The whole work is massive and yet fine, and specially recalls, both in construction and ornament, the style of Couci. It has evidently been the work of a Northern architect brought with him by King Louis. About two miles to the north of Aigues Mortes stands the " Tour Carbonniere," which formed an outpost of the town. It was erected at the same time as the fortifica- tions, and was placed so as to command the approach, which was only practicable by one course through the marshes and canals. It is a good example of a detached 270 MEDIEVAL PERIOD. thirteenth century tower, and in style strongly resembles that of Villeneuve, at the west end of the bridge of St Benezet, at Avignon. We shall now return to Marseilles, and strike eastwards by the Mediterranean Railway, along the Riviera. For a considerable distance no architectural remains of importance are met with. The line passes through a rocky and mountainous country, the bare summits of the lofty peaks contrasting strongly with the rich verdure and luxuriant growth of the valleys below them, in which the subtropical vegetation of the Riviera now begins to shew itself. After penetrating a mountain range by tunnel, the sea- coast is reached, and some lovely bays are passed before sighting the lofty peaks of the mountains, each crowned with its fort, which surround and protect Toulon, the great arsenal of France on the Mediterranean. Archi- tecturally there is little of interest in the town, but the harbour with its narrow antique quay, lined with houses fronting the basin, which is crowded with the peculiarly rigged trading vessels of the district, is well worthy of a visit. It recalls in some respects the Riva de' Schiavoni at Venice, with its bustle and varied interest. The railway to Hyeres branches off the main line at La Pauline Station. Just before reaching this, the ancient and picturesque town of La Garde is passed. Its houses are clustered on the slope of a basaltic rock, the summit of which is crowned with the ruins of an ancient castle, and a church. The aspect of this old place forms a good introduction to the picturesque and decayed character HY^RES. 271 of the numerous ancient towns to be met with all along the Riviera. Hyeres is the first reached in travelling eastwards of the great health resorts of the Riviera. It stands on the southern slope of a hill facing the sea, which is visible at a distance of about three miles off. The rocky summit of the hill is crowned with the ruins of an ancient castle, from which the steep and narrow streets of the old town radiate downwards. The town was formerly surrounded with walls, which have now been removed, and the space converted into a wide promenade, on which flourish the palms, oranges, and other tropical plants for which Hyeres is famous. The modern houses and hotels are also situated on this fair terrace, while some remains of the gateways connected with the old ramparts are still preserved. Hyeres stands high above the level of the sea and the plain which extends between it and the foot of the hill. It thus commands an extensive view to the south and south-west over the peninsula of Giens, and the Mediterrancvan dotted with the groups of Islands named after it, "les lies d' Hyeres." There is nothing remarkable in the history of Hyeres. In Roman times a fortress existed here called Castrum Arsearum. In the thirteenth century the place was held by the Count of Fos, who was dispossessed by Charles of Anjou. Thereafter the castle and town passed through the usual assults and changes, and during the sixteenth century was in possession of the Catholics and Protestants in turn. The enceinte of the castle (Fig. 120) is well preserved, many of the towers which strengthen it being almost entire. These are for the most part square and lofty, and have thus quite a Southern aspect. The original crenellations still exist, together with the holes for the short beams which 272 MEDIAEVAL TERIOD. carried the wooden hoardings for defence at the summit. The openings are generally long narrow slits, but in the eastern angle tower three small pointed windows occur. The keep is almost entirely demolished. It occupied the FIG. 120. HVfeRES CASTLE. summit of the rock, and from its ruins a commanding and extensive prospect is obtained. The walls are probably not older than the thirteenth century. Within the enceinte the ground is laid out as a private vineyard. In the middle of the old town stands the picturesque church of St Paul, approached from a terrace commanding a beautiful view seawards, by a wide staircase crowned with a corbelled tower. It is originally of the twelfth century, but has been altered. The walls of the east end have had to be brought up from a considerable depth, owing to the great slope of the ground, and the lower part of the but- tresses shew work like that of the thirteenth century, but HY^RES. 273 the upper part is later. Internally the church has four bays and an apse — all late — the caps of the piers being of Renaissance work. The central nave and aisles are all groined. A wide chapel crosses the building at the west end, and is surmounted with a plain square tower (Fig. 121) S)u^.f^ FIG. 121. ST PAL'L, HYERES. of the type of the Italian campanile, of which numerous specimens are to be met with at Grasse and elsewhere along the Riviera. The upper round arched doorway, with its immense voussoirs, indicates a style of work of which several examples are to be met with in the town, and which is doubtless of Moorish or Spanish origin. S 274 MEDIEVAL PERIOD. The Hotel de Ville, on the place Massillon in the old town, occupies the chapel of a Commandery of the Templars. It has been much altered and renovated, but with its picturesque round tower at one side it has a good deal of character. A few portions of old houses present some good fragments of Mediaeval Architecture here and there. The main line of railway between Toulon and Frejus makes a great curve inland, so as to pass through the level and fertile valley lying between the detached and rugged district of " Les Maures " on the south, and the Alpines on the north. Half way along this valley is the station of Le Luc, about six miles to the northward of which stands a structure of great interest to the student of Architecture. We have already explained the ascetic sentiments which actuated the early Cistertians in the construction of their buildings. Without some knowledge of the principles of these primitive reformers it would be difficult to understand the origin and meaning of much of the architecture of Provence. In the midst of the usually ornate structures of the country, we come occa- sionally on some important and remarkable churches, which, from the plainness and simplicity of their style, present a complete contrast to the former. Such are the three early daughters of Citeaux erected during the twelfth century at Senanque, Silvacanne, and Thoronet. The churches of these monasteries are all remarkably similar in design, and carry out to the letter the plainness and absence of decoration required by St Bernard. Of this Thoronet is a striking example. This abbey is situated in a retired rural valley, about six miles north from Le Luc Station. On leaving the station, the road, after passing a large monastery with its chapel and CANNET. 275 cypresses, ascends by a steep footpath the hill on which stands the ancient town of Cannet (Fig. 122) still partly surrounded with its mediaeval walls. A delightful walk of two or three miles through a narrow and rocky valley clad with olives leads to the village of Thoronet, two miles beyond which the monastery is reached. It stands con- cealed by olive groves on the western slope of a narrow valley, through which flows a small stream, a tributary of FIG. 122. CANNET. the Argens. The church, with its plain apse and little spire, first meets the view, followed, on near approach, by the ruinous but extensive buildings of the monastery which disappear amongst foliage down the slope of the hillside. The public road now runs through the upper part of the enclosure of the abbey, and close along the south side of the church ; while part of the monastic buildings to the west are occupied as a tavern or farmhouse. 2/6 MEDIAEVAL TERIOD. The Monastery of Thoronet was founded in the beginning of the twelfth century, on ground granted by Raymond de Beranger, Count of Provence, to the monks of Citeaux, and continued to be occupied by that order till their property was secularised and sold at the Revolution. The plan is that usual in Cistertian buildings of the period. The church has a nave, with central and side aisles, crossed at the east end by a large transept, from which, in the centre, a short choir having a circular FIG. 123. THORONET— CHURCH FROM S.W. apse, and two smaller chapels with altars in each transept, extend towards the east. At Thoronet the choir and chapels have apsidal terminations, but in some Cistertian churches the east end is square. Nothing could exceed the unadorned nature of the design, both externally and internally. The west end (Fig. 123) shews the principal entrance, which is a plain round-headed doorway, without even a moulding. The tall windows and the round one in this gable are treated equally simply. These, and a round THORONET. 277 FIG. 124. ABBEY CHURCH OF THORONET. 2/8 MEDI/EVAL PERIOD. window over the apse, give the principal light in the church, which, like the other Southern churches vaulted on the same principle, has no clerestory. There is an alcove for a tomb in the exterior of the wall of the south aisle, but it is now empty. The interior (Fig. 124) presents, as it were, the bare skeleton of the other churches of Provence which we have already considered, without any of their ornamentation. The piers of the nave are simply portions of a side wall set on square slabs as a base, with a plain break to sustain the inner member of the nave arch. Above these rises the perfectly plain, pointed, barrel vault, strengthened with simple square-cut transverse arches, which spring from round attached vaulting shafts, resting on the plainest possible corbels, and having caps of a very simple form. The vault of the central nave is buttressed by half vaults in the side aisles, which are of the same design. The tiles of the roof, both of the central nave and the side aisles, rest directly on the outside of the vaults without any wooden construction. This, as we have seen, is the usual arrangement in the churches of Provence, such as Notre Dame des Doms, Avignon, and St Trophime, Aries. The cloister, and some of the monastic buildings ad- joining, are well preserved. A similar simplicity reigns throughout these. The cloister consists, as usual, of four arcades enclosing a garth on the north side of the church. The arcade next the nave is on a higher level than the other three, owing to the slope of the hill, and is only one story high, there being no rooms on this side for an upper gallery to give access to. The other three sides of the cloister had originally an upper floor, with open arches next the garth, and an open timber roof These galleries gave access to the dormitory and other apartments on the upper floor. The arcades of the cloisters (Fig. 125) are of a very THORONET. 279 28o MEDI/EVAL PERIOD. simple form, consisting of plain round arches in the wall, filled in with a single solid shaft supporting two smaller round arches, and a circular eye above. The arches are absolutely without mouldings. The caps and bases of the FIG. 126. THORONET — CAPS IN CLOISTER. central shafts (Fig. 126) are of very simple design — a small leaf or uncarved set-off being all that is allowed to cover the passage from round to square, and any such enrich- ments are most elementary, both in design and execution. It will, however, be observed that these primitive ornaments, although simple, aire original. They show no trace of Roman traditions, which, as formerly pointed out, were entirely renounced by the Cistertians in their reformed THORONET. 28 1 Provencal art. These very elementary forms are thus the prototypes of the new and natural style of ornamenta- tion above referred to in Part V. as having been introduced by the Cistertian Order. The small arches rest on an impost formed of a plain string course, which, together with the plain splay of the base, are cut off at the outer face of the wall, and do not return round it. This mode of cutting off strings, etc., is of frequent occurrence in buildings of this type. The cloister walks are covered with plain, pointed, tunnel vaults, strengthened at intervals with square trans- verse ribs resting on plain corbels, which are inserted in a string course, formed of a simple ovolo. At the intersection of the cloister walks the pointed vaults meet, and the junction is covered with a pair of square diagonal ribs intersecting one another in the angle. Opening from the north side of the cloister is a hex- agonal chamber, which served as the lavatory of the monks. It projects into the garth from the arcade {see Fig. 125), and has five windows, three of which are plain round-headed openings, and the two others are each finished with two small arches and a circular eye like those of the cloisters. A double doorway gives access from the cloister walk. The basin or vase for washing, which formerly stood in the centre, now lies broken in the garden. The chapter-house opens into the eastern side of the cloisters by a doorway with a pointed arch, and two side windows, with three openings in each. These openings were for the purpose of enabling the monks in the cloister to hear what passed in the chapter-house. The latter is vaulted with groined-pointed vaults — the ribs being square with bead on angles, supported by two short and dumpy pillars, with spurred bases and remarkable caps, somewhat more ornamental than the others. In the east wing, over 282 MEDI/EVAL PERIOD. the chapter-house, the dormitory still exists, roofed with a wide barrel vault, strengthened with transverse ribs. From the simple design of the cloister it is apparent how completely the Cistertians renounced the fine shafts and delicate carving of the cloisters of the early Provencal type like those of Aix, with their light wooden roofs, and gave preference to vaults, as being more enduring, while at the same time they rejected all sculpture and ornament. Although simple and plain to a degree, there is a unity of purpose and an originality of character in this new and vigorous style which commands respect if not admiration. Senanque, Silvacanne, and Thoronet were all built in the severe style of the first fervour of the Cistertians early in the twelfth century. By the end of the century this first enthusiasm became an affectation of simplicity and was gradually tempered by the preponderating influ- ence of the Clunisiens, who were more in harmony with the spirit of the times than the rigid Cistertians, — the general tendency of the age being to great richness in architecture. At a later period the monastery of Thoronet seems to have been enclosed with walls, within which the grounds were laid out with taste and elegance. Few examples of this refinement have escaped destruction ; but a fountain, with its basin set in an alcove in the outer wall, still survives (Fig. 127), and serves to refresh the traveller on the dusty highway which now passes through the pleasure gardens of the monks. At St Maximin, which lies considerably to the west of Thoronet and is most conveniently approached by the railway between Aix and Carnoulles by Brig- noles, there exists a church of a totally different char- acter. It is said to be the most perfect specimen in Provence of a building in the pure Gothic style. The design has evidently been imported directly from the ST MAXIMIN. 283 North, and is precisely such an edifice as one would expect to meet with in the He de France. Its presence here therefore strikes one with surprise, and with a sense ^cJIj^ FIG. 127. THORONET — FOUNTAIN IN GKOl'NDS. of incongruity with its surroundings. This church was begun towards the end of the thirteenth century by Charles of Anjou, but was not finished till the close of the fifteenth 284 MEDIEVAL PERIOD. century. The plan shews a central nave with side aisles, each terminated to the east with an apse. There is no transept. The vaults are pointed and simple in form. The central vault (Fig. 128) is lofty, being about 90 feet to the apex. When complete the aspect of the church must have been extremely light and fairy-like. The lofty windows of the clerestory and apse, which are all pointed, fill up FIG. 128. CHUKCH OF ST MAXIMIN. with their traceries nearly the whole visible space, the masonry being reduced to its smallest limits. The same idea was carried out in the side aisles, where the windows were originally brought down almost to the pavement. When these windows were all filled with stained glass, as ST MAXIMIN. 285 they arc believed to have been ^although it is now com- pletely gone), the effect must have been very fine, and all the more splendid from the remarkable contrast it would present to the usually somewhat dark and gloomy char- acter of Southern churches. Side chapels have now been added, and the aisle windows shut up by them ; and it is stated that the structure is generally very much destroyed. Unfortunately the west facade has never been completed. From Le Luc the railway follows the course of the wide and fertile valley of the River Argens to Frejus, the ancient Roman Forum Julii, so rich, as we have already seen, in Ronian remains ; and its Mediaeval buildings will be found to be not less interesting. The Cathedral of Frejus, erected probably in the twelfth century, is a prominent example of the adoption in FREJUS CATHEDRAL FIG. 129. I'LAN OI-- FRKJUS CATHEDRAL. Provence of the " single-hall " style of church, which (as explained in Part V.) was so universal in the south and west of France. The original church (Fig. 129) consists of 286 MEDIi^VAL TERIOD. ST MAXIMIN. 287 a nave of three divisions or bays, each covered with round intersecting vaults, strengthened with large square groins, and terminated at the east end with a circular apse, the whole extending to 120 feet in length by 28 feet in width. The vaults spring from piers, which arc really large internal buttresses, with recesses between them 7 feet deep (Fig. 130). The north side wall has, however, been cut out, and FIG. 131. FREJUS — WESTERN ENCLOSURE AND CATHEDRA!. BUILDINGS. a side aisle added at a later date, with still later chapels beyond. The string courses, caps, etc., are all of the same simple forms employed in so many buildings of the period. Nothing could be plainer or more devoid of ornament than 288 MEDI/EVAL PERIOD. this massive and impressive edifice. The exterior of the cathedral has undergone many changes. The Bishop's Palace adjoins it on the south, and covers a large part of the south wall. The whole series of buildings connected FIG. 132. FREJL'S CATHEDRAL, EASTERN TOWER AND BISHOT S I'ALACE. with the cathedral, have at one time been enclosed with a strong wall, built in regular courses, left rough on the surface. Some portions of this work are visible in the FRfijUS. 289 outer wall next the street at the west end. There, inter- mingled with a great deal of modern addition and alteration, may still be traced the remains of two windows (Fig. 131) of the twelfth or early thirteenth century, with circular arches springing from carved caps. In the jambs of one of these windows the caps still surmount pro- jecting shafts standing on corbels, but they have dis- appeared from the other. The details are given in Fig. 133. Several of the original small windows of the base- ment, however, remain unaltered. They have the circular heads and the deeply splayed external ingoing of the period. The east end of the cathedral (Fig. 132) is very remarkable. The apse, which is circular within, is only slightly rounded externally, and is carried up to a con- siderable height as a tower of defence, and armed with an embattled parapet at the top, supported on bold corbels with machicolations between them. Frejus Cathedral is thus another instance of the numerous fortified churches so characteristic of the South, and formed part of the general fortified enclosure which protected the Bishop's Palace and the other ecclesiastical buildings connected with the see. Adjoining the apse considerable remains of the ancient Bishop's Palace may still be traced, shewing (amidst modern alterations) work similar to that of the west end, and containing coupled pointed windows and doors with round arches. The enclosing and fortifying of the precincts seem to have been carried out at a time subsequent to the erection of the cathedral. This ei^plains the peculiar form of the tower over the apse, and likewise the manner in which the ancient baptistery is enclosed in a similar mural envelope. The work was probably executed, to judge from the style, early in the thirteenth century. In that T 290 MEDIEVAL TERIOD. century too the tower at the west end of the church seems to have been erected over what was probably the original FIG. 133. FREJUS CATHEDRAL— SOUTH OR ENTRANCE FRONT. narthex or anti- church. Internally the lower portions are executed in the style of the Gothic of the North, FRfijUS. 291 and the heavy tower above (Fig. 133) may possibly be of the same date. The coloured tiles, which give the spire a special character, are no doubt much more modern. We also find here other examples of work of different kinds and various periods. Of these the ancient baptistery (Fig. 134) is a structure of great interest. It stands at the west end of what seems to have been originally, although now covered in, a small open court, such as generally existed in front of the western entrances to the early churches. The plan of the baptistery is octagonal, being the same as that adopted for the primitive baptisteries in Italy. Octagonal or circular edifices such as this are frequently called Roman temples ; but, although they very closely resemble Roman work, they are found, on an examination of the details, to be only imitated from classic design, and are clearly of Christian origin. At Frejus, the baptistery is ornamented with a granite monolithic column in each of its eight angles, provided with caps of white marble. The caps and bases (Fig. 134) are varied in design, and are all closely imitated from the Corinthian, although none of them are exactly after that pattern. The massive fragment of stone, moulded on the front, which is placed over each, is probably a survival or reminiscence of the entablature which was always thought necessary in classic times. The upper portion, which was most likely an octagonal dome in the original building, is now modernised. The plan shews an attempt to make the floor as square as possible, by means of four deep niches introduced in the four angles. The central font is peculiar in form, and stands on a fragment of an ancient column. In connection with this baptistery it may be interesting here to call attention to the fact that a monument in the same style, but superior in size and design, still exists at 292 MEDI/EVAL PERIOD. RIEZ. 293 RlEZ, an ancient Roman colony instituted under the patronage of Augustus, some distance to the north-west of Draguinon. The original town was built on the plain watered by the river Colastre (a tributary of the Verdon), but the inhabitants have long abandoned the low ground, and the houses now stand an the slope of the Mont Saint-Maximin above. In the deserted plain are to be found four Corinthian columns of grey granite from the Esterel with caps, bases, and architraves of marble. These, according to Texier and PuUan, formed the facade of a prostyle temple. The numerous fragments of pottery and mosaics which ■ '!>!aUcf \^\\\\\\\\\ FIG. 135. THE 'I'ANTHEON," RIEZ {Ftoiii Texier and Piillau) are constantly dug up, and a large quantity of portions of columns and architraves built into the modern walls, shew that the Roman works here were at one time considerable. 294 MEDI/EVAL PERIOD. In the chapel of St Maxime six Roman columns have been utilized. But the most remarkable monument of the place is the so-called "Temple" or "Pantheon." This consists externally of a plain square structure, 37 feet each way, but internally it is octaj^onal in plan (Fig. 135), with four deep niches in the sides opposite the angles of the square. Within the octagon are eight columns standing FIG. 136. THE "I'ANTHEON," KiEZ {Frovi Tcxicr and Pttllau). detached, so as to form an aisle all round, while they support an octagonal drum (Fig. 136), roofed over with a dome. The aisle is vaulted, with an irregular form, composed of about three-fourths of a pointed arch. The columns are ancient, but they have evidently been removed from their original position, being unequal in the length of the shafts, and the size and design of the capitals, and have no doubt been collected from various sources. Texier RIEZ. 295 296 MEDI/EVAL PERIOD. and Pullan believe that this was an ancient Roman structure converted to Christian uses in the sixth century ; but excavations in the floor have revealed the remains of a large baptismal basin, similar to the original Italian ones, thus leaving no doubt as to the primitive destination of the structure. The pointed arch over the aisle is also a sign of its belonging to post-Roman times. It is certainly one of the most interesting of the early Christian edifices in Provence. Returning to Frejus, we observe that the cloisters, which are on the north side of the small court or lobby adjoining the baptistery, were erected at a somewhat later date than the tower, in a style strongly recalling the Italian-Gothic of Florence and Genoa, which we here meet with for the first time in our eastward progress (Fig. 137). The arcades of the cloisters are plain, and rest on coupled columns, with caps carved in the style of the Italian-Gothic of the fifteenth century, the whole being carefully and elegantly executed in white marble ; and, though now sadly built up and mutilated, they still possess a wonderfully picturesque and charming effect. The coupled columns were evidently not intended to support vaulting, but to carry the unique and effective wooden roof (Fig. 138), part of which still exists, but is so greatly decayed that it has to be supported with rough props and wedges. At a still later period the entrance front of the cathedral has been altered and finished in its present ungainly form (Fig. 133). The floor of the cathedral, owing to the slope of the ground, is several feet below the present level outside, and has to be approached by descending steps. Originally the entrance to the narthex was no doubt on the level of the cathedral floor. The outside level has apparently, however, been heightened before the present entrance doorway was built, as it con- FRJiJUS. 297 FIG. 138. FRHJUS CATHEDRAL, CLOISTERS. 298 MEDI/EVAL PERIOD. forms to the level of the " place " on the south of the church. The late Gothic style of this doorway, in which Renaissance details are mixed with Gothic forms, belongs to the sixteenth century. The wall adjoining has been re- built and heightened at the same date, and an attempt has been made to bring the whole facade into a symmetrically balanced design, in accordance with one of the leading principles of the classic style then beginning to be revived. The wooden doors are beautifully carv- ed with Scripture subjects mingled with Gothic details. This building is a specimen of the imperfect and fragmentary man- ner in which the Northern Gothic style was employed in Provence. We have here also an example (and we shall meet with more frequent instances as we proceed eastwards) of the spread of the Italian-Gothic style beyond its ordinarily under- stood boundary. But as all the country between Genoa and Tou- lon was for long either under the sway of Genoa or of the Grimaldi of Monaco, it is only natural to find traces of Italian taste in the Riviera, which indeed is in all respects far more Italian than French. Fig. 139 shews an ancient lamp of brass work suspended in the centre of the cathedral. The houses in the town of Frejus possess many quaint bits of architectural detail, amongst which the woodwork FIG. 139. BRASS LAMl' IN FREJUS CATHEDRAL (From a Draiving by Mr R. Burns Bcgg). FREJUS. 299 of the old doorways may be specially mentioned (Fig. 140). Similar telling and original specimens of wood FIG. 140. DOORWAYS IN FR^JUS and iron work, it may be remarked, are not uncommon throughout the Riviera. St Raphael, a small town a few miles to the eastward, now forms the port of Frejus. The mountainous district of " Les Maures," which lies along the coast between Toulon 30O MEDIAEVAL PERIOD. and Frejus, may cither be visited from Hyeres on the west (by diHgence), or from St Raphael on the east (by steamer). The latter mode forms a long but very pleasant day's excursion. A small trading steamer leaves St Raphael on certain days (mentioned in the " Indicateur ") at 8.30 a.m., and reaches St Tropez about 10.15, after a pleasant voyage round the headlands between the Gulf of Frejus and that of Grimaud. St Tropez occupies the site of the ancient Heraclea Caccabaria, an important naval station in Roman times. The town has several times been destroyed by the Saracens and Corsairs, who in the ninth century took possession of the whole of the detached chain of mountains still called after them by the name of " Les Maures." The sheltered gulf of Grimaud formed a fine harbour for their ships, and the port St Tropez was then a place from which a consider- able trade was carried on with the African coast. In the later centuries it suffered the usual disturbances under Charles of Anjou, and in the wars of Religion. The town still possesses some trade, and there is a fair number of coasting vessels in the harbour, to which. KIG. 141. ST TKOl'EZ. with their large brown sails, they give a peculiar and pleasing effect (Fig. 141). Some of the houses shew signs of having seen better days, but the whole place ST TROPEZ. ;oi has a somewhat decayed and crumbling appearance. The town is surmounted by a castle, which was constructed in 1793, on the top of the hill to the south. It is surrounded with high walls loopholed for musketry and strengthened with bastions. The traffic in fish seems FIG. 142. ENTRANCE TO FISHMARKET, ST TROPEZ. to be considerable, and is carried on in a dark vaulted market place, where the fish are exposed for sale, and where they are kept cooler than in the open air. The entrance to this fishy cave is somewhat picturesque (Fig. 142), 302 MEDIEVAL TERIOD. A daily omnibus runs from St Tropcz to Cogolin at the upper end of the Gulf of Grimaud, forming a very pretty drive of an hour and a quarter. At Cogolin the road to Hyeres branches off to the left, and that to Le Luc to the right A daily diligence runs each way between Cogolin and Le Luc. There is time, after the arrival of the omnibus from St Tropez, to walk on to Grimaud and wait for the diligence there. In crossing the plain the towering FIG. 143. GRIMAUD FROM THE PLAIN. ruins of the castle, crowning a lofty pyramidal hill, are seen rising about two miles off, and give promise of a splendid subject. From the base of the hill (Fig. 143) the white houses of the town clustering round the grey walls of the castle have a commanding appearance, and even when seen close they form some fine and picturesque combinations. But from an architectural point of view the castle is disappointing, being reduced to a mere skeleton of two towers, connected by a ruined wall of enceinte (Fig. 144). It was built in the fifteenth century by Italian architects for the Grimaldi, to whom this ST TROPEZ. 303 country then belonged, and it was occupied till the middle of last century. Many of the houses of the town are new, but there are also some very old and picturesque streets, bordered with rude arcades. The church, though modernised, has re- FIG. 144. CASTLE OF GRIMAUD. tained its old tunnel vault, with transverse ribs, and simple Provencal mouldings. It has also a semi-circular apse, and a round arched door, with very deep voussoirs, like that of Hyeres — possibly a survival of the art of the Moors. The diligence passes here at 2 P.M., and reaches Le Luc about 4.30, after a very fine drive through a moun- tainous country, covered with noble old forest trees. These consist chiefly of chestnuts and cork oaks, which have 304 MEDIEVAL PERIOD. grown to a great size, the latter furnishing the materials for the chief industry of the country. The road consists of a long hill up to the Col or pass, on which stands La Garde Freinet, and then a long descent down to the plain of the Argens. La Garde Freinet is a small town occupying the site of the famous Fraxinet, or chief citadel of the Moors, which gave its name to all their other settle- ments in Provence. The Moors took possession of this lofty district in the ninth century, and from it, as a secure centre, they made their predatory descents on the sur- rounding fertile plains. But in 973, after a severe struggle, they were driven out by a combination of the Christian inhabitants of Provence. The ancient Fraxinet stood on the summit of a per- pendicular rock to the north of the village ; but there are almost no vestiges left of the fortress, save a square cistern for water. The town, as seen from the descent on the north side, with its background of precipitous rocks and the deep wooded valley in front, presents one of the most striking and remarkable pictures in this singular locality. The drive down to Le Luc is delightful ; the pine woods and rocky glens recalling the peculiar scenery char- acteristic of our Scottish Highlands. After passing St Raphael, the railway has to cut its way through the rocky promontories w^hich here terminate the Esterel range, and jut boldly out into the Mediterranean. In alternate tunnels and viaducts it sweeps round the Cap Roux, passing, on its way, the lovely bay of Agay, and the wonderfully coloured rock masses of the red porphy- ritic mountains, which contrast so admirably with the rich green pine woods filling the ravines which furrow the hillsides. These mountains were quarried by the Romans, and furnished them with supplies of red and blue porphyry for the adornment ot their buildings. They are ST TROPEZ. 305 still worked, and yield a considerable quantity of hard materials used for street paving. On rounding the point of the Cap Roux, the wide and beautiful bay of Cannes opens to view, with its long range of white villas, backed by the dark pine-covered hills, beyond which the snowy peaks of the Basses Alpes are visible in the distance. The prominent mass of the Mont du Chevalier marks the centre, while the picture is bounded on the left by the ^ ^^yit/iotcl FIG. 145. CASTLE OF NAPOULE. valley of the Siagne, and on the right by the lies de Lerins, with the Castle of St Honorat rising boldly from the sea on the furthest point. In the hollow of the bay, near the mouth of the Siagne, and commanding a fine view of Cannes, stands the ancient Castle of Napoule (Fig. 145), where some fragments of old work still survive ; but a new chateau occupies the principal portion of the old site. Two of the original square towers are in fair U 3o6 MEDIEVAL PERIOD. preservation, and, together with the chapel and crenellated walls, form an interesting group (Fig. 146). The style seems to have been partly that of the castellated buildings FIG. 146. CASTLE OF NAPOULK. of Italy, with V-shaped merlons between the embrasures, while the voussoirs of the arches are of the deep form observed at Grimaud and Hyeres. Napoule is supposed to have been a Roman port, having a depot for grain connected with it. The castle was built by the Counts of Villeneuve in the fourteenth century. It belonged to that branch of the family called Villeneuve Franc, and afterwards to the family of Montgrand. Close to Napoule rises the conical hill of St Peyre, on the top of which are the scanty ruins of a castle and a chapel with an apse. At the base of the hill, and close to the public road, may be seen the remains of another apsidal chapel. Beyond this various branches of the Siagne are crossed, when a small conical hill crowned with ST CASSIEN. 307 wood rises abruptly on the left, to which the distant towers of Grasse and Mougin, with the mountains beyond, form a background. This hill is the Mont St Cassien, where a FIG. 147. MONT ST CASSIEN. famous hermitage existed, and where a great popular festival is still held annually on the 23rd of July. An entrenched post was formed here under the Romans, for the defence 308 MEDIAEVAL TERIOD. of the Aurelian Way. On this spot was also erected a Temple of Venus surrounded with a sacred grove called the Ara Luci (hence the modern Arluc, a small town in the vicinity). In the seventh century this heathen temple was demolished by the religious of the Lcrins, and a convent erected instead, which, in its turn, was destroyed by the Saracens. A chapel with an open arcaded porch now marks the spot (Fig. 147), w^hich, surrounded as it is with ancient cypresses and pines, is one of the best designed structures of the kind in the district. Small open-air chapels or shrines of this description, with arcaded porches, are very common all over the Riviera, and often form very pleasing objects in the landscape, occupying, as they frequently do, somewhat prominent sites. They are almost invariably in a late Renaissance style of architecture. Cannes is the one of the health resorts which has perhaps made the greatest progress within the last fifty years, having developed from the small fishing village which Lord Brougham found it in 183 1, when he erected the first English villa, into a town of fine residences and splendid hotels extending for about four miles along the coast, and rising on the wooded hills, or nestling in the sheltered ravines which seam their flanks. Like most of the towns on the Riviera, Cannes owed its first existence to a rocky eminence in the middle of a bay, forming at once a naturally sheltered harbour and a suitable site for a fortification for its defence (Fig. 148). It is therefore probably a place of very ancient origin, and was in all likelihood the primitive Ligurian settlement of yEgitna, where tke Roman Consul Quintus Opimius obtained a victory over the Ligurian tribes B.C. 155. The town was then handed over to the Massiliotes, the allies of the Romans, and went by the name of Castrum CANNES. 309 310 MEDIEVAL PERIOD. Massiliorum during the Middle Ages. Sometime before the tenth century it became a fief of the powerful Abbey of the Lerins, to which the whole of the adjacent country had gradually become subject. The ecclesiastical suzerain was represented on the mainland by a " chevalier," who occupied the castle of Cannes, which crowned the rock above referred to, and was surrounded with walls. On the slopes of the castle hill and round the harbour at its base were erected the houses of the ancient town, and in the same position still stand the dwellings of the native population, approached by steep and narrow alleys (Fig. 149)- The summit of the hill is crowned with the only buildings in Cannes having any claim to antiquity. These consist of the " Tour du Chevalier," the ancient Church of St Anne (formerly the chapel of the castle), and the more modern parish church of the seventeenth century, the whole being surrounded wdth the remains of walls, towers, and bastions of various periods, enclosing open spaces and courtyards, and presenting a very varied and picturesque ensemble. The "Tour du Chevalier" (Fig. 150) is a structure of peculiar interest, being the first we have met with of a series of similar towers which, we shall find as we proceed, were erected in the eleventh and twelfth centuries for the defence of the towns and churches of this district. These towers are generally, like that at Cannes, square on plan (Fig. 151), and have walls built with courses of square dressed stones, having the faces left rough. The ground floor is vaulted, and is entered only from the first floor by an aperture in the vault. The entrance doorway to the tower is on the first floor, at a considerable height above the ground ; being so placed for security and being only approachable by a moveable ladder. The projecting step CANNES. ^11 ^12 MEDI/EVAL PERIOD. FIG. 150. TOUU UU CHEVALIER, CANNES. CANNES. 13 to receive the top of the ladder is visible in the Tour du Chevalier, beneath the entrance door. The latter has a MONT DU CHEVALIER CANMES BASEMENT PLAN FIRST FLOOR PLAN oECTION FIG. 151. PLAN AND SECTION OF THE "tOUR DU CHEVALIER," CANNES. straight lintel recessed within a plain round arched open- ing. From the first floor level a stone stair corbelled out from the interior of the wall and running round the sides of the apartments led to the upper floors, which were originally formed of timber, although now vaulted with flat arches of more recent construction, probably of the sixteenth century. The roof was no doubt flat and was provided with a crenellated parapet, projected on corbels with machicolations between them. This parapet was only destroyed some years ago, when the tower was struck by lightning. The openings for light are small square apertures in the masonry without splay or orna- ment. They have no internal bay, but are mere oblong holes passing through the walls. These holes might almost be supposed to have been used for projecting beams through, on which to rest wooden hoardings for defence, but there are no doors for access to such works. According to the Abbe Allier, in his History of the " lies 314 MEDI/EVAL PERIOD. de Lerins," this tower was begun in 1073 ^Y ^^^^ Abbe Aldebert II., partly on Roman substructures. The parapet was, however, not completed till 1395 by the Abbe Jean de Thornafort. This tower and the other similar towers of this district (of which more hereafter) occupied in their design an intermediate position between the keeps of the North, such as that of Montmajour, and the lofty towers of the Italian cities, of which those of Sienna and Verona are well known examples. The courtyard of the castle was enclosed with w^alls fortified with towers, of which some portions still remain, but the enceinte has been greatly altered in later times, and converted into bastions with platforms for guns, and parapets loopholed for musketry. This was probably done during the Spanish wars of the sixteenth century. Within the walls there were no doubt buildings for the residence of the Chevalier and the garrison, the tower being only used for watching, and as a keep or last resort in case of siege. Of the original structures the only one besides the tower now remaining is the church of St Anne, which, according to the Abbe AUier, was erected towards the end of the twelfth century. This church forms an example of the simple style of Cistertian architecture, which, as already remarked, was largely adopted in Provence — especially, as we shall see, in many of the smaller churches. In these we find the Cistertian plainness combined with the plan of a simple nave without aisles, terminated with an apse at the east end. The Church of St Anne (Fig. 152), although erected in connection with the castle, also served originally as the Town Church. It is of the same simple type as Thoronet, but on a much smaller scale. The plan (Fig. 153) consists of one long nave, 87 feet in length by 20 feet wide, with a round apse at the east end ; and it has no aisles CANNES. 315 or transept The walls are perfectly plain, both internally and externally, and the roof is constructed with a pointed vault, strengthened with square transverse ribs, which spring from simple pilasters in the wall. The cornice be- tween the wall head and the arch consists of the same FIG. 152. CHURCH OF ST ANNE. plain ovalo moulding as at Thoronet, and the part of it forming the impost of the transverse ribs is " cut off" at the sides, like the impost of the cloister arches at that abbey. Some of these imposts, adjoining the central door, have a few rude and scarcely intelligible carvings on them— ap- i6 MEDI.EVAL PERIOD. parcntly of human heads. The apse is semi-circular, with a very short choir raised one step, and covered with a semi- MONT DU CHEVALIEP, KIG. 153. PLAN OF ST ANNE. dome as at Thoronet, but there is no round window above the choir arch. The original doorway (Fig. 1 54) enters from the north side, where, probably, the outer bailey of the castle was situat- ed. It is composed of a simple outer and inner round arch, forming one nook. The impost is a plain cavetto, the por- tion supporting the inner arch being " cut off" at the sides. The doorway is 5 feet wide ; but, in later times, this was found too large, and it has been partly built up and reduced. It was pro- bably placed near the centre of the church, and made of the above width for the convenience of the town's people. There is a door FIG. 154. DOORWAY OF ST ANNE. CANNES. 317 in the west bay of the chapel, placed on a high level, which may have been used for access from the castle to a gallery or upper floor, such as was frequently introduced in similar castle chapels. At a comparatively recent date the walls of the chapel have been raised (Fig. 155), and the top of its vault used FIG. 155. MONT DU CHEVALIER, CANNES. to form a platform for guns, to aid in the defence of the town and castle. The existing parish Church of Notre Dame d'Esperance occupies a prominent position on the Mont du Chevalier. It is a heavy building of the eighteenth century. The only redeeming feature it possesses is the west doorway (Fig. 156), which is a good example of the Renaissance work of the seventeenth century. The tower at the north-east angle of the church (seen in the above view) has been 3i8 MEDT/EVAL PERIOD. raised in comparatively recent times on the substructure of one of the orii^inal towers of the castle. The lower portion with its round archway is certainly ancient. The FIG. 156. NOTRE DAME d'eSp6rENCE, CANNES. Upper part, which is now the clock tower of the town, forms a prominent and telling feature in all the views of Cannes. ST HONORAT. 319 In the bay, opposite Cannes, lie the two lies de Lerins, dedicated respectively to Ste Marguerite and St Honorat. Architecturally speaking, the Island of St Honorat possesses the most interesting series of buildings in the Riviera, combining, as it does, some features of the architecture of every period and style of Provencal art, whether Ecclesiastical or Civil. This island, which is the outer and smaller of the two, held, for some centuries, an important and honourable position in the West of Europe. It was originally occupied as a post by the Romans, the materials of whose buildings, in the form of broken bricks, etc., are scattered over the soil. We shall also find that some Roman columns have been preserved and utilised in the castle, while numerous Latin inscriptions may be seen built into the walls of the modern cloisters. In the fifth century the island seems to have been deserted when St Honorat retired to it, and there founded a monastery, which was destined to become famous. It constituted for long the chief repository of all the learning and education which remained in Southern Gaul ; and, like lona, became a centre from which missionaries issued to enlighten the surrounding countries, and spread religion amongst the Barbarians. Besides many other celebrities, St Patrick, the patron saint of Ireland, is said to have been educated here. A monastery was erected in the centre of the little island, which is only about half-a-mile in length. Some remains of a church of the eleventh century were still extant in 1836, when Merimee visited the island. It was a simple basilica, having a nave of six bays, covered with a pointed barrel vault, and side aisles with abutting vaults, like Thoronet. But, in 1876, these remains were swept away, and a new church erected in the Provencal style, but without 320 MEDI/EVAL PERIOD. any special features. The only ancient portion now re- maining is the cloister (Fig. 157), built in the simple Cister- FIG. 157. CLOISTERS, ST HONORAT. tian style, with a circular vault, strengthened with trans- verse ribs. The side next the cloister garth is enclosed with a wall, in which only small openings or windows are perforated — not the usual wide arcade. Of the antique structures of the island an extremely interesting example still survives in the chapel of the Ste Trinite (Fig. 158), situated at the eastern point of the island, opposite the islet of Ferreol. It is very peculiar in design, and is undoubtedly one of the earliest buildings in Provence. The plan (Fig. 159) shews a nave of two bays, having one transverse arch supported on simple columns, with rude caps of the same section as the string courses or imposts of the arches, beyond which is a triapsal choir, crowned with a small and rudely-formed dome. The apses have their semi-domed vaults fairly well constructed, but the central dome is not raised from any definite penden- / ST IIONORAT. 321 X 322 MEDI/EVAL PERIOD. tivcs, but as best it could be done by the workmen of the time out of a lower dome which fills in the angles between the apses. 9M^ V\G. 159, I'LAN OF STE TRINITE. The original exterior (Figs. 160 and 161) is extremely plain, the quoins and doorway with its square lintel being constructed with large stones, probably derived from a Roman building (Fig. 162). The upper part of the walls was raised by the Spaniards, in the sixteenth century, to form a platform for guns. The earlier form of the western gable is visible in Fig. 160. We have evidently, in this primitive structure, a rude attempt to imitate the triapsal and domical forms originally used in the early Christian architecture of the cemeteries at Rome, and afterwards more fully developed m the East. ST HONORAT. 323 Viollct-lc-Duc attributes its erection to the seventh or eighth century. Of the seven chapels which once extended round the FIG. r6o. WEST END OF STE TRINITE. island, and formed the object of many pilgrimages, those of Ste Trinite (just described), and St Sauveur near the centre of the north side, alone survive. The latter (Fig. 163) is octagonal on plan, with niches on each of the sides, and a larger central one, forming an apse opposite the door. This apse alone is visible on the outside. The chapel is unfortunately greatly modernised. In course of time the monastery naturally became rich, and formed a tempting bait to the Corsairs of the Mediterranean, whether Saracen or Christian, who attacked and plundered it several times. It is said that on the occasion of one of these descents in 725 St Porchaire 324 MEDI/EVAL PERIOD. and five hundred monks were massacred. A restored chapel to the south of the convent still bears the name of that martyr. To provide a safe place of retreat in case of similar attacks in future it was resolved to erect a keep or castle on a promontory of rock which juts out into the sea at the south side of the island. Here a perpetual look-out could be kept over the sea from the watch-tower on the summit, and notice of danger given by ringing the bell \rTfh FIG. l6l. STE TRINITfi, EAST END. (the belfry for which still exists) in time to enable the monks to take refuge with their valuables within the keep. The castle is stated to have been begun about 1073 by the Abbe Aldebert II., partly on Roman sub- structions and partly on the rock, and the chapel was consecrated in 1088 {see " Les lies de Lerins," by the Abbe Allier.) In fifteen years the second floor was com- menced, and in 1 190 the tower was finished. Having been frequently sacked and destroyed there is some difficulty in making out the original plan. Besides, containing as it does, an open cloister, it differs so greatly otherwi.se ST HONORAT. 325 from the feudal castles of the time, that their plans give little aid in deciphering that of the monastic keep. It FIG. 162. DOORWAY, STE TRINITE. seems, however, to have been originally (Fig. 164) an oblong building measuring 85 feet from east to west, and 58 feet from north to south, with a wing pro- jecting to the southwards. Thisblockwas divided into two portions by a central wall running north and south, and contained in the eastern division an open cloister, formerly three, though now reduced to two storys in height, and in the western division the refectory, dormitory, and other apartments. To- the east a small projection or tower contained on the ►htivn FIG. 163. ST SAUVEUK, LEKINS (from Revoil). 326 MEDIAEVAL PERIOD. first floor the lavatory and latrines, and at the top was carried up as a watch-tower above the parapet, and sur- A I mounted by the belfry for the alarm bell. The space at the north end of the cloister is (as we shall presently see) a ST IIONORAT. 327 328 MEDI/EVAL PERIOD. later extension of the original keep. The entrance door is in the north wall (Fig. 165), several feet above the level of the ground. It has a square lintel, with a round saving arch over it, and the door was strengthened with a sliding bar. A narrow passage at right angles, furnished with a second door, leads by a few steps up to the level of the principal floor and opens on the cloister. This is the most striking and remarkable part of the castle. It is 40 feet long by 27 feet wide, and is surrounded with a vaulted gallery (Fig. 166), supported on six columns — three on each side — leaving open to the sky a central space of 19 feet by 10 feet. The first view of this cloister is most impressive. The ancient appearance of the granite columns, with their quaint caps and bases, surmounted by bold pointed arches, above which rises an upper and lighter arcade ; the rich colour of the walls ; the sombre effect of the dark arcades contrasted with the bright light of the open central court ; and the unusual character of the structure, all combine to produce a powerful and lasting effect on the mind. Nor does a closer inspec- tion diminish the interest. Some of the pillars are found to be genuine Roman ones, brought from some ancient build- ing, and here utilise'd in a very matter-of-fact though telling manner. The columns being generally too short, some of them have been pieced up ' with the yellow limestone of the district, while others have been elevated on bases of extra height. Three of the ancient shafts are of granite, one of red marble, and the remaining two of limestone. On one of the former (that at the south-west angle) can be read part of an inscription in honour of Con- stantine. This shaft has the appearance of having been long exposed in the open air, and many of the letters are worn away, so that some parts of the inscription are difficult to decipher. The following is the rendering of the ST IIONORAT, 329 5y MEDIEVAL PERIOD. Abbe Allicr ; the letters witliin brackets bein^, however, illegible IMP [C /E S] FL VAL C O N S T A N T I N O P F AUG [D I V I M A X IMI ANI AUGJNEPOTI DI VI CON S T A N T AUG [PI I FILI FIG. 167. CAPITALS ANU BASES, CASTLE OK ST HONORAT, ST HONORAT, 331 Another interesting point connected with these pillars is the form and decoration of their capitals and bases (Figs. 167 and 167^). At first sight they look very rude and prim- itive, but on careful examination they are seen to possess certain characteristics which belong to a comparatively late period, thus raising a suspicion as to their antiquity, which the evidently late vaulting of the cloister tends to confirm. One is therefore somewhat puzzled how to regard them, and what date to assign to them. But a comparison of the caps and bases of St Honorat with those of the cloister of Thoronet at once removes all difficulty. Original and quaint as both are, they are evidently (with the exception of some which are later, jr v\^. ^^'/^ FIG. l67'2- CAPITALS AND BASE, CASTLE OF ST HONORAT. 332 MEDI/EVAL PERIOD. and will be afterwards referred to) the product of the same st}'lc and period. The Abbe Allier informs us that in 1295 the Abbot Gancelme de Mayreris did much work in the interior of the tower, and in 1315 a general chapter granted certain fines in order to raise funds for its completion. To this period probably belongs the first construction of the cloister. But in 1400 the monastery was attacked by Genoese pirates, com- manded by one Salageri, who took the castle by assault, imprisoned the monks, and pillaged the monastery. These Corsairs kept possession of the castle for about a year, and were only got rid of by a general muster of the nobility of Provence, with their retainers. The invaders probably greatly destroyed the building ; for we learn that after 1400 the cloisters, "L'Escalier tournant," and other works were commenced, and carried on by one Gastolius de Grasse, who died in 1422. These facts indicate two periods of considerable operations at the castle, one in the beginning of the fourteenth and the other of the fifteenth century. Some of the caps (such as A, D, and E), which so strikingly resemble those of the cloisters of Thoronet, probably belong to the first of these periods ; while others (like B) have been executed in imitation of them, but contain details which are undoubtedly of the period of the later work. The capital (B) and most of the bases are clearly of the fifteenth century ; the style of the ogee and other mouldings, and the foliage of the griffes or claws at the angles and on the cap B, being of a late character. The form of the vaulting (Fig. 168), with its thin groins all dying away to one sharp point at the spring- ing, and without caps or corbels to rest on, also corresponds with that date. The cloister arches are pointed, but have no mouldings. It was in 1394, shortly before the second of the above periods, that the body of St Honorat w^as ST HONORAT 333 FIG. l68. LOWER CLOISTER IN CASTLE, ST HONORAT. 334 MEDI/EVAL PERIOD. brought to the island from Forcalquicr. Altogether, at this time the monastery seems to have been in great activity, and extensive works appear to have been then carried out at the castle. The portion adjoining the north side of the cloister was at that time extended, so as to form a projection to the northward, containing the " Escalier tournant " above mentioned. The elliptical arch of the doorway to this wheel-stair {see Fig. i66) is evidently a late work, and a wide joint or crack in the masonry, shewing the point from which the extension northward took place, can be distinctly seen in the exterior of the east wall (Fig. 169), where it extends from top to bottom of the castle. The style of the masonry of this portion is also smoother than the original work, which is left rough or " bossy " on the sur- face. The object of this addition has probably been to provide a space for a guard-room near the entrance to the castle with a wide staircase, and a broad platform on the roof for defensive purposes. Beneath the cloister is a large cistern or tank, stated by the Abbe Allier to have been constructed by Gastolius de Grasse early in the fifteenth century ; it contains a supply of good water. A steep stair opposite the entrance door leads down to some small cellars, arranged in two stor}^s (Fig. 170), under a portion only of the western part of the tower. Ascending the " Escalier tournant," the steps of which are four feet long, we arrive at the upper cloister (Fig. 171). This contains a gallery all round, with a parapet next the open court, on which stand twelve octagonal columns supporting as many pointed arches (Fig. 172). The whole is built in fine white marble, and the design is in the Italian- Gothic style, somewhat similar to that of the cloister arches at Frejus. Some of the shafts and caps are evidently restorations in imitation of older ones (Fig. 173). Allier states that the arms of the Grimaldi family ST HONORAT. 335 i36 MEDI/EVAL PERIOD. could be traced on one side of this cloister, two members of that house having been Abbots commendatory of the Lerins. This probably marks the date of the restoration — fifteenth century — but the original pillars seem to be at least a century older. Some of the tiles of the floor, which are of a plain red colour and square, still remain. Although the cloister is now roofed in over the first floor, the section (see Fig. 170) indicates that there was formerly a third story. F5^3^=m-J~i-n-j^ I I I M I M I I I FIG. 170. CASTLK OF ST HONORAT {sCCtioU frOltt N. tO S.) The corbels in the wall to support the beams of the roof are distinctly visible. The roof may have formed a platform ST HONOR AT. 337 nearly on the level of the battlements. The two iipper floors were not vaulted, but arches were thrown across at the four angles {see Fig. 172J against the outer wall so as to strengthen and steady the whole structure. On the first floor (Fig. 171) the northern addition forms a recess, covered FIG. 171. CASTLE OF ST HONORAT, LERINS. with a plain circular vault, and lighted by a wide window provided with stone seats. The east projection also forms a recess with a small window and a locker in the wall. This was probably the sacristy, as it adjoins the chapel in the south wing. The southern wing or projection seems to be of the same date as the original castle, and to have formed part V MEDIAEVAL PERIOD. ST HONORAT. 339 of it. On the ground floor it is covered with a plain semi- circular tunnel vault similar in construction to that of the northern projection, but there is no indication on the exterior of there having been any extension of the masonry, such as above indicated at the northern end. The first floor of the south wing con- tains the chapel, 25 feet by 26 feet with a groined vault about 28 feet high (seeFig. 170). The ribs are large and of asquare section, and rest on plain corbels in the angles, the con- struction of the whole being very simple. The win- dows are small and have the same recesses deeply splayed towards the outside, as occur in the old part of the east wall in the upper cloister, and which indicate an early date. The chapel w^as probably part of the original design, and w^as restored in the fourteenth century. We read that in 1342, the Abbot Geoffrey had the " choir " constructed in Toulon. This no doubt refers to a wooden gallery or FIG. 173. UPPER CLOISTER, ST HONORAT, DETAILS. 340 MEDI/EVAL PERIOD. stalls, which were then fitted up, but have now entirely disappeared. The western portion of the castle was divided in the centre by a wall running cast and west. The northern division seems to have contained the kitchen, and the other half the original refectory. The stone sink still exists in the kitchen window to the north. The windows looking to the west are small and high, the sill being stepped up. The upper floors in this wing would contain the dormitories, being provided with fireplaces and garderobes in the walls. But this part of the building was much altered in the seven- teenth or eighteenth centuries, and Merimee mentions that when he visited the Island in 1834, the place was divided up into small rooms with plaster partitions, and, he adds, "some of the chambers are still painted in the style of the eighteenth century, several of the panels over the doors representing shepherds and shepherdesses in the style of Van Loo, decor-< ations one would scarcely look for amongst the monks." At a period subsequent to the original erection of the castle, the angle contained between the southern projection and the main building was enclosed with a wall and added to the structure. The walls of this addition are much thinner than the old ones, being only about 4 feet, while those of the original castle are from 8 to 10 feet thick. That this por- tion is an addition is evident from the style of the masonry of the old southern wall, which is visible in the interior of the extension, and corresponds with the rough ashlar of the exterior walls generally {see Fig. 174, right side). The principal floor of this addition, entering off the lower cloister, was used as the refectory (Fig. 174). It is 47 feet long by 16 feet wide, and is roofed with a round tunnel vault strengthened with transverse ribs. This structure must belong to a comparatively late period — probably the fifteenth centur)- — but it is noteworthy that ST no NOR AT. 341 the old Provengal style of tunnel vaulting, strengthened with transverse ribs, having a simple ovalo for the string course or impost, and "cut off" corbels, is still maintained. FIG. 174. REFECTORY, CASTLE OF ST HONORAT. The custom of reading to the monks during meals by one of their number was evidently observed here, from the semi-circular recess or pulpit, raised a few steps above the floor, which is formed in the wall at the north-east angle. The basement of this addition may have been used as cellars and stores, and was reached by a wheel stair in the thickness of the wall. The upper floor (now destroyed) was the library, which contained a large number of valuable MSS., now dispersed and lost. At the restoration of the fifteenth century, the top of the castle on the sides next the land (Figs. 165 and 169) was 342 MEDI/EVAL PERIOD. crowned with a stone parapet projected on bold corbels, with wide machicolations or apertures for defence between them. In 1524, and again in 1536, the castle was attacked and taken by the Spaniards, who, on the latter occasion, were commanded by the famous Genoese Captain Andrea Doria, on the part of Charles V. Some additional buildings were added by the Spaniards to render the castle more defensible according to the ideas of the sixteenth century. A narrow gangway only 4 to 5 feet wide was built, by which alone access could be obtained to the entrance door- way; and this was defended by a double doorway at its outer end, where also it could only be reached by a narrow stair placed at right angles. To the north of this was a ditch and drawbridge. An outer wall seems also to have enclosed the castle on the west side, and some additional buildings were erected at the south-west angle, but these have now almost entirely crumbled away. This ancient ruin, so interesting historically and archi- tecturally, is not less so artistically. Whether we regard the venerable aspect of the antique cloister or the rich golden colour of the exterior, contrasting so beautifully with the dark-green of the pines and the deep blue of the southern sea and sky, nothing could be more charm- ing or delightful. After the above dates the castle seems to have been garrisoned by the Crown of France, and was frequently taken and retaken by the Spaniards and the French. It was at this period that the Chapel of Ste Trinite was heightened, and fortified with two cannons ; while, at the same time, other batteries were erected at different points round the island. Meanwhile the monastery had dwindled away, but the monks still retained their suzerainty over Cannes, Vallauris, Napoulc, and other villages on the mainland. STE MARGUERITE. o4o Finally, in 1788, the number of monks had become reduced to four, when, on the request of the Bishop of Grasse, the monastery was secularised. Thereafter the island has several times changed hands, and now it is occupied by a body of Cistertian Monks, who cultivate the soil and superintend an orphanage. The adjoining island of Ste Marguerite has but little interest architecturally. The fort, which is built on the precipitous rock on the north side of the island, facing the Croisette point at the eastern extremity of the bay of Cannes, was erected by Richelieu. Scarcely finished, it was attacked and taken by the Spaniards in 1635, who enlarged it, and after being recovered by the French, was repaired by Vauban. The view of the castle FIG. 175. CASTLE OK STE MARGUERITE. from the Croisette is picturesque and pleasing (Fig. 175) ; but the only point worth inspecting close at hand is the prison in which the " man with the ii'on mask " was con- fined by Louis XIV. for seventeen years. The extreme thickness of the walls (above 12 feet), the window defended 344 MEDI/EVAL PERIOD. by three successive gratings in the depth of the wall, the double doors covered with iron studs and secured with iron bars, give some idea of the importance of that mysterious prisoner. In the environs of Cannes there are numerous de- lightful walks and excursions amongst the olives and vines of the valleys, or by footpaths over the pine-clad hills. One of the most favourite of these is to the town of Vallauris, famous for its fine pottery ware. It may be reached by a road through a rocky valley, which branches off the main road to Antibes, at Golfe Juan, or by a footpath, forming a pleasant walk of some four miles across the hills, past the wayside chapel of St Antoine, which crowns the " col " between the two valleys. From this point a splendid view is obtained over Vallauris and its surrounding hills, above which, in the distance, rise the snowy peaks of the Maritime Alps. At Vallauris there still exists an interesting architectural relic, being the original chapel of the summer palace of the Abbot of the Lerins. This residence, situated as it is amongst the hills some way inland from the sea, enjoys in summer a more temperate climate than the Island of St Honorat, which is said to be the hottest place in Provence. The property was acquired by the monastery in 1042, under a charter of Aldebert, Bishop of Antibes, and here the abbots built their seignorial castle. The chapel probably dates from the thirteenth century. The remainder of the palace was demolished in the end of the fourteenth century by a famous brigand, Raymond de Turenne, who devastated the whole coast of Provence. In the beginning of the sixteenth century one of the monks of the Lerins, Regnier de Lascaris, rebuilt the town on a regular plan, with good streets placed at right angles, presenting a very striking contrast to the network of VALLAURIS. 345 narrow tortuous lanes which form the usual streets of Provencal towns. The houses were constructed for the ac- /^tif FIG. 176. abbot's summer I'ALACE, VALLAURIS. commodation of the workmen employed at the celebrated potteries of the valley, which were well known even in Roman times, and are still of world-wide fame. The palace was probably rebuilt about the same time, and ■^?^<^ FIG. 177. CHAI'EL OF ABBOT S SUMMER PALACE, VALLAURIS. possesses some picturesque features (Fig. 176). The chapel is (Fig. 177) like that of Cannes, a simple nave. 546 MEDLEVAI, PERIOD. 31 feet long by 16 feet wide, with round apse about 10 feet deep. It is roofed in two bays (Fig. 178), with a pointed barrel-vault, having one square transverse rib in the centre, supported by a simple pilaster on each side, with a string course at the wall-head, and impost " cut off," all as at the Mont du Chevalier. The FIG. 178. CHAPEL OF ABBOT'S SUMMF.R PALACE, VALLALRIS. apse is round, and has a pointed semi-dome instead of a round one, as at the latter. The windows are small and pointed, and have the deep external splay so common in all these buildings. There are two doors, also pointed, one of which enters at the south side from the castle court, and the other at the west end from the outside. LE CAN NET. ;47 The pointed arches in the doors and windows probably indicate a somewhat later date than the round ones of the " Mont du Chevalier." The chapel is now occupied as an oil mill, A wide boulevard has recently been constructed, lead- ing from the centre of Cannes straight northwards for a FIG. 179. " RIAISON DU liRIGAND," Lli CANNET. distance of about two miles, through the only ground near the town which is at all" level, to the village of Le Cannet. Here an ancient machicolated tower (Fig. 179), called the " Maison du brigand " (now crowned with a 548 MEDLEVAL PERIOD. peaceful photographer's studio), contrasts strangel}- with the new houses rapidy rising around it, along the recently constructed and improved roads; but on the higher ground some of the more antique houses and narrow lanes are still preserved near the quaint old church of Notre Dame des Anges (Fig. 1 80). Le Cannet forms an agreeable promen- ade from Cannes ; and it is well worth while to continue the walk or drive n o r t h \Y a r d s f o r about two miles through the magni- ficent groves of olives which here clothe the valley, as far as the base of the hill, on the summit of which stands the ancient town of MOUGINS. Whether viewed from below, or from the hill above on the right close by the ancient and picturesque church of Notre Dame de Vie (Fig. 181), the effect of the old town crowning its rocky and olive- clad height is always striking. The climb up the steep and many-stepped mule path to the habitations on the summit is no small task, but the labour is well repaid by the splendid FIG. l3o. NOTRE DAME DES ANGES, LE CANNET. MOUGINS. 349 views thence obtained in all directions, especially towards Grasse, and by the picturesque vistas which meet the eye FIG. l8l. NOTRE DAME DE VIE AND MOUGINS. at every turn in the ancient narrow streets. One of the original gateways of the town (Fig. 182) is still preserved, with its machicolated parapet and the grooves for the portcullis behind its plain pointed arch. It is supposed that Mougins is the Mons /Egitna. to which the native tribes retired, and where they fortified themselves after being driven from Cannes (or Egitna) by the Romans. In returning to Cannes, the route may be delightfully varied by a walk over the hills, past Notre Dame de Vie, and along the footpath beside the aqueduct, which brings the water supply from the sources of the Siagne (some twenty miles off by road, but double the distance measured round the windings of the canal) to Cannes and Antibes. ,50 MEDI/EVAL PERIOD. Castellaras, about a couple of miles north from Moui^ins, is another splendid point of view. An ancient castle here occupies the summit of a hill, and is partly surrounded with its old wall of enceinte, but the most of the build- ings connected with it are modern. The most important place, however, lying a few miles inland from Cannes, is Grasse, an ancient town of some celebrity, and still a place of considerable business and movement. It lies about ten miles north from Cannes, and may be approached by several roads or by railway. One road goes to the west- ward, by the plain of Laval and the valley of the Siagne, passing through the little town of P^gomas, and within a short distance of AURIBEAU (Fig. 183), an ancient city perched on the crest of a lofty hill. From this point the road steadily ascends, till, after a long climb, Grasse, which stands about 1000 feet above the sea, comes into view, its houses clustering round the old cathedral, and rising in the form of an amphitheatre (Fig. 184), tier over tier up the hill- side on which it is built. From the height at which the town stands, the view over the luxuriant lower ground between it and Cannes is very commanding and delightful, the whole of the valley being laid out as gardens for the cultivation of FIG. 182. MOUGINS, GATE TO TOWN. GRASSE. 351 the roses, violets, and other sweet scented flowers, from which the perfumes for which Grasse is famous are distilled. From an early time Grasse was an industrious and commercial town. It thus became rich, and its wealth brought upon it frequent attacks from the Saracens while they had their headquarters at the Great Fraxinet. Early in the twelfth century the inhabitants followed FIG. 183. ATRIBEAU. the example of the Italian towns with which they had commerce by constituting themselves a free re- public. Their consuls formed treaties with Pisa and Genoa, and unfortunately the town got mixed up with Italian politics and the disputes of the Guelphs and Ghibellines. This led to the usual unhappy result of dividing the people into violent factions, and enabled Raymond Beranger, Count of Provence, in 1226, under 352 MEDI/EVAL PERIOD. pretext of aiding the Guelph party, to render himself master of the town. In the sixteenth century Grasse shared the unhappy fate of the rest of this part of France, when Francis I. found himself unable to defend FIG. 184. GR.^SSE. it against Charles V., and therefore laid the whole country waste. The town also suffered greatly during the religious wars of the seventeenth century. GRASSE CATHEDRAL ; . o j|c *o .y^ 6^c r^ fy c FIG. 185. PLAN OF GRASSE CATHEDR.AL. GRASSE. 353 The most important building in Grasse is the cathedral. It is the first church we have seen, on our way eastwards, which represents a type essentially different from that of Provence, and markedly akin to the architecture of Ital}' — a characteristic which we shall find more and FIG. l86. GRASSE CATHEDRAL, WEST END. more strongly developed in our progress along the Riviera. The plan (Fig. 185), like that of most of the churches of Italy, consists of a central nave and side aisles, all originally terminated with eastern apses, the z 354 MEDI/EVAL PERIOD. existing choir, which is square, being a late addition. The character of the exterior is essentially Italian (Fig. 1 86), being similar in its forms and ornament to the churches of Pisa and Genoa, with which tow^ns, as above- mentioned, Grasse had commercial relations. The arcaded ornament at the eaves is very Lombardic, and the door- ways of the west front and north side (Fig. 187) are of the ordin- ary Italian design of the thirteenth century, with low pitched roof The tall and simple square campanile is also Italian in concep- tion. The design of the interior (Fig. 188) is somewhat remark- able, the massive cir- cular piers with their cushion caps having more of the character of a Northern than of a Southern edifice. They remind one, how- ever, of those of Car- cassonne. The solid square groins of the FIG. 187. GRASSK CATHEDRAL (C^7;//rt«//r a/'. V.vi^'. ntWf/t'). i . . ^ vault, sprmgmg from very simple corbels, are of a usual Provencal form — such, for instance, as those of Frejus Cathedral. Close to the cathedral stands one of the square towers (Fig. 189), simi- lar to that of the Mont du Chevalier at Cannes, which we have noticed as being common in the towns of this GRASSE 355 FIG. l88. GRASSE CATHEDRAL, 356 MEDIAEVAL PERIOD. province. It is built with the usual rough -faced ashlar work, but its other distinctive features are now lost, the interior being occupied as dwelling-rooms. This tower FIG. 189. KEEP TOWER, GRASSE. adjoins the ancient Bishop's Palace, now the Municipal Buildings. Near this — and, indeed, scattered everywhere through the narrow and busy streets of Grasse — are I GRASSE. 357 to be seen many fragments of the massive architecture of its ancient palaces. These are easily distinguished from their being built with the same rough-faced, solid masonry as the tower ; and they often still re- tain a door or window of pointed form, recalling the older palaces occa- sionally found in the similar crowded lanes of Genoa. There are also some examples in Grasse of the great houses of the merchant princes of the Renaissance period, so distinctive of the Italian cities. The picturesque staircase of one of these is still preserved (Fig. 190). This building stands at the east end of one of the charming open "places," surround- ed with arcades, planted with trees, and enlivened with fountains, in which Grasse abounds, and which form such attrac- tive subjects for the artist. In one of the narrow streets stands the Church of the " Oratoire," (Fig. 191), the strikingly Italian facade of which at once arrests attention. It is evidently a building of the fifteenth century, and is exactly such a design as may be found in any of the cities of Northern FIG. 190. STAIRCASE, GRASSE. 358 MEDIAEVAL PERIOD. Italy. The annexed sketch (Fig. 192) of one of the caps of the main piers is suggestive, and corresponds with similar details of the same period in Italy. From Grasse several very interesting excursions may ^^^-f^rr:^-— r: FIG. 191. CHURCH OK THE ORATOIRE, GRASSE. be made, and a number of ancient buildings investigated. A very fine, although a long day's expedition, is the drive GRASSE. .59 to St Cesaire and Callian. The former is reached by a side road, which branches off the main road to Draguignon, about six miles west of Grasse, and after a cHmb of three miles further up amongst the mountains finally arrives at St Cesaire, beyond which all pro- gress westwards is stopped on the crest of the great cliffs which hem in the gorge of the Siagne. It is therefore necessary to return to the main road, itself sufficiently winding and romantic, along which a further course of eight to nine miles conducts to Montauroux and Callian. The Fic. ig2. FROM l'oRATOIRE, GRASSE. "^^^ FIG. 193. ST CESAIRE, ANCIENT GATEWAY. 36o MEDIEVAL PERIOD. whole journey there and back to Grassc thus extends to about thirty-seven miles, but can easily be accomplished in one day with a pair of the hardy ponies of the country. The main road from Grasse descends by numerous wide loops towards the valley, and skirts the lofty moun- tains on the right, where several picturesque looking villages are seen clustering on the hillsides. At Tignet the ruins of an ancient commandery of the templars are passed, but there is nothing of architectural interest sufficient to detain the traveller till St Cesaire, amongst its remote and snow-clad hills, is reached. The town of St Cesaire is charm- ingly situated about nine miles west from Grasse. It stands on the edge of a lofty precipice over- looking the valley of the Siagne, which is here full of re- markable scenery and interesting grottoes and foun- tains, forming a ro- mantic region, from which starts the aqueduct which supplies fresh water to Cannes and Antibes. St Cesaire possesses still some remains of its ancient walls and gates (Fig. 193), some quaint pieces of carving 9^Cescdrc FIG. 194. AT ST CESAIKE. ST CESAIRE. ;6i over doorways etc. (Fig. 194). But its most interesting feature architecturally, is the ancient church which stands in its quiet churchyard outside the town, relieved against a background of snowy mountains (Fig. 195). It is similar in its Cistertian simplicity to those of Cannes and Vallauris, and differs only in having, instead of plain FIG. 195. CHURCH OF ST CESAIRE. pilasters, rounded vaulting shafts, with simple caps and bases (Fig. 196), the former very similar to those of Thoronet, The church is 45 feet long by 20 wide (Fig. 197), divided into three bays, with apse 9 feet deep to the eastward. As at Vallauris there are two doors, one at the west end and one in the south side, the latter pointed externally and round internally. The windows have round arches, with the usual deep external splay, at the inner edge of which the opening is narrowed by two half roll mouldings, probably with a view to prevent draughts in this lofty and exposed region. For the same reason there are only three very small windows, two on the south side and one in the apse. 362 MEDI/EVAL PERIOD. This church probably dates from the early part of the thirteenth century. Both the exterior and the interior are well preserved. The walls have been heightened at a later date, but why is not clear. As the alteration does not affect the interior, it has probably been done to make the FIG. 196. CHURCH OK ST CESAIRE. slope of the roof harmonise with the west front, which has been altered and a belfry added. As in all the churches of the style, the tiles of the roof rest directly on the outside of the arches. An ancient carved front (shewn in Fig. 194) is lying outside the church. ST CESAIRE. 363 The main road, from the point where the branch to St Ccsaire leaves it, continues westwards and descends ST c e: SA I KE FIG. 197. PLAN OF CHURCH, ST CESAIRE. with many wide and bold sweeps till it reaches the Siagne, which it crosses at Les Veyans, and again ascends the steep and wooded valley on the opposite side. Soon the rugged ruins of the castle of Tournon (Fig. 198) are seen frowning FIG. igS. CHATEAU DE TOURNON, NEAR ST CESAIRE over the pass from their rocky eminence, which can only be reached after a hard climb through the thick wood and thorny heath which clothe the hillside. But that trouble is rewarded by the discovery of a rude and remark- able edifice. This consists of a Keep of semi-circular form 3^4 MEDI/tVAL PERIOD. built on the edge of a precipice which forms the diameter of the circle, and has apparently been considered a sufficient defence of the structure on that side. A semi-circular lofty wall of enceinte surrounds the keep on the side next the hill. The entrance gateway was doubtless in this wall where there is now a ruinous gap. The building is reduced to bare and shattered walls, so that its interior arrangements cannot be determined, but it must have been a very singular and unique structure. Near the highest point of the road, in continuing west- FIG. 199. TOWN AND C.A.STLE OF CALLIAN. wards, the village of La Colle-Noire stands across the way, and in olden times stopped all passage by means of gates in its walls. Beyond this, an open country rich in vines and olives is traversed, from which another long ascent leads to the town of Montauroux, standing on a promontory, crowned with the ruins of the Fort St Barthelemy, destroyed in 1 592. A wide curve of the road, ST CESAIRE. 365 round a fine amphitheatre of terraced lands, leads from Montauroux to Callian, another little town perched on the hillside, and commanded by the immense ruins of an old castle (Fig 199), which like all the others in the province, was sacked in 1792, and of which only the shattered shell remains. It would appear from the mullioned windows and round tower, to have been built in the fifteenth century, and has evidently been altered in the seven - FIG. 200. LE BAR, S. DOORWAY OF CHURCH. teenth, by the insertion of numerous large oblong openings. In the sixteenth century this pile was inhabited by Jean de Grasse. 366 MEDIi^VAL PERIOD. From Grasse another excursion of surpassing interest, not only on account of the magnificent natural scenery passed through, but also from the variety of the architectural remains, may be made to the eastward leading by Le Bar and Vence to Cagnes, where the Paris, Lyons, and Mediterranean Railway is reached. The whole distance is about twenty- five miles. The first place of note arrived at after leaving Grasse is Le Bar, about six miles to the eastward. It stands on a platform at a considerable height and enjoys a fine view to the southwards. The church, not remark- able otherwise, has a Roman inscription built into the tower, and a fine Italian Gothic doorway (Fig. 200) in the south side. This doorway, with its twisted nook shafts and arch mouldings, plain caps, and enclosing notched weather table, might have been found in almost any part of Italy. Wooden doors covered, like this one of Le Bar, with elabo- rate carvings, are a feature of common occurrence in every part of the province, and are often of much interest and beauty. The church contains two remarkable Mediaeval paintings which were thought worthy of notice at the great Exhibition of Paris, to which they had been sent. The town is still dominated by the relics of a great castle of the Middle Ages, of which some towers remain, but it is now greatly ruined and shorn of its grandeur. Some of the old walls of the town also still survive, and give this quaint old place, perched as it is on the steep slope of the hill, an unusual and striking aspect. From Le Bar the main road descends in wide curves towards the valley of the river Loup, but long before reaching the bottom of the gorge the eye is attracted by the unusual appearance of towers and pinnacles rising from the summit of a lofty pyramidal mountain to the northwards (Fig. 201). These distant peaks are found on nearei approach to be the edifices of the town of GOURDON, GOURDON. 367 an eyrie built for security from the assaults of the Corsairs on this inaccessible and naturally fortified eminence. A post road, branching off the main road at Le Bar, passes, after many windings and ascents round the rocky sides of the opposite cliffs, within a short distance of Gourdon ; but for those who intend going on to Vence, '^*^A^ FIG. 201. GOURDON. the latter course is too great a deviation from the route. Their only way of reaching Gourdon is by the steep and stony footpath which is seen rising to it in innumerable zig-zags from near the bridge over the Loup. It is a splendid ascent, although a somewhat arduous one, and affords a lovely series of views ; but it may 368 MEDIEVAL PERIOD. be questioned whether one is sufficiently rewarded by the specimens of architecture which he finds in Gourdon. It is now a melancholy and deserted village, occupied apparently only by a few women and children. Some of the houses are picturesque in their grouping, like those in Fig. 202, but there is nothing fine about the place except the magnificent view to the south, east, and west from the terrace in front of the FIG. 202. HOUSES IN GOURDON. old church. One very large building seems to swamp all the rest of the little town. This is a great chateau (Fig. 203), built by the family of Lombard in the style of the seventeenth century, and which, we believe, is still occupied in summer, when the cool breezes of this elevated pinnacle form a grateful change from the heat of the plains. TOURETTES. 369 From the point where the main road crosses the Loup, a deh'ghtful excursion may be made up the gorge amongst the mountains, as far as a famous waterfall called the " Saut du Loup." The road now gradually ascends the northern side of the valley of the Loup, which is seen flowing at some distance below on the right through a richly cultivated plain. In some of the cuttings by which the road is carried round the rocks, numerous oyster and other fossil w^ FIG. 203. CHATEAU, GOURDON. shells may be observ^ed, characteristic of the tertiary lime- stone which here occurs of great thickness, and forms the immense cliffs which at some parts of the coast overhang the Mediterranean. On approaching ToURETTES the road sweeps round the abrupt side of a gorge where the rock is hollowed out into caverns, some of which are occupied as houses and stores. From this point a fine view is obtained of the grey old town of Tourettes, with its crumbling walls and houses 2A 370 MEDI/EVAL PERIOD. rising from the margin of precipitous rocks of the same sad dusty colour. There seems to be nothing of special interest in the town, but outside the walls on the north side there is a wide open " place," on which stand the Hotel de Ville and the church of the fourteenth century. FIG. 204. CHURCH, TOTRETTES. The latter is a specimen built on the plan of the simple hall without aisles. In this instance it is vaulted with groined arches (Fig. 204), the ribs having the unusual form of a plain bead, and springing from small primitive looking corbels, such as are common in Provencal churches. ^t ANTIBES. 371 The font (Fig. 205) in this church is of a rather re- markable design. A few miles' further drive through fine mountain scenery brings us to the ancient city of Vence (described further on), whence the railway station of Vence-Cagnes is about six miles distant We shall now return to Cannes and follow the route eastwards along the coast of the Mediterranean. This takes us first by the fine sheltered roadstead of Golfe Jouan to the city of Antibes, which stands upon a rocky peninsula jutting out into the sea, and enclosing a sheltered bay and harbour, defended on the opposite point by a great star-shaped .-z^, fortification called the Fort Carre, erect- "^u ed by Vauban. The town itself is sur- rounded with walls, and strongly fortified in the style of the seventeenth century, of which it is a good and little altered specimen. The views of the town from the sea coast are charming (Fig. 206). Surrounded on the land side with its great stone ravelins and bastions, and protected on the south by its rocky seaboard, with the snowy peaks of the Maritime Alps forming a background, and the bright blue of the Mediterranean in the foreground, a finer picture can hardly be imagined. The town of Antibes is of very ancient origin. Accord- ing to M. Lentheric, a sacred stone of the Phoenicians has here been found, with a Greek inscription, giving proof of the ancient worship of the Hellenes having been observed in this locality in the fifth century B.C. This town was also an important station under the Romans. In very early Christian times it became the see of a bishop. FIG. 205. FONT, TOURETTES. 372 MEDI/EVAL PERIOD. IIP ANTIBES. 373 but being greatly exposed to the attacks of the Saracen Corsairs, from whom it suffered severely, the see was in 1243 I'emoved for security to Grasse. There were origin- ally four bishoprics in this part of the Riviera, viz. : — Nice, Antibes (afterwards Grasse), Vence, and Frejus. The whole are now comprised in the two dioceses of Nice and Frejus. As a frontier town Antibes was necessarily much damaged during the wars between Francis I. and Charles v., being frequently attacked and pillaged. Its ancient buildings have thus been almost entirely demolished, either by the direct effects of war or in the construction of the fortifications, so that scarcely a trace of Roman occupation remains, save in some tombs, inscriptions, and urns which have been dug up. The oldest existing structures stand on the highest point of the rock facing the sea. Here we find some parts of the cathedral of the thirteenth century, and two towers in the style of those of the Mont du Chevalier at Cannes. The church is very simple in design, and seems to have been originally similar to that of Vence, but it has been greatly altered and a new front added in the seventeenth century (Fig. 207). The two towers at Antibes are of peculiar interest. At Cannes there is only one tower or keep, which was attached to the castle of the Chevalier. At Antibes one of the towers (Fig. 208) is in connection with an old palace (now a barrack), which doubtless occupies the site of the ancient castle, being on the summit of the rock, and suitably placed for keeping a look-out seawards. The other tower is close to the cathedral (Fig. 207), and is still connected with it by a covered way on the first floor. It seems probable that the first was the keep of the temporal Commandant and the other that of the spiritual Lord. The frequent incursions of the Corsairs would render such a place of security desirable in con- 374 MEDI/EVAL PERIOD. nection with the cathedral, and would also enable the bishop to be independent of the temporal power. Both keeps are constructed in the same manner as that of the Mont du Chevalier with rough faced ashlar blocks, and in both the entrance doorway is on the first floor. That of the castle (Fig. 208) is recessed under a plain round FIG. 207. TOWER OR KEEl* ATTACHED TO CATHEDRAL, ANTIBES- arch, and has a moulded step to receive the ladder or moveable stair by which it was approached. There are also two corbels, one on each side of the doorway, as if for the purpose of carrying a pent house roof The stair is carried up round the inside of the walls and supported ANTIBES. 375 on corbels as at Cannes. The castle tower has in modern times been lowered and covered with a sloping roof. The bishop's tower is now used as the belfry of the church, and has had large round headed openings cut in it near the top to let out the sound of the bells. 4j> KIG. 208. TOWER OR KEEP OF THE CASTLE, ANTIBES. On the left of this tower in the sketch (Fig. 207) may be observed some remains of similar workmanship in the masonry, which indicate the position of another ancient structure above which a modern house has been erected. Some fragments of ancient walls, and a gateway with two large round towers, may be observed on the eastern side 3/6 MEDI/EVAL PERIOD. of the Rue Aubernon, and these, together with the arcades on the opposite side, and the double row of trees which Hne the boulevard, form a striking and picturesque pro- menade. These walls doubtless enclosed the ancient citc^ and the Rue Aubernon occupies the position of the original ditch. The fortifications of the existing town extend a long way beyond this ancient boundary. In passing along the coast eastwards from Antibes a fine view is obtained on the right over the sea towards Nice, while on the other hand glimpses occur between the olive groves and up the valleys to the mountains beyond. The first of these openings, the valley of the Brague, shews the interesting old town of Biot in the distance, set as usual on a rocky height. A little further on the tower of the castle of Villeneuve-Loubet rises above the river Loup, and immediately thereafter the town of Cagnes bursts suddenly upon the view. This town consists as usual of a series of houses clustering in terraces round the sides of a detached and precipitous hill, crowned with an ancient castle on its summit. The station of Vence-Cagnes is easily reached by railway either from the direction of Nice or Cannes, and from it several pleasant excursions may be made to the places above referred to, which have just been passed, and also to the ancient towns of St Paul-du-Var and Vence, already mentioned. Cagnes is a place of some industry, being the point of export for the products of the valleys of the Loup, the Malvan, and the Cagne. On leaving the railway station and approaching the town, the lower part of the hill on which it stands is seen to be richly clad with the dark green foliage of the orange trees, enlivened with their golden fruit, planted in stone -built terraces rising steeply one over the other up to the walls of the town. CAGNES. -> '7 ^" 0// Entering at the south end of the hill a steep and narrow street leads straight up to the top at the north end, where stands the old castle of the Grimaldis (Fig. 209). This is evidently an ancient structure, having the bold machicolated parapet of the fourteenth and fifteenth centuries. But it has been greatly altered in the seventeenth century, when large windows have been opened in the walls, the machicolations FIG. 209. CASTLE OF CAGNES {frOIH the 6".) being in numerous places cut away to receive them (Fig. 210); while at the entrance front a wide outer staircase with double ramp and marble balustrade has been intro- duced leading up to a principal entrance doorway on the first floor. From this access is obtained to a small inner courtyard surrounded with Renaissance columns forming a staircase and corridor above of two storys in height. 3/8 MEDI/EVAL PERIOD. which, adorned as it is with beautiful plants by the present proprietor, has a peculiarly pleasing effect. Some of the apartments are finely decorated. That of the " Belle Chemince " has a sculptured marble fireplace and a ceiling painted with the fall of Phaeton, said to be by Carlowe. From the platform lying to the north of the chateau a magnificent view is obtained to the northward up the valley of the Malvan towards St Paul and Vence, and FIG. 2IO. CASTLE OF CAGKKS {/rOlll the N.E.) the lofty precipices of St Jeannot beyond, backed to the right with the snowy ridges of the distant Alps. The nearest place of prominence from Cagnes is the Castle of VllLLENEUVE-LoUBET — about two miles to the north-west. This castle has been modernised and nearly rebuilt, but enough of the original work remains to render VILLENEUVE-LOUBET. 379 a visit very interesting. On nearing it, the edifice (Fig. 21 1) is seen to consist of a central castle strengthened with four towers at the angles, and surmounted by a lofty, quaint, and Moorish-looking watch-tower, the whole being enclosed with a strong wall of enceinte, defended with round towers at the angles (Fig. 212), provided with large port-holes for guns, and separated from the surrounding county by a deep ditch. The entrance gateway consists of an iron FIG. 211. CASTLE OF VILLENEUVE-LOUBET {/rOlll the N.IV.) grating, guarded by two round towers, and furnished with a drawbridge over the moat. The round towers and walls of enceinte are by no means modern ; they probably belong to the sixteenth century, but they have been shorn of their proud battlements, and thus present a very squat and subdued appearance. The central castle is in part much more ancient, but also for the most part greatly altered and modernised. The l8o MEDIAEVAL PERIOD. original plan was probably not dissimilar to the existing one, comprising a central courtyard with buildings sur- rounding it. The exterior walls are modern, but those of the interior of the courtyard are partly ancient, although altered. They are built with the rough-faced ashlar of the FIG. 212. CASTLE OF VILLENEUVE-LOUBET {frOIK thc S .E.) thirteenth century, and contain some decayed coats of arms on which may still be traced the lances of the Villeneuves and the star of Les Baux. Externally, the east face (Fig. 212) presents two noteworthy features in the apse of the chapel and the tall watch-tower. The chapel, VILLENEUVE-LOUBET. 38 1 although now converted into apartments, still retains the outlines and buttresses of an apse which seems to belong to the fifteenth century. The watch-tower is one of the most perfect examples of those characteristic features of the Maritime Alps. It is of the same nature as the keep towers we have met with at Cannes, Grasse, and Antibes, having the same rough ashlar facing, but instead of being square on plan like them, it has the eastern side projected in the form of a sharp angle (like the tower of La Trinite in the same locality, to be described immediately, and of which a plan is given). The access to the top is by a narrow wheel-stair on the side next the quadrangle. The important point about the tower is that it preserves its battlemented top almost unaltered. It is carried up to the height of about 90 feet, and near the summit has several courses of a dark-coloured stone, which give it a Moorish or Italian character. These may at one time have been enriched with carving, of which one fancies some traces may still be observed, but they are so completely weather-worn that no forms can be dis- tinguished. The level platform on the top is defended with a simple crenellated parapet without machicolations. From this lofty station a wide outlook could be kept over sea and land. This castle and tower belonged in the thirteenth century to Romee de Villeneuve, the chief of that powerful family and the guardian of Beatrix, daughter of Raymond Beranger IV., the last of the Counts of Provence of that line. It was through the marriage with the heiress Beatrix that Charles of Anjou, the brother of St Louis, succeeded to the title and estates of the Count of Provence. The estate was sold at a later period to the Lascares of Ventimiglia, and is now the property of the Count of la Panisse-Pacy. In 1538 382 MEDIEVAL TERIOD. this castle entertained an illustrious guest in the person of Francis I., who stayed here while Pope Paul III. carried on negotiations between him and Charles V. The latter had landed at Villefranche in order to meet the French king ; but so great was the antipathy and distrust of the two monarchs for each other, that they could not be brought to encounter a personal interview. These negotiations ended in the signature, by Francis in the Castle of Villeneuve-Loubet, of the Treaty of Nice. {See " l^he Maritime Alps and their Sea Board.") From the top of Romee de Villeneuve's tower another similar tow^er is observed rising above the pine w^ood '^'■•^'^^ f i|ii|iill FIG. 213. TOWER OF LA TRINITE {Pinu). about a mile up the valley to the north-west. To reach it we descend from the castle so as to crain the bridc-e across the Loup, and in doing so the steep streets of the old town of Villeneuvc, terraced in tiers on the slope of the LA TRINITY, 383 hill, are traversed, and the old church on its fine platform is passed on the left. The road up the valley is easy and agreeable, but the ascent of the conical hill, the summit of which is crowned with the tower of La Trinite, is no light work. From a distance this tower FIG. 214. TOWER OF LA TRl'tilTE {/rOHl thc C/iapcl). looks like a lofty pedestal erected to support the colossal statue of the Virgin and child which now surmounts it. But on closer inspection it is found to be 384 MEDI/EVAL PERIOD. a remarkable example of a keep, defended with that accumulation of obstacles with which the old builders used to block up the access to their strongholds. After the steep hillside has been climbed, one finds himself at the base o( the pointed rock on which the keep is set (Fig. 213). From here a sloping path leads up to the ruins of the chapel, of which only the vestiges of wall shewn in the sketch (Fig. 214), mingled with the scattered fragments of the font and other relics, now remain. The ruins of a strong gateway in the outer walls which closed the access are passed just before reaching the chapel, and a lower bastioned terrace is continued round the northern part of the eminence at this level. From the chapel, when one turns his eyes upwards to the tower (as in Fig. 214), he discovers such a series of winding stairs interrupted at frequent intervals with walls and gate- ways as must certainly have rendered a hostile approach in that direction impracticable, while perpendicular rocks and lofty walls made the access equally hopeless on the other sides. Besides this, on the side next the hill, which was perhaps the least invulnerable point, stands the keep (Fig. 215), strengthened with a projecting beak of similar form to that of the tower of Romee de Villeneuve. The lower story is original, and contained the doorway at the level of the top of the rock. This inaccessible point, on which there is a small platform, was probably reached by a rude stair cut in the rock (as indicated on the plan) and was defended with outworks, the approach to which was over- looked from the upper platform. The doorway, it will be observed, is placed on the opposite side of the tower from the platform, at a point where the foothold is narrow, and the door therefore all the more secure. The upper portion of the tower dates from 1863, when, as the following inscription, which is carved on a marble LA TRINITfi. 385 slab let into the wall, announces, the old tower was recon- structed by the Comte and Comtesse de la Panisse-Pacy, and dedicated to the blessed Virgin: — HOC ANTIQUUM CASTELLUM VULGO DICTUM LA TRINITE HENRICUS DE MARCK TRIPOLI COMES DE PANISSE - PASSIS ET MARIA THERESA DE ROBIN DE BARBENTANE EJUS UXOR INSTAURAVERUNT BEAT^QUE MARIAE VIRGINI IMMACULATAE TESTIMONIUM FIDEI AC PIETATIS DEDICAVERUNT ANNO DOMINI MDCCCLXIII. The tower alone has been restored in the manner shewn by the sketches ; all the other portions remain undisturbed in their ruins. The rooms in the tower are only 10 ft. 6 in. long by 7 ft. wide, and there is no indication of any other habitation connected with the fort. The place has all the appearance of a typical robber's stronghold, and, as James V. said of a similar Scottish keep, " He that built it was a thief in his heart." According to tradition, La Trinite was originally a keep of the Templars. I'hat order had extensive possessions in this part of Provence, and they may have erected this tower as a post for watching and giving notice of the approach of an enemy. After the suppression of the order La Trinite passed into the possession of the Mathurins or Redfriars. They were also called the Order of the Trinity, and their special duty was to succour prisoners. The name of the tower may possibly have been derived from them. The chapel is 29 ft. long by 14 ft. wide, and the raised step at the east end is still traceable. The 2 B 386 MEDIAEVAL PERIOD. walls have been about 8 ft. 6 in. high to the plain ovalo forming the string course from which sprung the semi-circular barrel vault of the roof From the upper platform of the fortress a splendid view is obtained (Fig. 215), especially to the northwards, comprising StPaul-du- FIG. 215. TOWER OF LA TRINIXfi (^frOVt tlieS.W.') Var in the middle distance, and Vence backed by the towering precipices of St Jeannet. Beneath these stood the powerful Commandery of the Templars at St Martin (to be afterwards described), from which a signal at their watch-tower of La Trinit(3 would be easily observed. BIOT. 387 From La Trinite a rough footpath leads across the pine-clad hills to BiOT, a distance of about two and a half miles as the crow flies, but about an hour's walk over the heath-covered heights, and through the deep ravines FIG. 216. BIOT, which have to be traversed. Some extensive quarries are passed on the way at Les Aspres. After a hot tramp over these rocky and barren hills, it is refreshing to reach the fertile and cultivated valley of the Braguc 388 MEDI/EVAL PERIOD. with its steep and terraced banks richly clad with olive and orange trees. A very steep descent leads to the bottom of the valley, from which the walls and towers of Biot are seen rising on the crest of the hill above (Fig. 216). This is one of the most primitive old towns in the district. A very circuitous post road has now been constructed up to it, but the old accesses by long flights of wide steps, on which the peasants and their mules are constantly ascending and descending, are still preserved, and are in their way amongst the most picturesque streets in the Riviera. Climbing patiently up flight after flight, and winding round the narrow streets, we at length reach the highest point, on which stands the church. The following inscription is carved in the interior wall : — " Hanc Ecclesiam consecravit Illus, primus et reveredismus Inxpo p.d.d. Isnaedus D. Grassa Episcopus Grassen, 1472 ^) DIE 19. Janu. thus shewing that the church was consecrated by the bishop of Grasse at the above date. Some of the work corresponds with that period, e.g., the doorway in the west end (Fig. 217). But the south doorway (Fig. 217) has an earlier character. The exterior is all altered, and the interior has also been modernised in a very extra- ordinary manner, but some traces of the original building are still observable. Biot belonged to the Templars in 1247, and afterwards to the knights of Malta. In 1470 the bishop of Grasse brought hither forty-eight Genoese families, probably to help to re-people the town after the plague or some destructive assault of the Corsairs. This was evidently the occasion on which the bishop re-consecrated the church, which then no doubt required to BIOT. 389 be to a great extent rebuilt. But some of it bears the signs of having been erected at an earlier date by the Templars. The plan (Fig. 218) is very unusual. A simple oblong divided into three aisles with three terminal apses such as we see here is common enough, but the plain round columns which separated the nave and aisles are very uncommon. The bases and caps are of a simple and early character (Fig. 219). The pillars are too light to have been intended to carry vaulting, and the original church would thus seem to have had a row of plain arches on each side, with perhaps KIG. 217. CHURCH OF BIOT. a clerestory wall above supporting a wooden roof The building would thus have originally the characteristics of a primitive basilica, somewhat like San Miniato at Florence (Fig. 33, p. loi). But this design has now been ingeni- ously altered and destroyed, and the whole character of the interior degraded from being one of the most interesting churches of Provence into a commonplace Renaissance chapel. By means of stucco the old round pillars have been converted on the side next the nave into flat 390 MEDI/EVAL PERIOD. pilasters which are carried up and finished with Ionic caps, supporting an entablature which runs along each FIG. 2l8. I'LAN OF CHURCH OF BIOT. side of the church above the old arches. A groined vault in plaster springing from the top of the cornice is I3I0T. 391 thrown across the nave. The old pillars with their caps and bases have, however, been allowed to remain un- changed on the side next the aisles, where their archaic forms contrast strikingly with the modern plaster work on the other side. An attempt has been made to Italian- ise the apse also, but the pilasters and entablature fit KIG. 219. CHURCH OF BIOT. lamely into the old apse. A wide flight of steps at the west end leads down from the doorway into the church, and has a rather peculiar effect. This no doubt arose from the irregularity of the site. To the west of the church lies the public place, surrounded with plain 392 MEDI/EVAL PERIOD. houses, all arcaded on the ground floor, and presenting a pleasing example of that picturesque feature of the towns of the Riviera. A walk of about three miles through the olive gardens of the valley of the Brague leads to the Antibes Railway station. Biot may of course be visited directly from the latter ; there is a good carriage road. One of the most delightful excursions from Cagnes is that to St Paul-DU-Var, and Vence, two of the most interesting old towns of the Riviera. The distance to St Paul is from three to four miles, and to Vence two to three miles further. This may be accomplished either by driving or on foot. A carriage may be hired near the Cagnes Railway Station. The route in driving goes by a rather circuituous road round the west side of the valley of the Malvan, passing within a short distance of the castle of Villeneuve-Loubet. The most direct road is either along the base of the hill on which Cagnes stands, or through the town. For the pedestrian the latter is by far the most agreeable. Starting from the terrace of the old castle (already described), a rough footpath is followed along the ridge which separates the valley of the Malvan from that of the Cagne, and affords a delightful prospect of both. The rich colour of the russet leaves of the forest trees, mingled with the dark green of the pines and the grey tint of the olives, gives a special charm to the walk. Looking northwards the towns of La Gaude and St Jeannet stand out prominently on their rocky heights against the lofty and precipitous mountains immediately behind them ; while in the distance the white peaks of the Maritime Alps close the valley of the Var. To the south there is a splendid view of Cagnes with the Mediterranean on the horizon. After half an hour's walk the footpath joins the main road ST PAUL-DU-VAR )93 opposite St Paul, and near the point where the mule path branches off to descend to the Malvan, before again ascending by a rough and steep track to the town. From the main road a fine view is obtained of St Paul (Fig. 220), surrounded with its massive walls, and standing on a detached promontory, with steep terraced slopes descending to the river. Other pleasing and varied prospects of the town and valley occur at intervals amongst the ancient olives in following the above foot- FIG. 220. ST PAUL-DU-VAR { frOJH the E.) path (Fig. 221). About half way up the path on the side next the town an outwork on a detached peak is passed, then a ruined fortification bars the road, and finally the ancient gateway and barbican, and the cemetery just outside the walls, are reached, and the main street of the town, which is but a narrow lane, is before us. The architectural interest of the place is at once apparent. On every hand are evidences of genuine ancient and 394 MEDIEVAL PERIOD. unaltered work. The doorways (Fig. 222) are of old and varied forms, almost every one having a panelled lintel, supported by corbels, many of the former containing carved shields and ornaments, and the latter being enriched with leaves and scrolls. Most of these doorways are of the beginning of the sixteenth century, and indicate early Renaissance work. Others again are carved and moulded with the double curvature of the late Gothic style, and FIG. 221. ST \'AVh-DV-\ AR i/roiJl t/lC W.) a few shew marks of a simpler and earlier design (Figs. 223 and 224). The windows also contain many specimens of Gothic shafts and mullions, but they are much more altered than the doorways. Even the ancient woodwork of the latter is in many instances retained, and the unpainted oak or walnut give, in addition to the picturesque and fanci- ful designs, a rich and antique character. One of the most interesting points connected with the main, and almost the only street in the town, is the preservation of its ST PAUL-DU-VAR. 595 ancient shops. At almost every step one meets with the wide arch which contained both the door and window of the shop, the former being cut down to the door step, while the latter had the stonework built so as to form a sill about 2 feet high, on which the goods were exhibited. These sills are sometimes projected and moulded on the edge. FIG. 222. DETAILS FROM ST PAUL-DU-VAK. At St Paul many of the shop fronts are now built up, but several are still in use (Fig. 223), and when piled up with their complex store of vegetables and fruits, mixed with the quaint and richly coloured jars of the country, pre- sent very tempting subjects for the artist. The street floor 39^ MEDLEVAL PERIOD. of the houses adjoining the north gateway (Fig. 226) is amongst the oldest and least altered examples. Numerous narrow lanes branch off the main street and descend by steps and arcades to the roads which run round the walls. In other cases arches are thrown across the street, and picturesque effects are thus produced (Figs. 225 and 227). Most of the buildings in the main street date from the time of Francis I. After the destructive invasion of Provence by Charles V., Francis found that his frontier in this quarter was insufficiently protected, and employed an engineer from Aries called Mandon to in- spect the locality and fix on the best site for a fortress. Mandon chose the isolated hill on which stood the ancient town of St Paul as the best suited for this pur- r'f-^P^: pose; and it was accord- ingly fortified and surround- ed with the walls and bastions which still subsist almost in their entirety. St Paul was thus raised into a place of some importance and security, and became the residence of a governor and several families of distinction. This no doubt led to the improvement of the architecture of which we have seen so many examples. Of the town houses of the governor and nobility some specimens still remain — one well pre- served mansion of a somewhat later period is seen in FIG. 223. OLD SHOPS AND HOUSES, ST I'AUL-DU-VAK. ST PAUL-DU-VAR. 397 sketch, Fig 225, and relics of others are also to be found, though in a sadly degraded and dilapidated state. In the Maison Suraire (formerly Du Port), remains of ancient magnificence still exist in two richly decorated mantelpieces, of which Fig. 228 is one. The original staircase of this house is also still in use ; its richly - carved and ornamental balustrade of marble (Fig. 229) forming a strange con- trast with its present humble position as an access to peasants' houses. The mode of junction of the pedestals at the turn of the stair- case by placing a boldly cut lion rampant be- tween them is novel and effective. This house stands in the very diminutive and only little "place" in the town, where also is the fountain, and whence branches off the way to the church, which stands on the highest point of the site. The main street, and all the side alleys, are but continuations of the mule paths of the country, interrupted here and there with steps, and all too narrow to admit a cart or carriage of any kind. They are thus often so completely swept by the loads of firewood and brushwood on the mules' backs, that passengers have to seek shelter in the recesses of the doorways. The walks FIG. 224. SIDE STREET, ST PAUL-DU-VAR. ;98 MEDI/EVAL PERIOD. round the walls are in part wider, and the small gardens of the houses sloping down to them, with the dark foliage and golden fruit of their orange groves, form a fine fore- ground to the lovely prospects visible in every direction. The gateway (Fig. 230) at the entrance to the town FIG. 225. MAIN STREET, ST PAl'L-DU-VAR. from the north has an older character than the fortifications of Mandon. This gateway seems to have formed the ancient entrance through a square tower placed for defence on the neck of land which joins the promontory to the mainland. It presents the same character as the square gate towers of Avignon, having a plain pointed archway ST PAUL-DU-VAR. 399 and portcullis groove on the exterior, defended by a machi- colated parapet above, the interior of the tower being left open towards the town, so that, if captured, it could not be turned to account against it {see Fig. 226). FIG. 226. INTERIOR OF N. GATEWAY, ST PAUL-DU-VAR. This tower has been incorporated by Mandon in his works, and is strengthened externally by a bastion with another portcullis, and a narrow passage commanded from above. 400 MEDI/EVAL PERIOD. But St Paul possesses memorials of a much older time even than this fourteenth century tower, in the ancient church and keep which crown the summit of its rocky site. The church is a small but remarkable monument. Exter- nally the west front (Fig. 231) shews a central portion of plain ashlar work, with a simple pointed doorway, and a small pointed window above. There arc also some corbels FIG. 227. MAIN STREET IN ST PAUL-DU-VAR. remaining, which probably supported the wall plate of the lean-to roof of an outer porch or narthex. The adjoining walls at the sides, and above the corbels, are all evidently much more modern than the central portion. The lofty square tower attached to this front appears, from an in- scription it bears, to have been erected in the seventeenth century. On entering the building, the lowness of the ST PAUL-DU-VAR. 401 central nave (Fig. 232), and the extreme simplicity of its construction and vaulting, arc seen to correspond with the style of the central part of the exterior. The plain character of the whole recalls the work of the early Cistertian school. The church has probably been originally a simple nave, like Frejus on a small scale. The aisles appear to have been added afterwards, the side walls having been cut through to give access to them {see Plan, Fig. 233). But so devoid is the building of orna- ment or features where- by a date may be deter- mined, that the aisles may possibly have been original, although altered at a later date. Thevault- ing of the aisles, with its rounded or octagonal ribs, is certainly of more recent date than the plain inter- secting vault without ribs of the central nave. Close to the church stands a very interesting example of the tower-built keeps of the Maritime Alps (Fig. 234). It is similar in general character to those of the Mont 2C FIG. 228. CHIMNEY-PIECE IN THE MAISON SURAIRE, ST PAUL-DU-\'AR. 402 MEDIEVAL TERIOD. du Chevalier, Grasse, and Antibcs^ but has some peculiar and remarkable features of its own. The original masonry is of the usual rough-faced kind, but it has been repaired in several places with work of a smoother description. The top has evi- dently been mod- ernised, and is covered with a tile roof instead of the proper crenellated parapet. Windows of an antique char- acter are provided to light the apart- ments on the upper floors, instead of mere square holes in the wall like those of the Tour du Chevalier. In- deed, this keep seems to have been more of a habita- tion than the others we have met with, and was apparently connected with an ancient building of the same descrip- tion of masonry, a FIG. 229. "^ STAIRCASE IN THE MAISON SURAIRE, ST PArL-DU-VAK. f C W rCmalnS Ot which are visible to the left in the sketch. But the most remarkable features about this tower are the entrances and their defences. The lowest doorway is on the first floor level. ST PAUL-DU-VAR. 403 It is semi-circular and is now built up. This doorway seems to have given access only to a guardroom on the first floor, from which the vaulted basement would be entered in the usual manner by an aperture in the floor. At the level of FIG 230. NO-^TH GATEWAY, ST PAUL-DU-VAR. the doorway there was evidently a wooden platform pro- jected outside of the door, from which a wooden overhanging stair led up to the chief entrance to the principal apart- 404 MEDIEVAL PERIOD. ments of the keep on the floor above. The stone-work shews a projecting ledge at the line of junction of the wooden stair with the wall. The corbels, which supported a level platform above this stair, still remain, and it will be ob- served that there is no corbel opposite the place where the stair would pass through, as no floor would be required at that point. FIG. 231. WEST END OF CHURCIT, ST PAUL-DU-VAR. The two string courses on the next floor were no doubt inserted, one for the purpose of carrying the struts of a sloping roof, and the other to cover the junction of the roof with the stone-work. Although partly cut away, these strings are yet fairly preserved. The sloping roof ST PAUL-DU-VAR. 405 4o6 MEDI/EVAL PERIOD. would cover the wooden gallery or hoarding which, we have seen, protected the principal doorways and stair- case. The outer approaches to this keep were thus most carefully defended. An assailant, who managed by scaling ladders to get up to the first floor or guard- room level and overpower the guard, would find no ST PAUL-DU -VAR CATHEDRAL KIG. 233. I'LAN OF CHURCH, ST I'AUL-DU-VAK. access from the interior to the upper floors. To reach these he would have to climb a steep stair, enclosed within a wooden casing with trapdoor shut, and would thus be exposed to attack with all kinds of missiles from the platform above, where the defenders stood within the shelter of their projecting hoarding or gallery. VENCE. 407 A somewhat similar wooden balcony for the defence of the doorway existed at Preston Tower in Scotland, but so far as we have observed, that of St Paul is quite unique in the Riviera. The refinement shewn, both in t'lCi. 234. TOWliR OR KEEP, ST PAUL-DC-\'AR. the defensive features and in the windows of this tower, indicate a somewhat later date than those of Cannes or Antibes. The defensive works here correspond with the 408 MEDIAEVAL PERIOD. hoardings so common in France in the thirteenth century, such as those at Carcasonne and Aigues Mortcs. Vence. — A walk of about three miles along a good road gradually ascends from St Paul to Vence on either side of the Malvan Valley. That on the eastern side is the nearer, if the direct old mule path is taken about a mile from Vence, instead of the carefully engineered but winding modern roadway. Should the visit be made in December or January, a fine opportunity will probably present itself of witnessing the olive harvest on the way. Large sheets are spread out into which the ripe black berries are showered down by shaking the branches. Men, women, and children all unite to expedite the work, and help to gather up the fruit which may have dropped upon the ground. The road on the western side of the valley is more wind- ing than the other, in consequence of a great gorge in the rocky mountain side having to be compassed and crossed. The descent to the point, where bridging it is practicable, also adds to the length and steepness of the ascent to the town. But the rugged way is interesting, the rocks being full of natural caves, evidently the result of the waves of a previous geological epoch. The town consists of two distinct parts — the old town enclosed within a circular or oval enceinte (now represented by a line of houses), and a circle of houses built outside the ancient ramparts. The position of the latter is now occupied by a wide street or boulevard running all round between the old and new divisions. One or two ancient gateways (similar to that of Mougins, Fig. 182) are still pre- served, but they are small and unimportant. In the narrow streets specimens of old shop fronts, like those of St Paul, may be detected here and there, and in the newer part of the town some fair Renaissance designs are observable in the houses, that of the Hotel de Ville being the finest. VENCE. 409 Vencc is a very ancient city. It was the Ventium of Roman times, of which period numerous inscriptions and reHcs are preserved and built into the northern wall of the cathedral. In mediaeval times Vence was originally FIG. 235. VENCE CATHEDRAL the see of a bishop, but was afterwards joined to that of Frejus. The town suffered the usual casualties from the attacks of the Saracens and assaults during the wars of 410 MEDI/EVAL PERIOD. religion. The cathedral, which is evidently very old, is supposed to have been rebuilt after the destruction of MKDI/EVAL PERIOD VE NCE CATHEDRAL 1 1 " 1 1 1 M 1 1 FIG. 236. I'LAN OK VENCE CATHEDRAL. the original one by the Saracens in the ninth or tenth centuries. Owing to the simplicity of its style internally I VENCE. 411 (Fig. 235), it has a most archaic appearance. Unfortun- ately, the exterior cannot be well seen in consequence of the chapels, houses, &c., which are built against it. Originally the church has consisted (Fig. 236) of a central nave 18 ft. 6 in. wide, with two side aisles each about 10 ft. wide. The chapels shewn projecting beyond the aisles are comparatively modern, and are lighted from the roof. The nave piers are (as regards design) simply portions of the side walls left standing, while the remainder is omitted so as to form round arched openings into the aisles. The side aisles are carried (as was often done) to a sufficient height to abut the central vault of the nave, and are divided into two storys — the upper story being a gallery— an arrangement very common in Lombardy and Germany. A more total absence of anything like orna- ment can scarcely be conceived. This plainness, taken in conjunction with the somewhat similar work at St Paul's, seems to indicate that the design here owes its origin to the reign of the early Cistertian principles in the twelfth century. The choir and the tower at the north-east angle (Fig. 237) are evidently of a more recent date. The choir, with its circular apsidal termination internally, converted into a square east end externally, is somewhat remarkable. It may be observed that the eastern termination of the churches of Antibes and St Paul are also square externally. There is a certain Italian character about the east end of Vence Cathedral with its single very small pointed window and its cornice enriched with modillions. The impost of the eastern door (Fig. 236) is also quite Italian, and judging from the style of this part of the church, it probably belongs to the thirteenth century. The campanile adjoining the church likewise recalls those of the Italian cities. At Vence, as at Antibes, there are two such towers or keeps for defence, one being 412 MEDT/EVAL PERIOD. 'Ya72Ce^. OiMec^ral. FIG. 237. EAST END, VENCE CATHEDRAL. VENCE. 413 attached to the church, while the other was formerly con- nected with the castle, and now with the Hotel de Ville (see Fio-. 242). The ground floor of the former tower enters from the church, and forms a chapel where are deposited two very finely carved Gothic doors, which no doubt once served as the doors to the church. The font (Fig. 238) stands in a small chapel at the west end. Its design is peculiar and striking, and it is said to be very ancient. Adjoin- ing the cathedral on the north are some ruinous remnants of the bishop's palace, now converted into other uses (Fig. 239). In the " place " at the east end of the cathedral (see Fig. 237) stands a granite column raised on a pedestal, and said to have been the gift of the city of Massilia to her sister of Vence. In the same place some pictur- esque fragments of old houses are still preserved (Fig. 240), the late Gothic doorway on the right being given on a larger scale in Fig. 241. There are several small " places " in the old town all containing a few relics of olden times. The tower of the Consuls (for Vence, like the other towns in the province, had her consuls and an independent government), has already been mentioned, and is shewn in Fig. 242, adjoining a gate- way leading into a " place " with a fountain on one side, and FIG. 238. FONT, VENCE CATHEDRAL. 414 MEDI/EVAL PERIOD. the Hotel de Ville on the other. This tower is of the same style of masonry as those we have met with in other towns, but it is now cut up into shops and houses, and has lost its primitive features. From the wide terrace in front of the Hotel de Ville, a magnificent view is obtained of the mountains to the northwards. At the base of their lofty precipices the ruins of the Commandery of St Martin may be observed. It seems to be a very short way off, but is found to be \ , / ( FIG. 239. BEHIND CATHEDRAL, VENXE. a good half hour's walk and a stiff climb. However, the trouble is repaid, for the view presented, when the lofty point on which the Commandery stands is attained, is magnificent, extending over Vence, St Paul, and Cagnes to the sea, and embracing the whole coast from the Cap d'Antibes to the headlands beyond Nice. The Commandery itself is a shapeless ruin (Fig. 243). The eastern wall and the great gateway, with its wide machicolation in the style of the Pope's palace, are the only parts sufficiently entire to I VENCE. 415 4i6 MEDIEVAL TERIOD. give any indication of the nature of the buildings, which from these seem rather to have resembled a castle than a monastery. This was the chief house of the Templars in FIG. 241. DOORWAY IN VENCE. the district, and overlooked numerous and extensive lands with which the order was enriched. The tower of La Trinitc, as already mentioned, formed one of the outlying VENCE. 417 forts of the Templars, and is well seen from the Comman- dery. When violent hands were laid upon the order by- Philip the Fair, Hugorian was Master of St Martin-les- Vence. He was seized in 1308, and carried off to prison in Tarascon. This country was then under the dominion of Charles II. of Naples and Duke of Provence, whom _J^ ct^/f'^i^/hi . — ^^ FIG. 242. TOWER OR KEIiP OF THE CONSUL, VENCE. Philip had persuaded to join in the destruction of the Templars. But in Provence the greater number of the Knights were allowed to escape, only forty-eight in all being captured. Their lands were chiefly bestowed on the Knights Hospitallers, who thus acquired great possessions in this part of Provence. 2D 4i8 MEDI/EVAL PERIOD. A short railway journey conducts from Vencc-Cagnes to Nice, across the Var, the "dyke" or wall which keeps the floods of this impetuous river within bounds being one of the most notable of French Engineering Works, The existing town of Nice is almost entirely modern. The streets, with their rows of shops and lines of trees, look like a small piece of Paris transported to the south. The wide promenade des Anglais by the shore, however, commands 'v^S^^^''^'^ Commt^Ti^e ric . Yc ^ce. FIG. 243. COMMANDERY OF ST MARTIN-LES-VENCE. a prospect which nothing in Paris can match. The old town, with its narrow streets crowded round the port, is of ancient origin, being one of the original Phocaean colonies, and in the modern " Nice " may still be recognised its original Greek name of Nike (victory). But it became a place of secondary importance under the Romans, who made Cemenelum, an ancient town of the Ligurians on the hill which overlooks Nice from the north, the chief city of ^ if NICE. 419 the Maritime Alps, to which Nice acted merely as the port. Being so near the frontier, both Cemenelum and Nice were exposed to attack on all hands, and suffered severely from the invasions of the Barbarians. In 578 the Lombards destroyed the strong city of Cemenelum or Cimies, an event which, to some extent, restored the ancient importance of Nice. In 617 Nice joined the other towns of the coast in a league to free themselves from the Prankish kings. The town was frequently attacked by the Saracens, and more than once taken and destroyed. But after the Moors were driven from the Great Fraxinet in 975, the inhabitants of the town were comparatively free from their inroads. Although Nice stoutly defended her in- dependence, she was, like the other towns of Provence, forced to yield to the Counts of Provence, who rebuilt the Castle both as a defence and menace to the inhabitants. Charles of Anjou was greatly indebted to Nice for ships to enable him to carry out his designs upon Naples. The incessant struggles between the powerful Nobles in the neighbourhood, the Grimaldi of Monaco, the Lascaris of Tende, and the Dorias of Dolce Aqua devastated the land, and brought famine and plague in their train. In the wars which followed the death of Queen Jeanne, the Nigois took the side of Ladislaus of Hungary, and called in the Count of Savoy to aid them against the King of Naples. Under the protection of Savoy, Nice soon re- gained her prosperity. The Counts of that house strength- ened the Castle by every means in their power, and for this purpose the ancient Cathedral and Bishop's Palace were removed. In the sixteenth and seventeenth centuries Nice was ex- posed to damage from the armies both of the French and the Emperor, and suffered severely — so much so that the merest fragment is all that remains of the ancient castle 420 MEDIEVAL PERIOD. FIG. 244. CROSS AT CIMIES. NICE. 421 which gallantly withstood so many sieges, and not a single ancient building is preserved. The environs of Nice, although full of natural beauties, are remarkably destitute of architectural interest. The few Roman relics at Cemenelum have already been de- scribed. Near these is an old convent, where from the churchyard a fine view of the lofty and rugged banks of the valley of the Paillon (which runs through Nice) may be ob- FIG. 245. CASTLE OF ST ANDRE, NEAR NICE. tained. In the Parvis in front stands a remarkable cross (Fig. 244), bearing the image of the crucified seraph who appeared to St Francis of Assisi. The cross bears a quatre- foil on each of its three upper points, with the figure of a Bishop and a Monk carved in the side quatrefoils, and that of the emblematic Pelican on her nest feeding her young in the top quatrefoil. The cross is supported on a twisted 422 MEDI/EVAL PERIOD. marble shaft, some 9 or 10 feet high, having a composite capital, containing a shield bearing the arms of the founder. An inscription runs along the abacus, in which 1477 is legible. This date quite corresponds with the character of the design. Descending by a steep mule path from the height of Cimies to the valley of the Paillon past some great monas- teries, or similar establishments, including that of St Pons, all surrounded with walls and studded with cypresses, we reach the high road. Following this road for three miles up the valley brings us in view of the Castle of St Andre, the sketch of which (Fig. 245) gives some idea of the nature of the scenery. Passing through the village of St Andre, and penetrating a short way further up the gorge of the torrent of the same name, Falicon is reached, famous for its grotto and natural bridge. The view looking back upon St Andre (Fig. 246) is strikingly picturesque. From Nice the railway proceeds eastwards by a long tunnel under the ridge, formerly dominated by the old Castle, on emerging from which we find ourselves in one of the most charming scenes in the Riviera, the land-locked bay of ViLLEFRANCHE. On the margin of this sheltered and beautiful arm of the sea stands the old " Free-town," surrounded with fortifications, and reflected in the quiet waters, on which, too, there are generally afloat one or two majestic representatives of foreign fleets. Between this and Monaco the railway passes along the narrow strip of shore which lies between the sea and the lofty precipices of tertiary limestone which here tower above it. At one of the sharp turns round the rocks, a first distant glimpse is caught of the old town and Castle of EzA (Fig. 247), set like an eyrie on the summit of its bare and lofty pyra- midal peak. There is a railway station at the base of the mountain, and one feels tempted to alight and scale I NICE. 423 ^i^C^^^-f Fig. 246. ST ANDU^:, near nice. 424 MEDIyEVAL PERIOD. the height, the buildings look so enticingly picturesque. But it is no easy task ; there is scarcely any track for part of the way, and when visible, the path is rough and full of running stones, as well as steep and winding. One is glad to take a rest occasionally, and enjoy the various fine views of the town on its lofty pinnacle, and the extensive sea- tl(,. U4y. ElA, FKO.M THK KAILWAY STATION. board visible from this elevation. Fig. 248 gives some idea of the character of one of these prospects. When at last the ascent is scaled, the result, as regards the architecture, is, it must be confessed, on the whole rather disappointing. The entrance gateway to the town is interesting from the remarkable and strong way in which its defences are EZA. 425 < N 426 MEDI/EVAL PERIOD. arranged. The outer approach (Fig. 249) is by a passage faced by a cannon port-hole. From this access a gate at right angles leads to a second narrow enclosed passage commanded by a machicolated tower, through which a FIG. 249. APPROACH TO THE TOWN GATE, EZA. winding and ascending vaulted way conducts into the town (Fig. 250.) The view of the interior of this gateway is very picturesque (Fig. 251.) The town itself consists of a few narrow tortuous lanes bordered by decaying houses, chiefly tenanted by donkeys, pigs, and poultry. On the EZA. 427 top of the bare rock, and approached by great steps cut in the sohd Hmestone, a few scanty and uninteUigible frag- ments of the castle are yet visible, but the greater portion has been entirely swept away. Eza was the Arisium of Antonine's Itinerary, and it FIG. 2^0. ENTRANCE GATEWAY TO TOWN, EZA. formed, like Gourdon, during mediaeval times, a pretty secure retreat from the assaults of the Corsairs. The castle was, however, demolished by the Turks under Bar- barossa in 1543. The arcaded tower house, and the door 428 MEDI/EVAL PERIOD. lintel, shewn in Figs. 252 and 253, were the only objects of architectural interest discoverable in the place. Between Eza and Monaco the railway continues to run along the base of the immense cliffs which overhang the sea, or through the frequent tunnels which penetrate them. KIG. 251. INTERIOR OF ENTRANCE GATEWAY, EZA. One station short of Monaco we arrive at that for La TUREIE ; from which, by a very steep and zig-zag path, one may ascend the bare and nearly vertical hill above the railway, whence a pleasant walk of a mile or two through the pine forest leads to the town of La Turbie. This elevated situation is, however, more easily approached by a long well-paved but steep mule-path from Monaco. The LA TURBIE. 429 monument to Augustus, which here marks the Hmit between Gaul and Italy, has already been described {ante, p. 87). This monument has provided a quarry, out of which the FIG. 252. HOUSE IN EZA. more important buildings of the town have been con- structed. This is apparent from the great size of the stones used in the erection of the outer gateway to the 430 MEDI/EVAL PERIOD. south (Fig. 254.) Passing through this archway, an inner encircHng street is entered, from which another picturesque and pointed gateway (Fig. 255) gives access to the centre of the town. There is also a third gate- way of pointed form, with a long machicolation over it at the eastern entrance (Fig. 256), and some further fragments of the FIG. 253. DOORWAY IX EZA. oldcn timc are to be seen in the streets (Fig 257). The great trophy of Augustus, from which the place derives its name, was converted in medise- FIG 254. OfTKR SOUTH GATEWAY, LA TURBIE. LA TURBIE. 431 val times into a fortress, when the upper part has been rebuilt. The double tier of pointed arcade-ornaments (Fig. 32), which FIG. 255. INNER SOUTH GATEWAY, LA TURBIE. formed the support of the parapet, have quite an Italian char- acter. They remind one of the similar ornament on Grasse 432 MEDIEVAL PERIOD. Cathedral. This tower was blown up by Marshal Villars at the end of the seventeenth century. In descending by the steep and well-paved footpath from La Turbie to Monaco, delightful glimpses are obtained from amongst the luxuriant olives and citrons of the latter town on its isolated rock. Most of the towns on the sea-board have a prominent rock for their site, but that on which Monaco is built is the most detached and sea-girt of them all. It is of considerable height, and has per- pendicular faces on all sides. On three sides these plunge sheer down into the sea, and on the fourth or north- ern side of the penin- sula the precipitous rock is only joined to the mainland by a nar- row strip of low-lying yE: sandy beach. On the inaccessible platform above these precipices stands the ancient town, surrounded with its walls and bastions, and giving shelter and protection to the quiet harbour on its eastern flank. Of all these features we have a commanding pros- pect as we descend from the heights of the Cornice road, FIG. 256. EASTERN GATEWAY, LA TURIUE. which passes by La Turbie. MONACO. 433 The history or traditions of Monaco extend further back than those of most of the locahties of the Riviera. It derives its name from Hercules, who is supposed to have touched here on his way into Spain, and to have gained a great victory over the native tribes. Hence the name of Portus HercuHs, by which the place was known in the early centuries of our era. This was afterwards changed to Portus Herculis Monceci, and finally into Monaco. The rocky fortress subse- quently fell into the hands of the Saracens, who are said to have been expelled from it in the tenth century by the same Grimoald or Grimaldi who dis- lodged the Moors from the Grand Fraxinet, and whose successors became the Princes of Monaco. In the eleventh century the place seems to have been abandoned, and in 1 162 the Emperor Frederick I. presented it to the Republic of Genoa, who took pos- session, and rebuilt the fortifications in 12 1 5. During the struggles of the Italian Republics, and the wars of the Guelphs and Ghibellines, Monaco several times changed hands, but was most frequently in the pos- 2t: FIG. 257. HOUSES AT LA TURBIE. 434 MEDIAEVAL PERIOD. session of the Grimaldi, and sometimes became the shelter of bands of pirates who scoured the Mediterranean. The Grimaldi sided with the French in the ItaHan wars of Charles VIII. and Louis XII., and through the influence of the latter became the governors of the whole of the Western Riviera. During the struggle between France and Spain in the sixteenth and seventeenth centuries, Monaco was al- ternately under the protection of each. The boundaries of the principality then included Mentone and Roque- brune, but in 1848 Mentone declared itself a free town. Since the annexation of the county of Nice by France, the principality, which is about three miles long by about half a mile wide, is entirely surrounded by the French Canton of " Menton." A comparatively easy drive to the town has now been made up the east side of the rock, but the original approach was by a steep flight of steps, carefully defended with strongly fortified gates, and commanded by the battlements above {see sketch. Fig. 258). The existing works at this point are evidently of the seventeenth century. The north side, which overlooks the mainland, was fortified with a large circular bastion at the western angle (Fig. 259), and a square one at the eastern angle. The former still retains some of the large corbels which carried the original parapet of the fifteenth century ; but the bastions have been height- ened and made suitable for artillery at a later date. On arriving at the top of the entrance to the town, a wide open staircase ascends to the front of the Ducal Palace (Fig. 258). This edifice is a picturesque assemblage of buildings of several dates^ chiefly of the Renaissance period. Some of the old towers retain their forked battlements, a form common in the North of Italy. The whole place is vast and palatial, and from its lofty site and splendid back- ground, composed of a rugged mountain called the Tcte dc MONACO. 435 "^Z ■ff V)' 436 MEDIEVAL PERIOD. Chien,has a noble and impressive appearance. The court- yard of the palace is also a fine though somewhat peculiar specimen of Italian design, the fresco paintings on the walls giving it a rich and southern aspect. The town consists of three parallel streets, and contains some good bits of old work. A large new church in the early Romanesque or Provencal style of architecture has FIG. 259. nUCAL PALACE, MONACO (X.IV. Bcistiotl.) recently been erected. The old church contained speci- mens of capitals, and other details very similar to those of the lower arcade in the Castle of St Honorat. The gardens of the palace, which extend round the western side of the rock, where every chink and crevice is filled with fig trees, aloes, pears, and palms, form a delightful promenade ; and the views from the walls towards Monte Carlo and Mentone, ROQUEBRUNE. 437 with the mountain ranges behind them, are most charming. Only a few miles off (about an hour's walk) the remark- FIG. 260. RNtRANCE TO TOWN, ROQUEBRUNE. able town of ROQUEBRUNE is seen embosomed in orange groves on the slope of the mountain. The ascent from 438 MEDI/EVAL PERIOD. the railway station is by a steep and narrow path, which penetrates into the town by a long vaulted and stepped passage, the entrance to which is through a small arched gateway, defended by a wide overhanging machicolation (Fig. 260). The church of St Margaret is then reached, in which the old font (Fig. 261) is worthy of note. The peculiarity of this town arises from the huge masses of rock which stand up amongst the houses, and at a short distance pre- sent the appearance of a great castle. These give the town its name, and one of them, larger than the rest, is actually crowned with the remains of the ancient fortress of the Lascaris (Fig. 262), which, however, is now but an empty shell. One or two open ^"places" amongst the great rocks ^s^^^^^V form beautiful terraces, commanding fine and extensive prospects. The railway, after leaving Roque- brune, sweeps round the Cap Martin, and enters the bay of Mentone, which is only about four miles off This town, like all the others on the coast, had its castle on the summit of a promontory which juts out into the sea, and divides the coast into two portions, called the eastern and western bays. The Counts of Ventimiglia and the Genoese had, at different times, possession of the town and castle, but it was for the most part an appanage of Monaco, and followed its fortunes. In 1848 the inhabitants formed themselves into a free Republic, and enjoyed autonomy for thirteen years, after which Mentone became the " chef lieu " of a French Canton. The town was at one time surrounded with walls, which rose straight up from the sea. It thus completely occu- FIG. 261. FONT, KOQUEERUNE. MENTONE. 439 pied the narrow strip of land between the shore and the hill on which the castle stood, and barred the way along the coast. The eastern gate of the town, and the " Long Street," which is also a very narrow one, leading through it, still remain, but a new and wider roadway, which forms part of the Cornice Road, has been constructed along the back of the houses in the eastern bay, and now encloses the harbour on the side next the town. An old square FIG. 262. ROQUEBRUNK CASTLE. tower at the extreme point of the promontory is one of the few relics of the fortifications of the town. Above the " Long Street " the houses are built in terraces, rising rapidly tier above tier on the hillsides, and ap- proached by long flights of steps and narrow vaulted lanes. In the midst of these stand the churches, buildings of the seventeenth century, of clumsy character. The towers and spires, however, form a picturesque group (Fig. 263) ; and 440 MEDIEVAL PERIOD. along with the houses, as seen from the harbour, together with the magnificent background of lofty and partly snow- clad mountains which shelter Mcntone on the north, they compose a splendid picture. The old castle which formerly crowned the summit, has been entirely demolished, and its site is occupied as a '0U^^^ i . JflrS FIG. 263. MENTONE (frovi t/ic Haibour). cemetery, from which very fine views arc obtained both of the coast line and of the mountains on the north. Numer- ous narrow valleys and gorges run up from the sea towards the mountains, forming beautiful and interesting pro- menades and excursions, but there is little to attract the student of architecture. At GORBIO, beautifully situated about five miles from CASTELLAR. 44 1 Mentone to the west, and some distance up a charming valley, there are an old church with a dark nave, and the remains of a castle of the Lascaris. The houses here are united by arches thrown across the narrow streets, an arrangement very common in this district, and supposed to be for the purpose of resisting to some extent the effect of earthquakes. Ste Agnes, not far from Gorbio, is also a favourite excursion. It is a lofty and beautiful spot, with the remains of an old castle said to be of Saracenic origin. The ascent to CastelT-AR forms another delightful walk of about an hour and a-half, giving a fine idea of the richness of the valleys of Mentone in lemons, in the growth of which they excel every place north of Palermo. The town of Castellar is of some extent, and its situation on a " col " at the top of a steep ascent is fine, but there is no architecture of importance. It is clumsily built, and has been at one time surrounded with walls, which now form the exterior of houses. Some remains of ditches and towers — one of the latter being converted into the belfry of the church — also still exist. About a mile eastwards from Mentone the Cornice Road crosses by the bold arch of the Pont St Louis the ravine which now forms the boundary between France and Italy. Since 1861 the limits of France have been extended con- siderably further eastwards than in ancient times, when La Turbie marked the boundary of Gaul. In the course of our journey we have observed that as we approach the frontier, the towns possess a good deal of the Italian character, and that both historically and architecturally they have much in common with Italy. The architectural styles of France and Italy were observed to overlap each other in the district we have just examined. But when we pass the modern boundary of France at the Pont St Louis, we may 442 MEDI/EVAL PERIOD. KIG. 264. WEST PORTAL Ol" CATHKUKAL, VENTIMIGLl A. PONT ST LOUIS. 443 be said to have left nearly all trace of French and Provencal architecture behind, and in our further progress eastwards we shall meet with almost nothing which is not entirely Italian in style. We shall therefore in concluding our FIG. 265. INTEHIOK OF CATHEDRAL, VENTIIMIGLIA. journey give only a rapid sketch of some of the more important buildings between Mentone and Genoa. The railway eastwards from Mentone follows the coast line, and cuts through some lofty rocks at the mouth of the 444 MEDI/EVAL PERIOD. KU;. 266. STRKET IN DOI.CK Ayl'A. VENTIMIGLIA. 445 torrent of St Louis, famous from containing the caves in which have been discovered human remains, associated with FIG. 267. CASTLE OF THE DORIAS, DOLCE AQUA. the bones of extinct animals, such as the mammoth, the great bear, the elk, &c. About seven miles from Mentone, the line passes 446 MEDLEVAL PERIOD. r-1?-.~'^«^^ ■■ \^i -^'^i J^1&- .''%i:^^ -'^'ii^'lltl » tn 1 VENTIMIGLIA. 447 through a tunnel, on emerging from which the frontier town of VENTIMIGLIA is seen towering above the plain of the river Roya. It stands on a bold rocky headland, defended on one side by the sea, and on the other by I FIG. 260. STREET IN SAN REMO. the river. Like all border towns, its possession was con- stantly disputed by the neighbouring suzerains, and it en- dured many sieges, but was generally under the authority of the town of Genoa. The streets are narrow and tortuous, 448 MEDI/EVAL PERIOD. and have the usual picturesque staircases and arches. The porch of the cathedral seen in the sketch (Fig. 264) is old, and is decidedly Italian in character, but the rest of the front is modern. The interior again (Fig. 265) might be a Pro- vencal Cistertian design, such as that of Thoronet. Two miles east- wards from Venti- miglia, the valley of the Nervia opens to the left. An easy and agreeable walk of about five miles up the valley leads to the very quaint old town of Dolce Aqua. On the way we pass through the decaying but picturesque town of Campo Rosso, with an open " place " lined with arcaded footways. The most ancient part of Dolce Aqua lies on the left side of the river, which is crossed by an old bridge of one span, having the roadway stepped up on each side, and showing traces of old fortifications. Above this the houses rise in tiers, forming a dense and confused laby- rinth of narrow lanes and dark tunnels — many of the former FIG. 270. HOUSES IN SAN REMO. DOLCE AQUA. 449 crossed by strengthening arches thrown between the houses on each side (Fig. 266). Dominating the whole stand the proud ruins of the castle of the Dorias (Fig. 267), a family famous in the his- tory of Genoa and the Riviera. It is a building of a late date (seventeenth century), and has been defended with o-reat bastions mounted with can- nons (Fig. 268),sur- rounded with walls, and provided with a drawbridge. The castle has evidently contained large and sumptuous apart- ments, but the in- terior is now reduc- ed to total ruin. The town has also been provided with fortifications, of which one tower near the river has been appropriated and heightened into a church steeple (Fig. 268). The castle has been abandoned since the wars of 1748, and the descendants of the Dorias now occupy a mansion, situated under the walls, in which there is a finely carved chimney piece, and an interesting collection of family portraits. The town of PiGNA, about ten miles further up the valley, 2F FIG. 271. SAN siRO, SAN REiMO (N. Doonvay). 450 MEDIEVAL PERIOD. is said to contain a good church of the fifteenth century, with pointed arches, and a fine painting of the sixteenth century. Passing the ancient repubHc of Bordighera, with its arcaded streets and splendid palm gardens, we soon reach (•IV' \' '''W^ FIG. 272. GATEWAV AND STREET IN TAGGIA. San Remo. This ancient town, originally independent, came ultimately, like the rest of the Riviera, under the authority of Genoa. It consists as usual of one principal street along the narrow strip of ground between the base SAN REMO. 451 of the hill on which the old town stands and the sea. The town consists of the ordinary pile of terraced houses with narrow tortuous streets and steep flights of steps leading up to them. There is here an extraordinary profusion of the ^mr^- FIG. 273. DOORWAY IN TAGGIA. arches, of which we have met with examples elsewhere, thrown across the narrow streets, in order to strengthen the houses against the shocks of earthquake to which this region is liable. These features sometime produce, together 452 MEDIEVAL PERIOD. with the stairs and tall houses, extraordinary combinations and effects (Figs. 269 and 270). The cathedral of San Siro, which stands detached in a small "place," has some good Italian features still preserved, — amongst which are the north and south doorways (Fig. 271), the remainder having been greatly modernised and spoiled. In the main street there are some fair specimens of Re- naissance palaces, somewhat in the style of those of Genoa. From the railway station of Arma di Taggia, some miles FIG. 274. DOORWAY IN TAGGIA. east of San Remo, an expedition may be made about five miles up the valley to the exquisitely quaint old town of Taggia. It concentrates in itself all the various remark- able features of the towns of the Riviera in its arcaded streets and vaulted footpaths, narrow lanes crossed with arches, and approached by steep stairs and dark tunnels ; and these features are here all combined in so profuse and picturesque a manner as to present an epitome of those of all the rest. In the midst of these striking general TAGGIA 453 454 MEDIEVAL PERIOD. effects, so captivating to the artist, it is difficult, however, to pick out anything which may be regarded as really good architecture. Fig. 272 gives some idea of the picturesqueness of the arcaded streets and gateways, while Figs. 273 and 274 give a few good architectural details. The first (Fig. 273) might, from its style, be the FIG. 276. CHURCH AT ALASSIO. lintel of any fifteenth century house in Genoa (a splendid example of a similar style of doorway at Genoa being shown in Fig. 281), and the other (Fig. 274) is a Renais- sance doorway in black marble ornamented with raised arabesques. Close to the town is the monastery of San Cristofero, where the ancient cloister and tower (Fig. 275) are good specimens of early Italian work. The vaulting of GENOA. 455 PiG. 277. TOWERS ANIJ WEST END Of CHURCH, ALBENGA. 456 MEDIEVAL PERIOD. the cloister is late, the orii^inal roof being probably of timber. The tower is a good Italian campanile, with string courses of the arcaded ornament so common in Lom.bardy and the Rhineland. We are now in the centre of the district which suffered so severely from the earthquakes of 1887. BUSSANA is passed on the right in returning to the railway. The towns of Porto Maurizio (which stands on a solitary rock), Oneglia, and Diano Marina, all names too well known FIG. 278. ALUENGA (ffoiu Railway Station). in connection with the above catastrophe, are reached in succession before arriving at Alassio, the furthest east of the health resorts of the Riviera. The tower of the church here (Fig. 276) has the usual form of the Italian campanile. A few miles further east bring us to Albenga, which is, architecturally speaking, the most interesting town on this part of the coast. It lies in a hollow near the mouth of the river Acosia, and is defended from the cold winds of the North by an amphitheatre of lofty, snow-clad mountains. The general view of the town from the rail- FIG. 279. TOWER AT NORTH-EAST OF CHURCH, ALBENGA. 458 MEDI/EVAL PERIOD. way station (Fig. 278) shews the peculiar preponderance of square towers for which it is remarkable. On closer inspection these are found to be no less surprising than when seen from a distance. They are generally quite plain and are built of brick. The view of the west end of the church (Fig. 277) shews four of these towers crowded close together, exhibiting examples of several different designs. That over the north entrance to the church has a strong resemblance to the campaniles of Lombardy, such as that of Mantua, and is thoroughly Italian in every detail, while the plain square towers adjoining recall similar examples at Bologna and else- where in Italy. That again at the east end of the church, which has the figure of the lion at its base (Fig. 279), with its plain brick shaft, its triple arcaded top, and fork-shaped battlements, is almost identical with those of Verona. The church has originally been an Italian design of the thirteenth century. Although now much altered and spoiled it has evidently had the same arcaded orna- ment at the eaves as we have observed at Grasse, San Remo, and elsewhere. The doorways also correspond in style with the above churches. To the north of the church is a very interesting baptistery, which reminds one of those of Frejus and Aix. It is of octagonal form, 28 feet long by 26 feet wide, with a vault supported on Corinthian- like pillars, and has a very ancient but dismal and neglected appearance. One of the windows is filled with stone tracery of a Byzantine or Moorish character. In moving eastwards we pass in succession Ceriale, with its fortifications, and LOANO with its great monasteries, Verezzi with one good campanile, and FiNALMARINO with two. From the latter a view is obtained of FiNALBORGO in the distance (about two miles off), where there are evidently the remains of a fine castellated structure. At GENOA. 459 460 MEDIAEVAL PERIOD. GENOA. 461 Noli there is an ancient entrance tower with an archway- through it. Savona retains its fortifications of the Vauban School, and Verazze the shattered ruins of an old castle. FIG. 282. CHURCH, CLOISTERS, ETC., GENOA. It is not intended to attempt to describe the architecture of Genoa. That has already formed the subject of special works, and would require a volume to itself Only, in closing this account of the architecture of the Riviera, one 462 MEDIEVAL PERIOD. or two examples from Genoa are given, in order to make more distinct the analogies to which attention has been drawn between the architecture of a large part of the Riviera and that of the famous Republic, as well as the style of Italy generally. Thus the side doorway of the cathedral exhibits, in a remarkable manner, the same imi- tation of Roman architecture (see Vig- nette on title page, and Heading p. 25), modified by the introduction of Romanesque or Teutonic ornament, which we observed at St Gilles, Aries, and other churches of Provence. This doorway is part of the original build- ing of the eleventh century, although the greater part of the cathedral was restored about 1300. The facade of San Matteo, on which are engraved so many inscrip- tions in honour of the various dis- tinguished members of the family of Doria and that of San Stefano, shew^s the arcaded eaves, and the inlaid moulding under the cornice FIG. 283. CAMPANILE, GENOA. i • i • j_ i. /^ O "O w^hich exist at Grasse, San Remo, Ventimiglia, &c. The doorways of these churches have the same flat porch, wdth small projection, and plain pointed eable, and the same sort of arch and shafts as several of the examples we have met with in the Riviera. San Matteo dates from 1278. The cloister (Fig. 280) which adjoins that church is of the beginning of the fourteenth century, and contains the monuments of the Dorias, which have been brought here from the suppressed church of Santa Dominica. The cloisters of San Matteo, and also those of GENOA. 463 San Lorenzo, present shafts and caps in the same Itahan style as we have observed extended as far westwards as the cloisters at Frejus, and the upper cloister of the castle of St Honorat. The sculptured lintel in the Piazza San Matteo (Fig. 281), exhibiting the combat of St George and the Dragon, although more elaborate, is similar in style to the lintel of the house at Taggia (Fig. 273) ; while the campaniles and arcades of other churches in Genoa (Figs. 282 and 283) recall the Italian style, of which we have met with so many examples in Provence. Si'ii 0- ^'^^ ^ cf rj^^^:^'^iij^ FIG. 284. KNOCKER, ELNE CATHKDKAL. PU;. 2S5. LAMP FKOM ULU CHURCH, MONACO. INDEX. Aegitna, 308. Aigues Mortes, 206. Aix-en-Provence, 217. Alassio, 454. Albenga, 456. Albigensian Crusades, 27. Antibes, 84, 371. Aries, 50, 183. Autun, 33. Aurelian Way, 79. Auribeau, 380. Avignon, 3, 34, 137. Barbarians, Invasions of, 14. Beaucaire, 173. Beziers, 222. Biot, 387. Burgundy, Style of, 109. Bussana, 456. Byzantine Architecture, 97. Cagnes, 376. Callian, 364. Camargue, The, ']']. Cannes, 83, 308. Cannet, 275. Carcassonne, 243. Carpentras, 47, 167. Castellar, 441. Castellaras, 350. Castellated Architecture, 116. Cavaillon, 48, 167. Cemenelum (Cimies), 86, 421. Ceriale, 458. Charlemagne, Revival under, 17. Chartreuse du Val de Benedic- tion, 164. Christian Buildings, Early, 95. Church, Early Organisation of, 12 ; Revival of, 19. Cistertian Architecture, no, 274. Citeaux, Monks of, 22. Clausonne, 84. Cluny, Abbey of, 19. Cogolin, 302. Courthezon, 137. Crau, The, ']']. Cruas, 128, Crusades, 23. Crussol, 128. Dolce Aqua, 448. Dome, The use of, 105. Elne, 239. Esterel, 304. Eza, 424. Feudal System, 112. Finalborgo, 458. Finalmarino, 458. France, Northern Architecture, i „ Southern „ 3 Fraxinet, le Grand, 304. Frcjus, 80, 285. Garde Adhemar, 134. Gaul, Southern, History, 5, 9. Genoa, 461. Gorbio, 440. Gothic, Northern, 114. Gourdon, 366. Grasse, 350. Greek and Roman Colonies — in Towns — 10. Grimaud, 302. 2 G 466 INDEX. Holy Roman Empires, 15. Hycres, 270. lies de Lerins, 319. La Garde Freinet, 304. Lajj^imes, The, 221, 235. La Trinitc, Tower of, 382. La Turbie, 87, 428. Le Bar, 365. Le Cannet, 347, Le Luc, 80. Le Thor, 167. Les Baux, 178. Les Maures, 299. Les Saintes Maries, 212. Loano, 458. Lyons, 34, 121. Marseilles, 79, 213. Mediterranean, Littoral of — His- tory, 7. Mentone, 440. Molleges, 168. Monaco, 432. Monasteries, Origin of, 12. „ Growth of, 19. Mont Majour, 194. Mont St Cassien, 307. Mougins, 348. Municipalities of the Middle Ages, II. Musee Calvert, 34. Napoule, 305. Narbonne, 230. Nice, 86, 418. Nimes, 64. Noli, 461. Notre Dame de Vie, 349. „ „ du Pre, Le Mans, 102. Oneglia, 456. Orange, 40. Pernes, 167. Perpignan, 235. Phocasans in Gaul, 7. Phoenicians do., 7. Pigna, 449. Pointed Arch, 107, 113. Pomponiana, 80. Pont du Gard, 76. „ St Bcnezet, 151. „ St Esprit, 136. Porto Maurizio, 456. Provence, History of, 25. „ passed to France, 30. Provencal Architecture, 105, 118, 211. Puisalicon, 229. Ravenna, 96. Riez, 292. Riviera, The, 79. Roman Architecture, Early, 90. „ „ The Arch in, 91. Roman Architecture, Continued under Christianity, 94. Roman Architecture, Remains in Provence, 33. Roquebrune, 437. Ste Agnes, 441. St Andre, Castle of, 155, 421, „ Cesaire, 359. „ Chamas, 77. ,, Front, Perigueux, 104. „ Gabriel, 182. „ Gilles, 204. „ Honorat, Castle of, 323. „ „ Island of, 319. „ Mark's, Venice, 98. Ste Marguerite (Lerins), 343. St Martin de Londres, 229. „ „ les Vences, 418. „ Maximin, 282. „ Paul-Trois-Chateaux, 134. „ „ -du-Var, 392. „ Peyre, 306. „ Pierre de Reddes, 229. „ Raphael, 299. „ Remy, 48. „ Ruf, 164. „ Sauveur (Lerins), 323. Ste Trinite (Lerins), 320. St Tropez, 3CK). „ Veran, 164. San Miniato, 100. „ Remo, 450. Saracens, Invasion of, 15, Saut du Loup, 369. Savona, 461. Sculpture in Provence, 107. INDEX. 467 Single-nave Churches, 105. Syrian Churches, 98, 210. Taggia, 452. Tarascon, 168. Thoronet, 274. Toulon, 79. Tourettes, 369. Tournon, 363. Vaison, 165. Valence, 127. Vallauris, 344. Vaulting, Introduction of, loo. „ in Provence, 102. Vaulting in Aquitaine, 103. Venasque, 167. Vence, 84, 408. Ventimiglia, 442. Verazze, 461. Verezze, 458. Vernegues, 78. Vienne, 34, 124. Villeneuve, Town of, 154. ,, Church, 163. Villeneuve-Loubet, 378. Villes Mortes, 220. Visigoths, 10. Viviers, 134. FROM ARLES MUSEUM. THE CASTELLATED AND DOMESTIC ARCHITECTURE OF SCOTLAND FROM THE TWELFTH TO THE EIGHTEENTH CENTURY BY DAVID MACGIBBON and THOMAS ROSS ARCHITECTS With about looo Illustratiojis of Groicnd Pla?is, Sections, Views, Eleva- tions, and Details. In 2 Volumes. Royal Zvo. Four Guineas 7iett. " One of the most important and complete books on Scottish architecture that has ever been compiled. Its value to the architect, the archaeologist, and the student of styles is at once apparent. It consists almost exclusively of what may be called illustrated architectural facts, well digested and arranged, and constitut- ing a monument of patient research, capable draughtsmanship, and of well sustained effort, which do the authors infinite credit." — Scotsman. "Their descriptions are good, and their arguments always worth attention and generally convincing. . . . The plans . . . are clear and good, and by themselves make the book a most valuable addition to the library of any man who wishes to study and understand the defensive architecture of the Middle Ages. The book has another value in that it preserves a record of so many buildings in the state they are now. Many are neglected and daily falling more and more into ruin." — Athencciim. " No one acquainted with the history of Great Britain can take up this neatly- bound volume . . . without being at once struck by its careful completeness and extreme archaeological interest, while all students of architectural style will welcome the work specially for its technical thoroughness." — Btiilding News. " The authors merit the thanks of all architectural readers, professional and amateur, for the production of a very well studied and illustrated hand-book of a most interesting class of ancient buildings. " — The Builder. "Careful observation and accurate description appear to specially characterise this work." — British Architect. "In its complete form the merits of the work are more apparent, and we have no hesitation in saying that we consider it to be far superior to any of the preceding books on the subject.'' — The Architect. "A learned, painstaking, and highly important work.'* — Scottish Revieiv. "The best authority upon the architecture of Scottish Castles yet issued." — Dundee Advertiser. "To the intelligent readers of all classes, we can cordially recommend it as a very interesting and suggestive book." — Daily Free Press, Aberdeen. " Messrs MacGibbon and Ross now show in sketches of ground plans and elevations such a series of domestic structures as not only indicates the gradual progress of Scottish architecture from times comparatively rude, but permits the development to be traced in such a way as determines the stages of progress or ' Periods ' into which its history may be naturally divided." — Glasgo^v Hei-ald. " Highly interesting and picturesque work." — Edinburgh Review. EDINBURGH: DAVID DOUGLAS, 15 Castle Street. I 14 DAY USE RETURN TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last date stamped below, or on the date to which renewed. Renewed books are subjert to immediate recall. FEB 2 3 1968 64 RCC'P LD rep 2 3 'GO -10 AM r > 1979 REG. OIK. m 3 1 w MAR V 1980 KtU. CIR. MAK II 198(1 RFfiFI\/pp OCT j 1991 — CIHCULAIIONOfcfT. LD 2lA-45m-9.'67 (H5067sl0)476B General Library University of California Berkeley U.C. BERKELEY LIBRARIES mill III CD3flS373Et