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Title:TheArchitectureofProvenceandtheRiviera

Author:DavidMacGibbon

ReleaseDate:November14,2018[EBook#58284]

Language:English

***STARTOFTHISPROJECTGUTENBERGEBOOKTHEARCHITECTUREOFPROVENCE***

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Contents.Index:A,B,C,D,E,F,G,H,I,L,M,N,O,P,R,S,T,V.

ListofIllustrations(etexttranscriber'snote)

THEARCHITECTURE

OF

PROVENCEANDTHERIVIERA

PrintedbyGeorgeWaterston&SonsFOR

DAVIDDOUGLAS,EDINBURGH.LONDON · HAMILTON,ADAMS,ANDCO.CAMBRIDGE · MACMILLANANDBOWES.GLASGOW · JAMESMACLEHOSEANDSONS.

THEARCHITECTUREOF

PROVENCE

AND

THERIVIERABY

DAVIDMACGIBBON

AUTHOROF“THECASTELLATEDANDDOMESTICARCHITECTUREOFSCOTLAND.”

[Imageunavailable.]

EDINBURGH:DAVIDDOUGLAS1888.

[Allrightsreserved.]

PREFACE.

HAVINGbeencalledon,afewyearsago,tomakefrequentjourneysbetweenthis country and the Riviera, the author was greatly impressed with theextraordinaryvarietyandabundanceof theancientarchitecturalmonumentsofProvence.ThiscountrywasfoundtocontainnotonlyspecialstylesofMediævalArt peculiar to itself, but likewise an epitome of all the styles which haveprevailed in Southern Europe from the time of the Romans. It proved to beespeciallyprolific inexamplesofRomanArtfromtheageofAugustus till thefalloftheEmpire.ItalsocomprisesavaluableseriesofbuildingsillustrativeofthetransitionfromClassictoMediævaltimes.ThesearesucceededbyarichandfloriddevelopmentofRomanesque,accompaniedbyaplainstylewhichexistedparallel with it—both being peculiar to this locality. The remains of theCastellatedArchitecturearealsoespeciallygrandandwellpreserved;whilethepicturesque towns, monasteries, and other structures of the Riviera have apeculiarcharmandattractionoftheirown.

These Architectural treasures being comparatively unknown, it is believedthat a popular work bringing their leading features into notice will be notunacceptable toall loversofarchitectureaswellas to thenumerousvisitors tothesouthofFrance,andmaybeofuseindirectingattentiontoamostinterestingdepartmentwhichhashithertobeentoagreatextentoverlooked.

AproperhistoryofProvencehasunfortunatelynotyetbeenwritten.Ashortaccount, derived from various sources, of the state of the country from earlytimesandduringtheMiddleAgesisthereforeprefixedtothedescriptionoftheMonuments, so as to explain the historical conditions under which theArchitectureofProvencewasdeveloped,andtoshowitsconnectionwiththatofothercountriesandtimes.

The author has to acknowledge the valuable aid he has received from theexcellent notes on theArchitecture of the country by ProsperMérimée in his“VoyagedanslesMididelaFrance”(1835),—aworkwhich,evenat theearlydateofitspublication,anticipatedmanyoftheresultsmorerecentlyarrivedat.

Thecomprehensiveandinvaluable“DictionnaireRaisonné”ofViollet-le-Duchasalsobeenofmuchservice,andisfrequentlyreferredto.

Mostof the illustrationsare fromdrawingsandmeasurementsmadeby theauthor on the spot, and these generally bear his initials. But where thought

advisable for fuller illustration some of the drawings are taken fromphotographs;fromHenryRévoil’sbeautifulworkonthe“ArchitectureRomaneduMididelaFrance”(1873);andafewfromothersourcesasmentionedinthetext.

Special thanks are due to Professor Baldwin Brown for his kindness inrevisingtheproofsheets,andforthevaluablesuggestionshehasmade.

EDINBURGH,October1888.

ERRATA.

Page vi. line 11 from bottom, for “les” read “le”” 5, ” 10 ” top, ” “twothousand” ” “threethousand.”” 27, ” 1 ” ” no(” 36, ” 7 ” bottom, for “Carée” ” “Carrée.”” 93, ” 12 ” ” ” “Dioeletian” ” “Diocletian.”” 126, ” 4 ” ” ” “length” ” “width.”” 128, Title, Fig. 41, ” “FETES” ” “TETES.”” 147, line 7 from bottom, ” “apartmnts” ” “apartments.”” 194, Title of Fig. 97, ” “STCÉSAIRE” ” “STTROPHIME.”” 211, ” 20 from top, ” “dypticks” ” “dyptichs.”” 212, ” 14 ” bottom, ” “Jocobi” ” “Jacobi.”” 221, ” 6 ” top, ” “bonnded” ” “bounded.”” 462, ” 12 ” bottom, ” “shews” ” “shew.”

TABLEOFCONTENTS.

I.INTRODUCTORY.TheArchitectureofSouthofFrancecomparatively littleknown,1;contrastofNorth and South in climate, buildings, &c., 3; Provence a very ancient andindependentState,4;andsceneofimportanthistoricalevents,5.II.EARLYHISTORYOFPROVENCE,ANDITSCONDITIONDURINGTHEMIDDLE

AGES.ColonisedbyPhœnicians,1100B.C.—Greekculture introduced,7;occupiedbytheRomansabout100B.C.,8;became their favouriteprovince,9;overrunbyVisigothsinfourthcentury,10;RomanandGreekcolonieswereincities,andtherevivedgovernmentalsomunicipal,11;theChurchthechiefinstrumentoforganised government, 12; monasteries established, 13; anarchic conditionfromfifthtoeighthcentury,14;invasionofSaracens,15;attempttoestablisha“Holy Roman Empire,” 16; revival under Charlemagne, 18; growth of themonasteries,Cluny,20;Citeaux,22;theCrusades,23;effectsoftheaboveonArchitecture,24.

III.POLITICALHISTORYOFPROVENCE.Fall of the Empire in fifth century. Kings of Provence from sixth to tenthcentury, 26; Kingdom of Arles, 27; Raymond Béranger becomes Count ofProvence,11,12;independenceofcitiesattacked,27;Albigensiancrusade,28;in1245CharlesofAnjoubecomesCountofProvence,29;QueenJoan;1480,KingRenédiesandProvencebecomespartofFrance,30.

IV.DESCRIPTIONOFCLASSICBUILDINGS.TheArchitectureofProvencenaturallydivided into aClassic andaMediævalperiod—which best considered separately, 32; the Roman period, 33; Paris,Autun,capriciouspreservationofClassicmonuments,34;Lyons,Vienne,35;TempleofAugustusandLivia,remainsofForum,37;thepyramid,38;Viennerestored,39;Orange,40; the theatre,42; triumphal arch, 45; other triumphalarches at Cavaillon, 47; St Remy, 48; mausoleum at St Remy, 50; Arles,history, 51; amphitheatre, 52; mode of protecting spectators in ditto, 54;obelisk,Placed’Hommes,TourdelaTrouille,56;Alyscamps,57;sculptureinmuseum,59;Nimes,history,64;amphitheatre,65;MaisonCarrée,68;statueofVenus, 71; Nymphæum, 72; TourMagne, 73; Roman gates, 74; Pont duGard,76; the“Camargue”and the“Crau,”77;StChamas,Romanbridgeat,

77; Vernégue, temple at, 78; paucity of classic remains at Marseilles andNarbonne,79;Pomponiana,80;LeLuc,80;Fréjus,history,80;gateofGaul,amphitheatre, theatre, aqueduct, 82;ViaAurelia, 83; aqueduct ofClausonne,Antibes,Vence,84;Cemenelum,86;Turbia,87.

V.TRANSITIONPERIOD.Transition from Classic to Mediæval Architecture, 90; principles of Greco-Italian design, trabeate as opposed to the arch, 91; gradual introduction anddevelopment of the latter, 92; trabeate features dropped, 93; early ChristianarchitectureacontinuationofthatofRome,94;thebasilica,95;thebaptistery,96; San Vitale, 96; Byzantine edifices, the dome, 97; St Mark’s, Syrianchurches,98;earlychurchesintheWest—Romanesquevarieties,99;attemptstovault—SanMiniato,100;NotreDameduPré,LeMans;formofvaultinginProvence, 102; in Aquitaine, 103; St Front, Perigueux, 104; the dome andsingle nave characteristic of the South, 105; varieties of style, influence ofRoman remains, 105; powerful in Provence, 106; shewn in campaniles,baptisteries,andespeciallysculpture,107;supposedByzantineinfluence—thepointedarch,107;usedforsimplicityofconstruction,108;Burgundianstyle,imitative of nature, 109; the severe style of the Cistertians, 110; the secondstyleofProvençalart; thetwoperiodsdescribed,111;growthoflayelement,112;traditionalecclesiasticalformsabandonedandnewnaturalformsadopted,113;NorthernGothic developed, 114;Gothic applicable to all requirements,115;domesticandcastellatedArchitecture,116;originandgrowthofthelatter,117; peculiarities in the South, 118; recapitulation, 119; place of ProvençalArchitecture,120.

VI.DESCRIPTIONOFMEDIÆVALBUILDINGS.DescriptionofMediævalbuildings—Lyons,theAinay,121; thecathedral,122;Vienne, StAndré-le-Bas, and St Pierre, 124; cathedral, 126; ancient houses,127;Valence,Maison desFêtes, 127; castle ofCrussol,monasteryofCruas,128;churchofCruas,132;Montélimar,Viviers—commencementofProvençalexamples, St Paul-trois-châteaux, 134; St Restitut, Pont St Esprit, 136;Courthézon,Avignon,137;history,138;NotreDamedesDoms,139;imitationofRomanwork, 141; palace of the Popes, 143; history, 144; description of,145;wallsoftown,148;gates,151;PontStBénezet,151;towerofVilleneuve,154; castle of StAndré, 155; gatehouse, 156; curtains, 161; guard rooms onwalls,162;churchofVilleneuve,163;churchesofAvignon,theBeffroi,abbeyofStRuf,PrioryofStVeran,164;Vaison,165;Carpentras,Venasque,Pernes,LeThor,Cavaillon,167;LeclocherdeMolléges,168;Tarascon,history,SteMarthe, 168; castle, 170; houses, gateway, 172; Beaucaire castle, 173;

triangular keep, 176; oratory, 178;LesBaux,179; the town—the bas-reliefs,180; account of the family, 181; St Gabriel, 182; Arles, St Trophime, 183;includes examples of all periods of Provençal Architecture—the Cistertiannave,184;thewestportal,187;thecloisters,188;theAlyscamps,StHonorat,191; prosperity of Arles after union to France—Renaissance palaces, 192;Mont-Majour,Hermitage,194;church,196;cloister,199;chapelofSteCroix,199;thekeep,203;StGilles,Abbeychurch,204; interruptedbyAlbigensiancrusade,205; portal, 206; sources of Provençal art, 210;LesSaintesMaries,212;Marseilles, StVictor, 213;Aix-en-Provence, St Sauveur, 217; cloisters,219; “LesVillesMortes duGolfe de Lyon,” 220;Montpellier, Maguelonne,222; Béziers, 222; St Nazaire, 224; Fountain, 227; house in town, 228;Puisalicon,StPierredeReddes,StMartindeLondres,229;Narbonne,history,230;cathedral,231;itsfortifications,232;Archbishop’spalace,233;thekeep,234; St Paul, the Lagunes, the Pyrenees, Perpignan, 235; the castellet,cathedral,236;citadel,&c.,Elne,239; cathedral, 240; theunfinishedchevet,thecampanile,241;thecloisters,244;Carcassonne,244;history,245; towersof theVisigoths, 246; the porteNarbonnaise—the barbican and its defences,252; thewallsand towers,254;StNazaire,257;AiguesMortes,260; Canal,261;wallsandgateways,264;PortedeNimes,266;TourdeConstance,268;TourCarbonnière,269.

EastwardsfromMarseilles—Toulon,270;Hyères,271;castle,272;StPaul,273;examples of Cistertian style, 274; Cannet, 275; abbey of Thoronet, 276; thecloisters,278; remarkabledetails,280;chapterhouse,281;StMaximin,282;Fréjus, cathedral and Bishop’s palace, 281; fortified, 289; baptistery, 291;“Pantheon”atRiez,293;thecloisters,Fréjus,296;Brasslamp,298;doorwaysintown,299;districtofLesMaures,howtovisit,300;StTropez,fishmarket,301; Grimaud, castle, 302; La Garde Freinet, St Raphaël, the Esterellemountains,304;Napoule,305;StPeyré,MontStCassien,307;Cannes,308;history,TourduChevalier,310;StAnne,314;NotreDamed’Espérance,317;Iles de Lérins, 319; StHonorat, cloisters, 320; Ste Trinité, 320; St Sauveur,323; castle of St Honorat, 324; style of lower cloister, 330; style of uppercloister,334; additions, 340; SteMarguérite, 343;Vallauris, 344;LeCannet,347; Mougins, Notre Dame des Vie, 348; Auribeau, 350; Grasse, 351;cathedral,353;keeptower,354;Renaissance,357;l’Oratoire,357;StCésaire,359; château de Tournon, 363; Montauroux and Callian, 364; Le Bar, 366;Gourdon, 367; Tourettes, 369;Antibes, 371; two keep towers, 373; Cagnes,castle,376;castleofVilleneuve-Loubet,378;history,381;towerofLaTrinité,382;Biot,387;StPaul-du-Var,392; approach to, 393;Architecture of shops

andhouses,395;staircase,397;gateway,398;church,400; remarkablekeep-tower, 401; Vence, 407; cathedral, 409; keep towers, 411; column, 413;commanderyofStMartin,414;destructionoftheTemplars,417;Nice,history,418;CimièsCross, 421; castle of StAndré, 422;Villefranche, Eza, 422; LaTurbie, 428; gateways, 430;Monaco, 432; history, 433; Ducal Palace, 434;Roquebrune,437;Mentone,438;Gorbio,SteAgnes,Castellar,441;boundaryof Provençal Architecture, 441; Ventimiglia, 445; Dolce Aqua, 445; Pigna,448;SanRemo,449;Taggia,450;Bussana,Oneglia,&c.,451;Albenga,452;Genoa,455.

LISTOFILLUSTRATIONS.

DetailsfromCathedral,Genoa, Title-page

MapofProvenceandRiviera, Tofacepage1

DetailsfromCathedral,Arles—Headpiece, 1DetailsfromArlesMuseum—Headpiece 7HeadinArlesMuseum—Tailpiece, 24DetailsfromCathedral,Genoa—Headpiece, 25” ofTombofCornelia,Arles—Tailpiece, 31” fromArlesMuseum—Headpiece, 32

VIENNE,TempleofAugustusandLivia, 36” RomanForum, 37” ThePyramid, 38” Restored, 39

ORANGE,RomanTheatre—Exterior, 41” ” ” Interior, 43” TriumphalArch, 46

STREMY,TriumphalArchandMausoleum, 49ARLES,Amphitheatre—Exterior, 52” ” Interior, 53” RomanTheatre, 55” Placed’Hommes, 57” TheAlyscamps, 58” FromtheMuseum, 59” TombofCornelia, 60” FromtheMuseum, 61” ” ” 62” ” ” 63

NIMES,Amphitheatre—Exterior, 64” ” Interior, 65” ” Corridor, 67” MaisonCarrée, 69

NIMES,StatueofVenus, 71

” Nymphæum, 72” LaTourmagne, 74” LePontduGard, 75

FRÉJUS,Amphitheatre, 81FRÉJUS,Aqueduct, 83CLAUSONNE,Aqueduct, 84CIMIES,(LookingN.E.) 85” (LookingS.W.), 86

LATURBIE,MonumenttoAugustus, 87FromArlesMuseum—Tailpiece, 89” —Headpiece, 90

SANMINIATO, 101TOULOUSECATHEDRAL, 106FromPiazza,SanMatteo,Genoa—Headpiece, 121LYONS,TheAinay, 122” ArcadesinCathedral, 123

VIENNE,StAndré-le-Bas, 124” StPierre, 125” StMaurice, 126” Housein, 127

VALENCE,Maison-des-Têtes, 128CRUSSOL,Castle, 129CRUAS,Abbey(fromS.W.), 130” MonasteryChurch, 131” Church, 133

STPAUL-TROIS-CHÂTEAUX,PartofExterior(fromRévoil), 135AVIGNON,ChurchofNotreDamedesDoms,andPalaceofthePopes,

140

” MonumentofPopeJohnXXII., 142” PlanofthePalaceofthePopes(fromViollet-le-Duc’s

Dictionnaire), 143

” PortionofCityWall(Westside), 149” PontStBénezetandChapelofStNicholas, 152

VILLENEUVE,Tower, 154STANDRÉ,OratoryinCastle, 155” Castle,Villeneuve-lez-Avignon.PlanofEntranceGateway, 156” Castleof,Villeneuve-lez-Avignon.ExteriorofGateway, 157” Castle,InteriorofGateway, 158

STANDRÉ,Castle,FireplaceinGatehouse, 159” ” WallsofEnceinte, 160” Guard-roomonwall, 161” RemainsofaGuard-roomonwall, 162

VILLENEUVE-LEZ-AVIGNON,Church, 163LeClocherdeMolléges(fromViollet-le-Duc’sDictionnaire), 168TARASCON,SteMarthe, 169” Castle, 171

TARASCON,House, 172” Gate, 173

BEAUCAIRE,PlanoftheCastle, 174” Castle(fromS.-E.), 175” ” (fromN.-E.), 175” PlansoftheKeep, 176” Castle(InteriorofCourtyard), 177

LESBAUX,Fortress, 179STGABRIEL,Church,WestFront.(FromRévoil), 182ARLES,StTrophime, 185” WestPortalofStTrophime, 186” Cloisters,StTrophime,(EasternArcade), 189” “Clocher”oftheChurchofStHonorat,(FromRévoil), 191” RenaissanceHouse, 193

MONT-MAJOUR,PlanofHermitage, 194” Hermitage—ChapelofStPeter, 195

” TheChurchandKeep, 197” Cloisters, 198” ChapelledeSainteCroix, 200” MortuaryChapel, 201” TheKeep,Hermitage,etc., 202” PlansandSectionofKeep, 203

STGILLES,Portal, 207” SouthDoorway,(Enlarged), 208

LESSAINTESMARIES,Church.(FromRévoil.) 213MARSEILLES,StVictor—Exterior, 214” ” Interior, 215” MonumentinStVictor’s, 216

AIX-EN-PROVENCE,StSauveur,Doorway, 217” ” ” Interior, 218” Cloisters,StSauveur, 219

BÉZIERS,FromtheOrbe, 223BÉZIERS,Tower,SouthsideofStNazaire, 224” Apse,StNazaire, 225” CathedralofStNazaire, 226” FountaininCloisters, 227” House, 228” StPierredeReddes.(FromRévoil.) 229

NARBONNE,CathedralofStJust, 231PERPIGNAN,TheCastellet, 237PERPIGNAN,CathedralofStJean, 238ELNE,MarbleGateway, 241” Cathedral, 242” Cloisters, 244

CARCASSONNE,generalview, 245” TowersandCastle, 247” OuterandInnerWalls,NorthSide, 249

” PorteNarbonnaise, 251” WesternWallsandBarbican, 253” InteriorofWalls, 256” StNazaire, 258

AIGUESMORTES,“TourdeConstance,” 261” WallsonEastandNorthSides, 263” InteriorofSouthSideofWalls, 265” PortedeNimes, 267

HYÈRES,Castle, 272” StPaul, 273

CANNET, 275THORONET,ChurchfromSouth-West, 276” ” Interior, 277” Cloister, 279” CapsinCloister, 280” FountaininGrounds, 283

STMAXIMIN,Church, 284FRÉJUS,PlanofCathedral, 285” Cathedral,Interior, 286” WesternEnclosureandCathedralBuildings, 287” Cathedral,EasternTowerandBishop’sPalace, 288” ” SouthorEntranceFront, 290” ” Baptistery, 292

RIEZ,The“Pantheon,”Plan(FromTexierandPullan), 293” ” Section ” “ 294

FRÉJUS,Cathedral,Cloisters, 295” ” ” Interior, 297” Cathedral,BrassLamp(FromadrawingbyMrR.Burns

Begg), 298

” Doorways, 299STTROPEZ,generalview, 300” EntrancetoFishmarket, 301

GRIMAUD,FromthePlain, 302

GRIMAUD,Castle, 303

NAPOULE,Castle, 305” ” 306

MONTSTCASSIEN, 307CANNES,Bayof,andtheEsterelleMountains, 309” TheOldTown, 311” TourduChevalier, 312” ” ” PlanandSection, 313” ChurchofStAnne, 315” ” ” Plan, 316” ” ” Doorway, 316” MontduChevalier, 317” NotreDamed’Espérence, 318

STHONORAT,CloistersofMonastery,Interior, 320” SteTrinité,Interior, 321” ” Plan, 322” ” WestEnd, 323” ” EastEnd, 324” ” Doorway, 325” StSauveur,Lérins(fromRévoil), 325” Castle,PlanofGroundFloor, 326” ” (fromN.-W.), 327” ” LowerCloister, 329” ” CapitalsandBases, 330” ” ” ” Base, 331” ” LowerCloister, 333” ” (fromN.-E.), 335” ” (sectionfromN.toS.), 336” ” PlanofFirstFloor, 337” ” UpperCloister, 338” ” UpperCloister,Details, 339

” ” Refectory, 341STEMARGUÉRITE,Castle, 343

VALLAURIS,Abbot’sSummerPalace, 345” ChapelofAbbot’sSummerPalace, 345” ” ” ” “ 346

LECANNET,“MaisonduBrigand,” 347” NotreDamedesAnges, 348

MOUGINS,NotreDamedeVie, 349” GatetoTown, 350

AURIBEAU, 351GRASSE,ViewofTown, 352” Cathedral,Planof, 352” ” WestEnd, 353” ” (CampanileatN.E.angle), 354” ” Interior, 355” KeepTower, 356” Staircase, 357” ChurchoftheOratoire, 358” ” ” CapofMainPier, 359

STCÉSAIRE,AncientGateway, 359” CarvingoverDoorways, 360” Church,Exterior, 361” ” Interior, 362” PlanofChurch, 363

CHATEAUDETOURNON, 363CALLIAN,TownandCastle, 364LEBAR,SouthDoorwayofChurch, 365GOURDON,Viewof, 367” Houses, 368” Château, 369

TOURETTES,Church, 370

” Font, 371ANTIBES(fromWest), 372” TowerorKeepattachedtoCathedral, 374” ” ” oftheCastle, 375

CAGNES,Castle(fromtheSouth), 377” ” (fromtheN.-E.), 378

VILLENEUVE-LOUBET,Castle(fromtheN.-W.), 379” ” ” (fromtheS.-E.), 380

LATRINITÉ,Towerof(Plan), 382” ” (fromtheChapel), 383

LATRINITÉ,Towerof(fromtheS.-W.) 386BIOT,Viewof, 387” Church—Exterior, 389” ” Planof, 390” ” Interior, 391

STPAUL-DU-VAR,(fromtheEast), 393” (“West), 394” Details, 395

STPAUL-DU-VAR,OldShopsandHouses, 396” SideStreet, 397” MainStreet, 398” InteriorofNorthGateway, 399” MainStreet, 400” Chimney-pieceintheMaisonSuraire, 401” StaircaseintheMaisonSuraire, 402” NorthGateway, 403” Church,WestEndof, 404” ” Interior, 405” ” Planof, 406” TowerorKeep, 407

VENCE,Cathedral—Interior, 409

” ” Plan, 410” ” EastEnd, 412” ” Font, 413” BehindCathedral, 414

” AncientHouse, 415” Doorway, 416” TowerorKeepoftheConsul, 417

STMARTIN-LES-VENCE,Commandery, 418CIMIES,Cross, 420NICE,CastleofStAndré, 421

” StAndré, 423EZA,(fromtheRailwayStation), 424” (fromtheEast), 425” ApproachtotheTownGate, 426” EntranceGatewaytoTown, 427” InteriorofEntranceGateway, 428” House, 429” Doorway, 430

LATURBIE,OutersouthGateway, 430LATURBIE,InnerSouthGateway, 431” EasternGateway, 432” Houses, 433

MONACO,DucalPalace, 435” ” ” (N.W.Bastion), 436

ROQUEBRUNE,EntrancetoTown, 437” Font, 438” Castle, 439

MENTONE,(fromtheHarbour), 440VENTIMIGLIA,WestPortalofCathedral, 442” InteriorofCathedral, 443

DOLCEAQUA,Street, 444” CastleoftheDorias, 445” ” ” (fromtheS.W.), 446

SANREMO,Street, 447” Houses, 448” SanSiro(NorthDoorway), 449

TAGGIA,GatewayandStreet, 450” Doorway, 451” “ 452” Cloisters,StChristofero, 453

ALASSIO,Church, 454

ALBENGA,TowersandWestEndofChurch, 455” (fromRailwayStation), 456” ToweratNorth-EastofChurch, 457

GENOA,Cloisters,SanMatteo, 459” Doorway,PiazzaSanMatteo, 460” Church,Cloisters,etc., 461” Campanile, 462

Knocker,ElneCathedral—Tailpiece, 463LampfromOldChurch,Monaco, 464DetailsfromTombofCornelia,ArlesMuseum, 467

SKETCHMAPTOACCOMPANY“THEARCHITECTUREOFPROVENCEANDTHERIVIERA.”

[Imageunavailable.]

[Imageunavailable.]I.

THE beautiful buildings of the North of France are as well known to allEnglish loversofarchitectureasmanyof theedificesofourowncountry,andeveryoneismoreorlessacquaintedwiththem.

The various styles which have prevailed there—whether Gothic orRenaissance, Ecclesiastical, Castellated or Domestic—have all been fullyillustratedandrenderedfamiliarbynumerousadmirableworks,bothFrenchandEnglish.Besides, being sonearourown shores, and lyingas it does, betweenEngland and Paris, this part of the country is easily accessible, and is muchvisitedbyEnglishtouristsandstudentsofarchitecture.

ThevariousstylesofNorthernFrance,too,havemanypointsofresemblancetothoseonthissideofthechannel;andtherethusexistsafeelingofsympathybetween the two which renders the study of both, and a comparison of theirsimilaritiesanddifferences,particularlyinterestingtotheEnglishobserver.

All these circumstances have contributed to make the great cathedrals ofAmiens,Beauvais,Rouen,Rheims, andChartres familiar and attractive;whilethe picturesque towns of Northern France, with their quaint half-timberedhouses, and theno lesspicturesquecostumesof the inhabitants, are constantlybroughtbeforeusinthecharmingrepresentationsofourartists.

TheancientcastlesofNormandyandNorthernFrance,suchastheChâteauxd’Arques,Gaillard,andFalaise,areascloselyconnectedwithEnglishasFrenchhistory;andas thedwellingsofourPlantaganetKings,and thesceneofmanyimportanteventsintheirlives,theyclaimevenmoreattentionatourhandsthantheyhaveyetreceived.

ButtheSouthofFranceisacomparativelyunknowncountry.Itismuchlessfrequented by our countrymen than the North, and its buildings and sceneryrarelyformthesubjectofourartists’paintings.ItisindeedtruethataverylargenumberofEnglishpeoplewinterintheRivieraoratPau;butthesevisitorsarealldesirous toperform theirmigrationat a single flight, and tomove, asbyamagicspell,unconsciousofthehorrorsofthemiddlepassage,fromthegloomofthedrearywinterofEnglandtothebrightsunshineandlovelylandscapeofthe

South. That this should be the case is perhaps scarcely to bewondered at, somanyofthevisitorsbeingthemselvesdelicateorincompanywithinvalids.Butfortheirownsakesitismuchtoberegretted,astheythuspassthroughagreatdeal of fine and novel scenery without observing it, and catch but a passingglimpseofsomeofthemostancientandinterestingcities,churches,andcastlesinEurope. Itmust,however,beconfessed that the interveningdistrictbetweentheNorthandSouthisnotapleasantregioninmid-winter.BetweenLyonsandMarseillesthecoldisfrequentlyveryintense,andthewholevalleyoftheRhonesuffersfromthefierceandbitter“mistral”whichsweepsdownitfromtheregionof theCevennesMountainson thenorth-west.Toenjoya tour in thevalleyoftheRhoneonthewayouttotheRivieraonemuststartearlierthanusual,soastomaketheOctoberweatheravailable,ordelaytillthereturnjourneyinspring.

TheEnglishmantravellingsouthwardsforthefirsttimeischieflystruckwiththe entire change in the aspect of the scenery, the vegetation, the style of thebuildings, the colour of the soil and hills, the brilliant sunshine, and the clearblue sky, which everywhere meet the view in descending the Rhone. This isespecially the case in going south by the night train from Paris. Soon afterleavingLyonsdaylightcommences,whenthetravellerawakestofindhimselfinanewzone.Allthesurroundingsaretransformed:insteadofthesombresunandfoggyatmosphereoftheNorth,heenjoysthebrightlightandbreathestheclearairoftheSouth,andfindsaroundhim,insteadofbaretreesandfrozenherbage,vineyardsandgardensstillrichwiththelovelytintedfoliageofautumn.

The buildings in these gardens and fields particularly strike the eye of thearchitect.Theyare sounlikewhathehasbeenaccustomed to, and leftbehindonlyafewhoursago.Thehousesoftimber-framedwork,withtheirsteeproofscoveredwith slates or flat tiles, and the snug homesteads of England and theNorthofFrance,haveentirelyvanished;andintheirsteadonlysmallsquareoroblongerectionsaretobeseenscatteredhereandtherethroughthefields,withplastered and tinted walls, and covered with tiled roofs of the ribbed Italianpattern, all laid at flat slopes, andgenerally havingone sideof the roofmuchlongerthantheother.

At Avignon the change of aspect is even more complete. “On arriving atAvignon,” says Prosper Mérimée, “it appeared to me that I had left Francebehind. Landing from the steamboat I had not been prepared by a gradualtransition for thenoveltyof thespectaclewhichpresented itself; the language,the costumes, the aspect of the country, everything appears strange to onecomingfromthecentreofFrance.IbelievedmyselfinthemiddleofaSpanishtown. The crenellated walls, the towers furnished with machicolations, the

country covered with olives and plants of a tropical vegetation, recalledValencia,&c.”

Notlessgreatthanthedifferencesinclimateandintheaspectsofnature,arethoseoftheartsoftheNorthandSouth;andthesediversitiesinnatureandart,althoughnowallembracedwithinthecompassofonegreatandunitedcountry,are indications of the political differences which, in former times, existedbetweenthevariousportionsofit.ThegrowthofFranceasakingdomhasbeenslowandgradual.Nottorefertochangeswhichhaveoccurredinourowntimestomodifytheextentofhersurface,itshouldberememberedthatProvencewasnopart ofFrance till the fifteenth century. Itwas not till 1481, in the timeofLouisXI.,thatProvencepassedundertheruleoftheKingofFrance.

Duringtheearlierandmoreimportantepochsofthearchitecturalrevolutionsinthatprovince,itformedanindependentState,andwasinadvance,inartandliterature, of its northern neighbours. In considering the history of itsarchitecture,itisimportantthatthisshouldbekeptclearlyinview.Weshallsee,aswe glance rapidly over the history of the Southern provinces, that, inmostrespects,thedevelopmentofthecivilisationoftheSouthdiffersfromthatoftheNorthernkingdom,andthatthegrowthofthearchitecturenaturallyfollowstheprogress of the respective countries. The art of the South, although it reachedmaturity earlier than that of theNorth,was also the first todecay; and, as theNorthernFranksspreadtheirarmsovertheSouth,andbitbybitgotpossessionoftheland,sotheirnobleandvigorousstyleofarchitectureaccompaniedthem,and, to a great extent, superseded the older and more finished, but lessexpansive,stylesofthesouthernprovinces.

But the countrywe are dealingwith has a historywhich extends back forhundredsofyearsbeforethenamesofGaulorFrancewereheardof.Thisregionhas in all ages formeda centre for the receptionof the culture and arts of thevarious nations of theMediterranean, and from which these have again beenradiated to the remoter countries of theWest. Its reminiscences thus carry usback to thedawnofhistory, some three thousandyearsago,whenwefind thecoastinthehandsofthePhœniciannavigators,bywhosecommercialandnavalactivity itcouldnotfail tobegreatly influenced.TothePhœnicianssucceededtheGreeks,whocolonisedthecountry,andinfusedintoitthatspiritofGreciancultureandartofwhichitwaslongthehome.TheRomansnexttookpossessionoftheland,and,undertheirdominion,itbecameafavouriteprovince,andwaslavishly enriched with the productions of the magnificent architecture of theEmpire.

Amidstthehorrorsofthebarbarianirruptionswhichfollowedthefallofthe

Empire,thisfortunateprovincesucceededinmaintainingsomerelicsofRomancivilisation; andwhen the dawnbegan to appear after the terrible night of theDark Ages, it was amongst the first to show signs of life and revival. In theSouth, song and literature, encouraged by contactwith the Saracens of Spain,sprang up and flourished ere, in the North, the struggle for existence hadproducedasettledconditionintheland.HeretootheChristianChurchtookanearlyandfirmhold,andhasleftinterestingtracesofitssacrededificesofveryearly date. It was here also that the primitive monastic societies of theWestpreserved the learning and enlightenment whereby the nations weresubsequentlyrevivedandillumined.DuringtheMiddleAgesweshall likewisefindthatthisremarkableregionstillretaineditsdistinctiveattitudeasacentreofartisticandcommercialenergybetweentheEastandtheWest.Itoccupiedinthisrespect,duringthetwelfthandthirteenthcenturies,averyremarkableposition,and was at that time the scene of action of some of the chief political andreligiousmovementsintheWestofEurope.

Whileconnectedasafiefwiththe“HolyRomanEmpire,”itwasalsoincloseproximitytothegrowingpowerofFranceonthenorth,andtoSpainandItalyonthesouth.ForatimeindeeditwasunderthesuzeraintyofAragon,andwasthusbroughtintocontactwiththescienceandartsoftheMoorsinSpain.FromItalyagain it receivedan impulse from theenergyof thegrowingRepublicsof thatcountry;whileitalsofeltonlytooterriblyandeffectivelytheswayandpowerofthePope.At the same time itbecame thechiefentrepôtof thegrowing trafficfromtheEast,and thehighwaybywhich theartisticandotherproductsof theLevantweredispersedthroughFranceandtheNorthofEurope.

The importanceof this regionwasat thatperiod immense,but incourseoftime it gradually diminished, until at length the tide of influence becamereversed. The increasing power of France overshadowed the South, and thepolicyandartsoftheNorthgraduallyencroacheduponandfinallyabsorbedit.

Having to investigate the architecture of a region so rich in historic andartistic records, itmaybewell, before considering itsmonuments in detail, toglancealittlemorefullyatthehistoricconditionsunderwhichthevariousstyleswe shallmeetwithwere produced and developed.We shall thus be the betterabletounderstandandappreciatetheirplaceandsignificanceinconnectionwiththegrowthofthearchitecture.

[Imageunavailable.]II.

THEhistoryofthelittoraloftheMediterraneangoesbacktotheearliestdawnofmaritimeenterprise.

The coast was visited by the Phœnicians, those first and adventurousmerchantsandnavigatorsoftheLevant,whopushedtheircommerceevenasfarastheshoresofdistantBritain.CarthagewasoneoftheTyrianColonies,andsoalsowasCadiz,foundedabout1100B.C.

The Phœnicians established many cities and ports on the coast, such asIlliberris, Narbonne, andMarseilles, and carried on a considerable trade withthem.Someof thesehaveentirelyperished,while in theremainderonlyafewtraceshavebeenfoundoftheirPhœnicianorigin.

ThenextnavigatorswhoexploredtheRivieraweretheGreekcolonistsfromPhocæa, itself aGreciancolonyon thecoastofAsiaMinor, the inhabitantsofwhichwereforced to leave theircountryby the invasionof thePersiansunderCyrus.

Theseadventurers, after establishing themselves inCorsica, spread tootherparts of the coast. They settled about 600 B.C., by treaty with the natives, atMassilia orMarseilles. Owing to its fine rock-sheltered harbour, and from itsproximity to themouth of the Rhone, which then formed the highway to theextensiveandpopulouscountrylyingtothenorthwards, thiscolonysoongrewinto a flourishing seaport. In course of time theMassiliotes became rich, andacquiredextensivelandsaroundtheirtown.Theyalsospreadtheircanvasoverthe neighbouring seas, and established numerous colonies all along the coast,suchasNarbonne,Antibes,Nice,Monaco,&c.

The Phocæans brought with them from their native home, and introducedwherevertheywent,theirGreektongue,togetherwiththeirGreciancultureandloveofArt.

ThegovernmentoftheirtownswasfoundedonthepatternofthatofPhocæa,the people choosing a council of 600, a committee of whom formed theexecutive.

Theyhadalsoschoolsandcollegesfortheteachingofgrammarandletters,andtheencouragementofscienceandart.

Thelanguage,civilisation,andcultureof thewholeof theMassiliote townswerethusentirelyGreek,andgaveaGreciancharactertothefirstenlightenmentofSouthernGaul;acircumstancewhichleftadistincttraceintheartisticstyleofthe country, even under the Empire, just as in Sicily and southern Italy, thesettlementoftheGreekcolonistsinthosecountriesproducedasimilarresult.

The Massiliotes, being rivals of the Carthaginians as merchants andnavigators, naturally tookpartwith theRomans in theirPunicwars, furnishedthemwithships,andbecametheirallies.

In 154 B.C. the Ligurian tribes of South Gaul rose against the Massiliotecolonies,andthelatterintheirturnappliedtotheirRomanalliesforassistance.This formed the first introduction of the Roman Legions into Gaul. Otherdisputes with the native tribes arose, and in 123 B.C. C. Sextus CalvinuscompletedthesubjugationoftheSalyes,andfoundedthefirstRomansettlementintransalpineGaulatAquaeSextiae(nowAix),wherehehadfoundthewarmspringsattractive.

TheroadfromItalyintoGaulbythesea-coastwasthussecured,andawayopenedforfurtherconquest.

In118B.C.Q.FabiusMaximus andC.DomitiusAhenobarbusdefeated theAvernesandAllobroges, andbecamemastersof theSouthernCelts.ARomancolonywasthenestablishedatNarboMartius(Narbonne),tosecurethecountryandprotecttheroadintoSpain.

DuringthecivilwarMassiliaespousedthecauseofPompey,acoursewhichled to the town being besieged and taken by Caesar. Massilia was thenRomanizedand losthercolonies,butshestill retainedher lettersandarts,andherschoolscontinuedtoflourishundertheEmpire.

By theyear 50B.C. thewhole ofGaul had been subdued by JuliusCaesar.ColonieswereestablishedbyhimandhissuccessorsatArles,Orange,Vienne,and all the important Gallic towns, and the country was thus brought underRomanruleandinfluence.TracesofthegradualpassagefromGreektoRomanculturearetobefoundinthemonumentsoftheearliercenturiesoftheChristianera.ThisisobservableinthechangefromtheGreektotheLatinlanguage,theGreeknamesassumingaLatinformandbeinginscribedinRomancharacters.

UnderRomethetownsofGaulwereadornedwiththeprofusionofsplendidpublic buildings universal throughout the Empire, every town being providedwith its ForumandTemples, itsTheatre,Amphitheatre,Baths,Aqueducts andTriumphalArches. The style of architecture adoptedwas naturally that of theRomans, but inmany buildings and sculptures of the early centuries, a strong

Greek feelingmay be detected. This is also the case at Pompeii, in SouthernItaly,whichwaslikewiseoriginallyaGreekcolony.

Duringthesecondandthirdcenturies,SouthGaulgraduallybecameentirelyRomanized,andwas thefavouriteprovinceof theEmpire,with theseatof theprefect at Trèves. In the first brilliant period of the Empire, her extensiveconquests added to her strength, both in supplying men for her armies, andwealth for the embellishment of her cities. Hence the magnificent display ofpublic buildings then erected everywhere throughout theRomanworld.But italso tended to her enervation through luxury and superfluity. This graduallyencouragedthegrowingcorruptionoftheEmpire,andcausedcontinuallyfreshdemandson theprovinces to feed thecentralcravingandconsumption—whilewith luxury the strengthofRome relaxed, and shebecameunable in return toextendtotheprovincesthesupporttheyrequired.

This weakness went on, gradually increasing, till in the fifth century thecountryfellaneasypreytothehordesofBarbarianswhothenpouredinuponit.InthefourthcenturytheVisigothshadburstoverSouthernGaul,andsettledinthefertileplainsbetweenthePyreneesandtheGaronne.Thatpartofthecountrybeing well peopled and civilised, and the conquerors comparatively small innumber,theywereincourseoftime,toagreatextent,absorbedintothegeneralpopulation.ThecivilisationandpolityoftheRomansthuscontinuedtopreserveacomparativelyuninterruptedcourseinthesouth-westofGaul.

It is a peculiarity of all theGreek andRoman colonies, as comparedwiththose ofmodern times, that theywere established in cities. In the citieswerecentredallthelifeandmovementoftheancientworld.Thelandofcoursehadtobecultivated,butthatwasdonebybandsofslavesledoutfromthetowns.Theopen country was uninhabited, and except within a short distance from thetowns, lay waste and uncultivated. The form of government exercised in thevariousstates,wasfoundedonthatof thetowns.ThesupremepowerofRomeherself, with all her wide-spread command, was but an extended municipalauthority,andeverytownwasinthisrespectarepetitionofthecapitalonasmallscale.AstheconquestsofRomeextended,thisformofgovernmentwasfoundinadequate to the control of the numerous nations finally comprised underRomansway.

TheEmpire,withitsstrongergraspandcentralisedcontrol,withitsmultitudeof functionaries, all appointed by and in constant relationwith a central will,aloneenabledtheexistenceofRometobecontinuedforsomecenturies.

But when the Empire also finally decayed and fell, the old municipalprincipleagaincametothefront.Asthecolonieshadbeenfoundedincities,so

when the Imperial system gave way, the city again asserted itself; and inSouthern Gaul, where the barbarians had been civilised, municipal authorityprevailed, and each town became an independent little State—the naturaltendency of these municipalities being to detach themselves, and to watchjealouslytheproceedingsoftheirneighbours.

This municipal principle is a leading characteristic of theMiddle Ages inItaly and Southern Gaul, and distinguishes these countries from the Northernprovinces. Traces of it are still very apparent in Italy and Provence, andcontributegreatlytothepicturesquecharacteroftheseprovinces.Thereevenyetthe soil is to a great extent cultivated by peasants, who dwell together incrumblingold cities perchedon the topsof hills, and surroundedwith ancientwalls.Dailythemen,women,andmulesdescendtotheirlabourinthefields,tillthe evening,when theymay bemet toiling up the steep and rocky paths to awell-earnedrestintheirancestraltown.

WhileintheSouthernprovincestheEmpirewasthusdyingfromexhaustion,and the little isolated municipal states of the towns remained the onlyrepresentatives of civil government left in the land, in Northern Gaul theinvasions of the barbarians were much more frequent and numerous, so thatalmosteverytraceofRomancivilizationwasobliterated.Butinthemidstofallthis decay and destruction of general government a new organising andcentralising power was arising, in the form of the Christian Church. AfterpassingthroughthefierytrialsofthefirstthreecenturiesChristianityhadbeenadopted byConstantine inA.D. 313; and by the end of the fourth century thechurch had become an extensive and united institution, with awell organisedhierarchy of clergy, revenues of its own, and provincial, national, and generalcouncils.Thevigouroftheadministrationofthechurchsystemwasconspicuousinthegenerallaxity,andthecontrolofaffairsnaturallyfellintothehandsoftheecclesiastical authorities—the priests and bishops. Their jurisdiction wasofficially recognised, and under the codes of Theodosius and Justinian thecontrol ofmunicipal affairswas remitted to the clergy andbishops,whowerethus for a time in their respectivecities the representativesofgovernment andorder.

From the date of Constantine till the overthrow of society, Barbarism,Paganism,andChristianitywentonsidebyside.Whilecivilisationremainedtheschoolscontinued,Christiansofantique learningandPaganstudentsdiscussedtogether the same problems of philosophy, and the Fathers endeavoured toreconcilethemwithChristianity.ButassuccessivewavesofBarbariansrushedovertheland,drowningallbeforethem,almosteverysemblanceoflearningwas

sweptaway.Hencearoseadesireonthepartoflearnedmentoretirefromtheanarchyandinsecurityoftheconditionsaroundthemtosomesaferetreat,wheretheymightconverseonandstudyinpeacethosehighproblemswhichoccupiedtheirminds. These societies, in the natural course of events, were by degreesconverted intomonasteries.The celebrity of theEastern ascetics and devoteeshadpenetratedtoWesternEurope,butthesolitaryformofreligiousobservancedidnotatfirstmeetwithmuchencouragementthere.Societiesofrecluseswerethen,however,alsocommonintheEast,andtheEasternmonasterywastheformadoptedbytheWesternreclusesastheirmodel.Butmonasterieswerenotatthistimereligioussocieties,norwerethemonksinHolyorders.Theyweresimplyassociationsoflaymenwhowishedtoretirefromtheconfusionandturmoilintowhichallcivilgovernmentwas thrown,andfindpeace forstudyandquiet forcontemplation.SuchwasthefamousmonasteryoftheLérins,foundedearlyinthe fifthcenturybyStHonorat,onan islandoff thecoastnearCannes,whichsoonbecamethemostcelebratedschooloflearningandpietyinSouthernGaul,andwasasgreatablessingtothecountriesoftheMediterraneanasthesimilarcolonyofStColumbaatIonawastotheNorthofBritain.

Itiseasy,however,tofancyhow,inthemidstofthestrifeandunrestofthefifth and sixth centuries, such societies tended to become religious, and thusobtain protection from the Church. This they were finally compelled to do,although at the sacrifice of their liberty, by placing themselves under theauthority of the bishops, where alone they could find rest and safety. For theBarbarians,manyofwhomwerealreadyChristians,stoodinaweoftheChurch,and the Church strove to secure her ascendancy by maintaining theindependenceofthespiritualpower,andtheincapacityofthetemporalpowersto interferewith it; a doctrinewhich afterwards led to the terrible struggle forsupremacy between the temporal and spiritual powers, represented on the onehandbytheEmperor,andontheotherbythePope,astrugglewhichlastedsolong,andinvolvedsomanycities in thehorrorsof thefactionsof theGuelphsandGhibellines.

During the fearful reign of anarchy and destructionwhich prevailed in thesixth and seventh centuries, when all security for life and property haddisappeared,andthearmedhandoftheBarbarianboredownallruleandorderbefore it, the authority of the Bishops likewise gave way. Their Sees wereinvadedbyGothsandFranks,whoassumedtheirtitlesanddrewtheirrevenues.The fate of themonasteries was similar. The invaders seized the seats of theabbots, and the recluses were dispersed. Everywhere nothing but decay anddisintegrationprevailed.Nowonderthen,thatmonumentsofthisperiodarerare;

the marvel is that any human structures should have survived the shock ofuniversal ruin and destruction. Only a few of the more massive Romanmonuments,builtasiftolastforever,wereabletowithstandthetornado.ThesmallandmodestChristianedificeshavebeenalmostentirelysweptaway;butfortunatelyafewrarevestigeshavebeenpreservedwithinourdistrict,sufficienttoindicatethenatureoftheearlyChristianArchitectureundertheEmpire.

BytheeighthcenturytheBarbarianinvadersofGaulhadbecomesomewhatsettled in their new possessions, and had abandoned their original wanderingmode of life. A certain nominal supremacy had always been accorded to theMerovingianKings of theFranks, but the royal power, togetherwith the title,hadnowpassed into the stronger andmore activehandsof theCarlovingians,underwhomitgrewintoadistinctroyalauthority.

AtthistimeanewdangerfromanunexpectedquarterthreatenedtheslowlyrevivingprospectsoftheWest,andseemsforthemomenttohavehadtheeffectofunitingalltheotherwisediscordantelementsforthepurposeofresistancetothecommonfoe.Thiswas the invasionof theSaracensfromtheSouth.Thesewarlikezealotshad,afterover-runninganddestroyingtheRomancivilisationofNorthernAfrica,passedover intoSpain,and in719 theycrossed thePyreneesand invaded Southern Gaul. The old Roman cities were at that time in acomparativelysettledandprosperouscondition,whentheirtranquilitywasthusrudely interrupted.ThewholecountrywasdevastatedbytheSaraceninvaders,thetownswerebesieged,andinmostcasestakenanddestroyed.Weshallfind,asweproceed, that there is scarcelyonewhichdoesnot bear themarkof thedestructive hand of the Saracen. The overwhelming flood was, however, atlength stemmed by Charles Martel in 732 at Tours, when the Moors werecompletely defeated and driven back beyond the Pyrenees. This great victorygave repose for a time; and thinking men being weary of the long night ofAnarchy which had so long oppressed them, began to look round for someprinciplebywhichruleandordermightagainberestored.Anydurableandfixedsystemwouldbebetterthanthefluctuationanduncertaintysolongexperienced.After somany changes and somuchdiversity of government, theprinciple ofunitynaturallypresenteditselftomen’sminds.ThetyrannyoftheEmpirewasforgottenunderthemorecrushingoppressionsofallkindswhichhadsincehadto be submitted to;while its unity and strengthwere remembered, and peoplebegantolongforwhatnowappearedtobe“thegoodoldtimes”oftheEmpire.Itwasagreedthattheonlysatisfactoryformofgovernmentwasonewhich,liketheEmpire,shouldincludethewholeRomanworld.Thiswasconsideredtobeinaccordancewiththenatureofthings.AsthereisoneGod,sothereshouldbe

one Emperor to represent Him on earth as temporal ruler, and one Pope torepresent Him in matters spiritual as the head of the Church. And by aremarkable coincidence this idea came to be realised about A.D. 800, in theperson of Charlemagne, who extended his sway over nearly the whole ofWesternEurope.Whatrenderedpossibleatthattimetheapparentfulfilmentofthe dream of universal temporal and spiritual government, was the fact thatduringCharlemagne’s time these twopowers recognised that they couldbeofconsiderable service to one another, and were consequently on very friendlyterms.AsCharlemagnewasnowthesupremetemporalEmperor,sotheBishopofRomehadalsofullyestablishedhissupremacyintheChurch.Thishadbeenbroughtaboutbyvariousfortunatecircumstances—byhisoccupyingtheSeeofthegreatcitywhosenamewasstillapower,andwheretheBishopheldtheoldmunicipal authority and rule which had there been less disturbed by theinvasions of the Barbarians than elsewhere; by his importance as a suzerain,being a very extensive proprietor in Italy and Gaul; and by means of theinfluence of missionaries sent direct from Rome by the Pope to Britain andGermany, where the converts, being thus brought into immediate connectionwithRome,naturallygavetheirsupporttothePopeasheadoftheChurch.

ThePapalsanctionhadnowbecomeusual,andwasconsiderednecessarybyKings,totheirestablishmentonthethrone—especiallyinGermany,wherePapalsupremacysofullyreigned.ButwhiletheKingrequiredthePope’scountenance,thePopealsowasmostdesiroustoobtaintheaidofthetemporalpower,inordertooverthrowtheauthorityof theLombardsintheNorthofItaly,andtoobtainpossessionoftheExarchate.

Theirrequirementsthusfittedinwithoneanother,sothatatthecoronationofCharlemagneasEmperorbyPopeLeo,intheyear800,thesupremacyandunityof the two heads of affairs, in matters spiritual and temporal, seemed to becomplete, and the Holy Roman Empire to be established on a secure andpermanentbasis.

After the time of Charlemagne, however, great disruptions of his empireensued;but the ideaof a central power took root, andalthoughnotdevelopedaccordingtotheoriginalconception,itledintimetotheformationofthevariousnationswhichnowoccupythedifferentcountriesofWesternEurope.

The idea of an universal Holy Empire deserves special attention inconnectionwithArchitecture.Thesamecausesasledtothisconceptionwouldalsoprevailwithregardtotheart,andespeciallythestyleofArchitecturetobefollowed in the Empire. Thiswe shall find there is reason to believewas thecase,andthatuptothistime,andeventillthetenthcentury,thechurcheswere

apparentlyerectedinonetraditionalstyle,moreorlessfollowedinthewholeoftheWesternEmpire;whereasaftertheabovedatethearchitecturedivergesintovariousnationalvarietiesinthedifferentcountriesintowhichEuropewasthensub-divided.

UnderCharlemagneawonderfulrevivaltookplaceinLetters,Arts,Schools,andReligion—thefirstdawnafterthelongnightofanarchy.InItaly,Provence,and Aquitaine, where the towns had preserved something of the Romanmunicipalrule,andofthemanners,letters,andartsoftheEmpire,LiteratureandArtbeganslowlytoimproveandrevive.TherelicsofRomanculturewhichtheypossessed, togetherwith the constant intercourse of the dwellers in the townswithoneanother,andthecircumstancethathere,asinItaly,theNoblesaswellastheBurghersdweltwithinthewalls,allhelpedtobringaboutamorespeedyrevival in the South than in the North, where the Nobles dwelt apart in theirisolated castles. The reminiscences of Roman luxury, and the warm andvoluptuousclimate,whiletheytendedtoenervateandweaken,tendedalsotothegrowthofmusic, songand literature.Nationalpoetsarose, thepredecessorsofthe Troubadours, who became so prominent in the thirteenth and fourteenthcenturies.

This enlightenment, combined with the nascent chivalry of the eleventhcentury,whichintroducedtheworshipofWomanwithgallantryandtheCourtsofLove, formeda strikingcontrast to the rigidasceticismof theBurgundians,and competed stronglywith the expansion of theMonastic institutions. Itwasthesamespiritoffreedomandprogresswhichinthefollowingcenturyexcitedthe suspicion andhatredof the clergy, andgave rise to thedreadful scenesofmassacre amongst the Albigenses of Aquitaine, and the horrors of theInquisition.

Architecture naturally participated in the general advancement and showedsymptomsofnewlife.Fromtheninthcenturyevidencesexistofthisrevivalinthemonumentsstilltobefoundinthesecountries.

Charlemagne’srelationswiththeEastwereofafriendlycharacter,andheissaidtohavesenttoByzantiumformenoflearningandscience.Amongstthesewere no doubtArchitects and Sculptors,whowould thus bringwith them theelements of the Byzantine influence so distinctly manifested in the earlychurchesoftheRhineland.

The revival of the Holy Roman Empire under Charlemagne, although itpavedthewayfor thenewlifewhichwas tofollow,wasnot in itself thatnewlife.Up to this time the shadow of oldRomewas still upon the nations. TheGothswonderedat,andenviedthegreatcentralgovernmentoftheEmpire,and

strovetoimitateandreviveitspowerintheirownpersons;andforthispurposetheycausedtheRomanLawstobecollated,andtheyendeavouredtoadministerthem.Thistoo,aswehaveseen,wasCharlemagne’sidea.Butthenewlifeofthemodernworld did not lookback toRome as itsmodel. Itwas glad to borrowfromRomeallthelawsandcultureitcouldmakeavailable,butitscentralideaisnotthatofuniversalempire,butofseparateandindependentkingdoms.Hencethe long struggle in theNorth between theAustrasians,who strove to imposeupon the provinces their missi and officials from a central head, and theNeustrians,whoseGermanicinstinctsofindividualfreedomledthemtocontendfortheindependenceandlibertyofactionofthehereditaryrulersofthevariousprovinces—the principle which in the end prevailed and determined theconditionofmodernEuropeancountries.

ThedreamofanuniversalspiritualandtemporalEmpirewasonlyanattemptto raise theghostofoldRome,but thenewprinciplenowbeingdevelopedofindependentkingdomsmarksthebirthofthenewmodernlife.

TherevivaloftheeleventhcenturywasfurthergreatlyaidedbytheChurch,bothsecularandregular.Thebishopsandclergybeingthebesteducatedclassinthecommunity,werethefrequentadvisersofthoseinauthority,thusleadingtothe proper position of the Church being recognised and maintained. Themonasteriesalsounderwent the samespiritof revival and reformation.Of thisthehistoryof theAbbeysofClunyandCiteauxformaremarkable illustration.TheAbbey ofClunywas founded about 909A.D. byGuillaume le Pieux, ducd’Aquitaine,butOdon,thesecondAbbot,wastherealcreatorofthehouse.Heintroduced the idea of subordination and order amongstmonasteries, i.e., thatthere should be one head Abbey, with numerous others subordinate to, anddependent on it. This plan was also adopted by the House of Citeaux (theCistercians),foundedabout1100,andothers.Themonasterieswere,however,asyetallsubjecttotheruleofStBenedict—differentordershadnothithertobeenintroduced,onlydifferentcontrollingcentres.Suchcontrolandsuperintendencewere at this timeonly toomuchneeded, all discipline having been lost in themidstofthegeneraldisorder.Ashasalreadybeenobserved,manyoftheabbeyshadbecomemerecastlesinthehandsoflayabbots,andwerefilledwitharmedmen.Inothercasestheclericalabbotsactedaslayproprietors,andcommandedtroops,andmixedinthequarrelsofthenobles.

TheAbbéMaïeulgovernedClunyforthefortyyearspreceding994,duringwhichtimealargenumberofmonasteriesfromeverypartofEurope,extendingfromRavennaandPavia in Italy toTours inFrance,and including theancientmonasteryofStHonoratdeLérins inProvence,adoptedtheruleofClunyand

became subject to its authority.Under this reformed rulemonastic institutionsbegantoassumeagreatimportanceandtoexercisemuchinfluenceinWesternEurope. In themidst of disorder theywere the only representatives of a wellregulated government, and in fact produced the model from which modernsociety and order sprung.Cluny now began to feel its power, and to long forindependencefromtheauthorityoftheBishops,desiringtoholdfromtheSeeofRomealone.

Abbot Hugues and his friend Hildebrand (afterwards Gregory VII.) bothcontended strongly for the independence of the spiritual power—a struggleendingwiththefinalvictoryofthePopeovertheEmperorHenryIV.

Hugues,liketheothersuperiorsofthemonasticinstitutions,suchastheAbbéSuger and St Bernard, took part in all the great affairs of the time (eleventhcentury).TheAbbéofClunywasinvitedbyWilliamtheConquerortoregulatethe religious affairs of England. In Hugues’ time the dominion of Clunyextended over 314monasteries. TheAbbot-General thus became the equal ofany temporal prince, and owed his allegiance only to the Pope.He struck hisowncoinage,andheappointedabbotstoallhissubjectmonasteries,ofwhomheoccasionallycalledtogetheraCouncil.

In theeleventhcentury themonastery,besidesbeingamodelofcentralisedorganisation,wastheonlyplaceofreposeforintellectualminds.Themonksalsoresuscitatedthecultureofthesoil-establishingsmallconvents,orObédiences,inremote and neglected territories, where they cleared the ground, drained themarshes,enclosedfields,andplantedvineyards.Theyalsoconstructedroadsandestablishedbridgesandferries.Tradesofallkindswere likewisepractisedandencouraged in the monasteries, and the arts of the gold and silver smith, theglazierandglasspainter,theilluminator,andthecarverwerespeciallysubjectsof the monks’ attention. The houses of the inhabitants who carried on thesetradesclusteredroundthewallsandincreasedinnumberwiththeimportanceofthe monastery. The workmen consisted of tanners, weavers, curriers, anddrapers,whomanufactured the produce of the live stock of the abbey.Wherethereweremineson theproperty, thenecessary labourerswereemployed;andall the ordinary trades, such as those of bakers, butchers, shoemakers, smiths,&c.,wereneededandsupported.Schoolswereestablished,andtheeducationofallprovidedfor.Thesickwereattendedto,andalltravellerswerewelcomedandentertained.

It was natural that the monasteries, well regulated as they were, andencouragingallkindsof industries,shouldspeedilygrowrich.But itwouldbedifficult to imaginehowwealth couldhavebeenbettermade available for the

benefit of the community at that time, and under the conditions then existing,thanitwasinthehandsoftheBenedictines.

ThehistoryoftheCistercianmonasteriesissimilartothatoftheClunisiens.IntheendoftheeleventhcenturysomemonksofMolesmes,whosemonasteryhadfallenintothegreatestlaxity,obtainedfromthePapalLegatepermissiontofound an Abbey on rules of great strictness. Twenty monks establishedthemselvesintheforestofCiteaux,inthedioceseofChâlon,onadesertterritorysurrenderedtothembytheViscountofBeaune.ThemonksbuiltanOratoryandestablishedRules—oneofwhichwasthattheyshouldlivebytheworkoftheirhands. These monks were soon afterwards joined by St Bernard and hiscompanions,whentheruleofCiteauxtookagreatstart.Inlessthantwenty-fiveyears after these twenty men began their labours in the marshy forest byreclaiming and cultivating a small patch of ground, theywere represented by60,000CistercianmonksspreadovereverypartofEurope.Theywerecalledinbyfeudallordsfromallcountriestocleartheland,toestablishindustries,torearflocks and herds, to drain themarshes, and cultivate the soil. In a short timeCiteaux ruled over the incredible number of 2000 houses of both sexes, eachhousepossessing5or6granges.

NothingcanbetterillustratetheimmensestridesmadeintheWestduringtheeleventhcenturythanthegreatdevelopmentoftheseestablishments,andnopartoftheprogressthenmadehadgreaterinfluenceonArchitecture.Itisfromthistimethatwemaydatetherevivalofourart,afterthealmosttotalextinctionoftheDarkAges.Itisevidentthattheverylargenumberofnewmonasteriesandchurches now requiredwould have a great effect in stimulating the growth ofArchitecture.Thepositionofthisandeveryotherartwasatthattimenecessarilyinthehandsofthemonks,whoalonehadsufficientknowledgeforthedesigningand decorating of any building. Under the monastic influence, however, thedesigns naturally became subject to rule and tradition, and tended to assumefixed forms, although these varied somewhat under the regulations of thedifferentorders,andindifferentlocalities.

Another remarkablephenomenon,whichwasbothan indicationof thenewlifeandreligionsawakeningoftheepoch,andhadalsoaverypowerfuleffectinincreasing these movements, was the Crusades. The same enthusiasm whichprompted thousands to devote their lives to a holy anduseful existence in thecloister, stirred up in others through the eloquence ofPeter theHermit andStBernard, a resolve to sacrifice everything to the righteous endeavour to rescuetheplacessanctifiedbythegreateventsinourSaviour’sLifefromthehandsofthe Infidels.Amongst the innumerablemultitudeswho joined in theCrusades,

andvisitedtheEast,theremusthavebeenmanywhowereabletoappreciatethesplendid architecture and decoration of Santa Sophia and the other greatchurchesandbuildingsoftheLevant;andthesetravellerswouldbringbackwiththemfreshideaswhichtheywouldendeavourtoimportintothestructuresoftheWest.Besides,theeyesofallwereopenedandtheirmindsenlargedbycontactwiththecultureandrefinementoftheEasternempire,wheretheancientGreekand Roman civilisation had continued uninterruptedly during the centuries ofdarknessandbarbarismwhichhadwellnighobliteratedthemintheWest.TheyalsosawatConstantinoplethegreatmartwherethecommercebetweentheEastandWest was concentrated, and became acquainted with the rich fabrics andbeautifulartofPersiaandIndia.

ThetransportofmenandmaterialstotheEast,fortheprosecutionofthewar,likewise gave a great impulse to navigation and maritime enterprise, whilecontact with the Saracens (then an enlightened and scientific people) taughtvaluablelessonstothesoldiersofthecross.Theyespeciallyacquiredfromthemmanyimprovementsintheartoftheattackanddefenceoffortifications,andinthe construction of military engines, the results of which theWestern nobleswerenotslowtoavailthemselvesofinthegreatcastleswhichtheyerectedontheir return from theHolyLand.Thebuildingsof theHolyplaces themselveswere naturally adopted as models, and the circular churches of the West areprobablymostly imitations (althoughsometimes remoteones)of thechurchoftheHolySepulchre(whichwasitselfrebuiltbytheCrusaders).Itwillbefurtherpointed out in dealing with the history of the Architecture how the ancientGreco-RomanarthadbeenpreservedinSyria,andthedirectinfluenceithadontheArchitectureoftheWest.

Suchbeingthegeneralconditionofaffairs,andtheirbearingontheartoftheWestofEuropeuptothetwelfthcentury,letusnowlookalittlemorecloselyattheprogressofeventsintheprovincewithwhichwearespeciallyconcerned.

[Imageunavailable.]

[Imageunavailable.]III.

ARAPIDglanceat thepoliticalhistoryof thecountrywill further show theextraordinaryconditionoffluctuationanduncertaintywhichexistedduringthedismalperiodwhich followed theoverthrowof theRomanrule,aswellas thegradualgrowthof thenewstateof thingsunderwhich thegreat revivalof thetwelfth century occurred. We shall also observe how the early renewal ofcivilisationintheSouth,aidedasitwasbythepreservationofsomerelicsofoldRomanculture,ultimatelyyielded to themorevigorous lifeandgrowthof thenewpoliticalsystemoftheNorth.

We have seen that Aquitaine was occupied by the Visigoths in the fourthcentury,whileProvencewasstillheldbytheBurgundiansandGallo-Romans.

In425AetiusmadeafinalstandfortheRomancause,butwasdefeatedbyTheodoric,KingoftheVisigoths,andthelastvestigeoftheEmpirewassweptaway. These two powers of the South afterwards united their forces againstAttila, their common foe, and drove back theHuns in 451. In 480ArleswascapturedbyEuric for theVisigoths,who thusbecamemastersofProvence. InthesixthcenturytheFranksextendedtheirarmssouthwards,andunderClovis,andGundibald,King of theBurgundians, defeated theVisigoths at Bouglé in507.

In511Theodoric,KingoftheOstrogothsinNorthItaly,defeatedthearmyofClovis while engaged in the siege of Arles, and thus preserved theMediterraneancoasttoItaly.ButProvencewasresignedin536byhissuccessorWitigestoTheodoric,KingoftheFranks,whohadoverthrowntheBurgundianKingdom.

At thedeathofClothair I. in561,Provencewasdividedbetweenhis sons,Sigebert, King of Austrasia obtaining Marseilles, and Gontran of Burgundy,Arles.UndersubsequentkingsProvencewasagainreunitedandagaindivided.

In719theSaracenscrossedthePyreneesandtookpossessionofLanguedoc.TheysubsequentlyunitedwithMaurontis,theByzantinegovernorofMarseilles,forthepurposeofdrivingouttheFranks,butweredefeatedbyCharlesMartel,whothusunitedAquitaineandProvencetotheFrankkingdom.

TheseSouthern provinces,which, as alreadymentioned,were governed by

municipal and ecclesiastical organisations, were too weak either to resist theinroads of the Saracens, or to defend themselves against the more vigorousdisciplineoftheNorth.

AtthedivisionoftheCarlovingianempire,afterthedeathofCharlemagnein843, Provence fell to Lothaire, alongwithBurgundy. In 863 itwas seized byCharlestheBald,andin879hisbrother-in-lawBoson,governorofVienne,waselectedKingbythesynodofMontale,andProvencewasthusconvertedintoaseparatemonarchy.

In932Hugoobtained the Italiankingdom,andcededProvence toRudolphII.,who united the twoBurgundies under the name of theKingdomofArles.This kingdom existed as a name till 1032; but Provence had in themeantimebeen governed byPrinceswhose power continually increased, till, frombeingappointed Governors, they became hereditary holders of the fief. Of thesePrinces therewereseveral in the tenthcentury,whoreignedunder the titlesofBosonI.andII.,WilliamI.(whodroveouttheMoorishpiratesfromtheFraxinetin968)(aswillbereferredtointhesequel),Rothbold,WilliamII.,&c.

In 1112 Raymond Béranger, Count of Barcelona, of the house of Aragon,married the heiress of Provence, and obtained possession of the country. ButRaymondofStGilles,CountofToulouse,oneof thegreat leadersof the firstcrusade in 1096, claimed a part; and in 1130 possession of Provence wasdisputedbetweenhissonandRaymonddesBaux,ofwhosefamilyweshallhearmore by-and-bye. In 1181 Raymond Béranger, who had been invested inProvence by his brotherAlphonso I. ofAragon, died, and the fief reverted toAlphonsoI.andII.till1196.

In 1209 an attempt was made by Raymond Béranger, fourth Count ofProvence, to destroy the independence of the cities. These had all alongpreserved their municipal freedom and Roman form of self-government. Thegoverningbodywaselectedbythecitizens,thechiefmagistratebeingoriginallynominated by theByzantineEmperor, but latterly the office became vested incertainfamilies,orwasheldbythebishop.Inthetwelfthcenturyreformswereattemptedinthisasineverythingelse,andthecitizensfollowedintheirreformstheexampleoftheItalianRepublics,andchoseachiefmagistrateforlifewiththetitleofPodestà.Tothisofficerwasentrustedthecommandofthetroops,andhischiefdutywastomaintainorderinthetownamongst thedifferentfactionswhichwereincessantlyatwarwithoneanother.ThepowerofthePodestàswasthusconsiderable,and theCount foundmuchdifficulty insubduing them.TheAlbigenses of Avignon capitulated in 1226; and Nice, Grasse, Toulon, andMarseilleswerealsosubsequentlyovercome.

The strength of the free towns had been shaken shortly before this by theterriblecrusadeagainsttheAlbigensesofAquitaine.ThetenetsoftheChristianChurchinthisprovincehadalwaysdifferedsomewhatfromthoseofRome,andthejealousyoftheecclesiasticshadbeenexcitedbythefreedomofthelifeandlanguage of this comparatively enlightened region. The Pope having nowcompletelyestablishedtheprincipleofthesupremacyoftheSeeofRome,couldnot endure the ideaof anywantof conformity tohis rule; andhe accordinglyencouragedtheRomanistsoftheNorthtomakewarontheserebelliousheretics.TheenthusiasmoftheCrusadersagainsttheHolyLandhadnowwornoff;butacrusade against theHeretics ofAquitaine had the charmof novelty, combinedwith theadvantagesofeasinessofaccess,and theprobabilityofabundanceofbooty. The crusades against the Albigenses were led by Count Simon deMontfort, who attacked and, after encountering in most cases a gallant anddetermined defence, destroyed the towns, and massacred the inhabitants. AtBéziers alone, which fell after a protracted siege, the Abbot of Citeaux, inreporting to Innocent III., expressed regret that he had only been able to slay20,000heretics;butitisbelievedthatnolessthan60,000weredestroyedinthatindiscriminatemassacre.

ThehorrorsofwarwerefollowedbythetorturesoftheInquisition,andintheholyhandsofStDominic andhis order all dissentwas either exterminatedordrivenintootherlands,theretosowtheseedswhichshouldsomedayspringupasacrop,whichnoPapalsicklecouldcutdown.

RaymondVII.,CountofToulouse,havingespousedthecauseofhispeople,suffered with them and was compelled to do penance and to surrender, by adefinitetreatywithQueenBlanchein1229,allhispossessionsintheKingdomof France to her husbandLouisVIII., and all in theKingdomofArles to thePope’s Legate. Only a small portion was allowed him for life, and he wasrequired to do penance by service in the Holy Land. The Pope, however,declined to acceptof theKingdomofArleson accountof its burdensomenessowingtofamines.HethereforehandeditovertoQueenBlanche,whoentrustedthe administration of it to the Seneschal of the castle of Beaucaire. It wasafterwards formed into the Principality of Orange and the Countship of theVenaissin.

In1243RaymondVII.ofToulousewasfinallyobligedtoyieldupeverythingtoKingLouisIX.ThesuzeraintyofancientAquitainewasthusacquiredbytheCrown of France, but Provence, east of the Rhone, still retained itsindependence.

In1245thelatterpassedintothefamilyofAnjoubythemarriageofCharles

of Anjou, brother of St Louis, with Beatrice, heiress of Provence. The townsthought this a favourable opportunity for making an effort to recover theirfreedom, and accordingly Arles, Avignon, and Marseilles joined in a leagueagainst Charles. Arles and Avignon submitted on his return from the East in1251; but Marseilles, which had resisted Raymond Béranger, resolved tomaintainitsRepublicanfreedom.Fouryearslater,however,itwascompelledtosubmit,whenitsfortificationswererazed.In1262thetownagainrebelled,butwasblockadedandreducedbyfamine.TheancientlibertiesofMarseilleswerepreserved,butCharles substituted in this and theother townsanofficerofhisowninsteadoftheelectoralPodestà.HeafterwardsacquiredVentimigliaandtheMaritimeAlps.CharlesnextcarriedhisarmsintoItaly,andin1266hedroveoutManfred, and took possession of the two Sicilies. He died in 1285, and leftAnjou,Provence andNaples toCharles II.,whose sonRobert (in 1309) left atroubledheritagetohisgrand-daughterJoanofNaples.In1343Joan’shusband,Andrew of Naples, having been murdered, and Joan being suspected ofcomplicity in the deed, her husband’s brother,Louis ofHungary, attacked andtookNaplesin1347.JoanfledtoProvence,andbeingdesiroustoraisemoneyinordertorecoverNaples,andalsowishingtobeacquittedofallconnectionwiththecrimeofherhusband’smurder,shesoldAvignon,wherethePopeswerethenresident,toClementVI.,andobtainedhisacquittal.

Provencehadlongenjoyedapopulargovernmentwithrepresentativesinthethree houses of the Clergy, Nobles, and Commons, who had control over thenationalpurse.QueenJoanattemptedtocutdownthesepowers,andappointedanItalianasGrandSeneschal.But thenation revoltedagainst this interferencewith its ancient constitution, and Louis of Anjou pressing his claim on theprovince, supportedbyanarmy, Joan, inorder to escape fromherdifficulties,hadtoadopthimasherheir.HesucceededtotheCountshipin1382,butheandhissonLouisII.(1384),andgrandsonLouisIII.(1417)wereallunsuccessfulintheirclaimsonNaples.Louis III.was succeeded in1434byhisbrotherRené,thewell known poet and painterKing,who had also claims on the throne ofAragon.Hediedin1480,leavingonedaughter,Margaret,marriedtoHenryVI.ofEngland.

RenébequeathedProvence tohisnephew,Charles III. ofMaine,who soonafterdied,makingLouisXI.ofFrancehisheir.

In1486CharlesVIII.declaredthecountryunitedtoFrance.Provence thus became at length part of the kingdom of France. But the

EmperorofGermanystillcontinuedhisclaimofsuzeraintyuponit,inwhichhewassupportedbytheConstable,CharlesofBourbon.Inpursuanceofthatclaim,

CharlesV.ofSpaininvadedProvencein1536,butwithoutsuccess.ThecountrycontinuedtobefrequentlyattackedinthesubsequentwarsbetweenFranceandSpain,buthasremainedpartofFrancesincethedaysofLouisXI.

The boundary of the province on the east remained from that time till ourownday,theriverVar.Itwasafrontierbadlyfortified,andeveropentoattack;andweshallseewhateffortsweremadebyFrancisI.torenderitsecureagainsttheattemptsofhisenemyofSpain. In1861theboundarybetweenFranceandItalywasextendedeastwards,asfarasaravinespannedbythe“PontStLouis,”ashortwaybeyondMentone,thusincludingNiceandMentone,formerlypartofSavoy,withintheFrenchterritory.

Intreatingofthearchitectureofthispartofthecountry,weshallfindthatitbearsinitsarchitectureunmistakablesignsofitsformerItalianallegiance.

[Imageunavailable.]

[Imageunavailable.]IV.

THEforegoingSketchofthehistoryofthisregionshewsthat itsarchitecturemust belong to two entirely distinct epochs—the Roman period and theMediæval period. It is proposed in the following description of the variousedificestotreatofthesetwoperiodsseparately,—takingupfirstthebuildingsoftheRoman period in regular sequence as they aremetwith in descending theRhonefromLyons,andinthevariouslocalitiesalongtheRiviera,bothwestandeast of Marseilles. Having thus exhausted the Roman monuments in theprovince, we shall return to Lyons, and repeat the journey southwards toMarseilles,andthencewestwardsandeastwardsalongthecoast,takingnoteofthemoreimportantofthemanyremarkableMediævalstructuresinwhichtheselocalitiesabound.

Thismethodwill,webelieve,befoundtobemuchmoresatisfactorythananyattempttodealwiththearchitectureinchronologicalorder.Thatplanwouldbeveryconfusing, thereaderhavingunder it tobeconstantlytransferringhimselffromoneregiontoanother.Bythesystemadoptedhewillatleastalwaysknowwhereheis,andthesituationofthebuildingswillthusbefixedinthemind.Thedisadvantage of this method admittedly is that structures of all theMediævalperiodsaredescribedtogetherastheyoccurineachlocality;butitishopedthatthis disadvantage will be to some extent overcome by the introduction to theMediæval period, in which the historic sequence and development of thearchitectureofthecountryintheMiddleAgesisconsidered.

Followingtheabovearrangementweshallnowproceedwiththedescriptionofthebuildings,commencingwith

THEROMANPERIOD.

In the North of France there are few remains of Roman buildings. Thisprobablyarisesfromtwocauses:—1st,BecausebeforethefifthcenturyRomancivilisation had not advanced so far in Northern as in Southern Gaul, andconsequently the towns were not adorned with the same profusion ofmagnificent edifices;—and, 2nd, Because the Northern division suffered farmoredestructionthantheSouthern,fromtheinvasionsoftheBarbarians.

AtParissomeRomanvaults,partsofaPalaceorBaths,arestillpreservedinthegroundsoftheMuséeCluny.

AUTUN is celebrated for its two fine Roman gateways, one of which (thePorted’Arroux)isdecoratedwithCorinthian,andtheother(thePorteStAndré)with Ionic pilasters, featureswhich afterwards produced a strong influence ontheMediævalArchitectureoftheprovinceofBurgundy.

Autun also possesses remains of two buildings called Roman Temples, asplendid pavement of mosaic, a fine collection of statuettes, bronzes andinscriptions,—all bearing testimony to the importance of the town in Romantimes.Butwemustpassthesebywithoutfurthernotice,asourdistrictliessouthofLyons.

In exploring the remains of Roman Architecture in Southern Gaul, onecannothelpbeingstruckwiththeextraordinaryandcapriciousmannerinwhichthey have been preserved,—small towns likeOrange andNimes being full ofRomanwork,andimportantRomancitieslikeMarseillesandNarbonnehavingnothingleftbutthefragmentscollectedintheirMuseums.

Avignon,theancientAvenio,was,beforetheRomanoccupation,oneofthemostimportantcitiesofthetribeoftheCavares;andunderImperialrulewasnodoubtadornedwithsplendidTemples,Amphitheatre,Theatres,andotherpublicbuildingslikethoseofwhichtheremainsarestilltobeseenatArlesandNimes.ButofallsuchstructuresthereispracticallynotafragmentnowleftatAvignon.

A large number of Roman antiquities from that town and vicinity have,however,beencollectedintheMuséeCalvet,socalledafterthephysicianwhofounded it by bequeathing in 1810 his fine private collection to the city. Themuseum contains some good Greek sculpture, and a large number of coins,medals,andbronzes.

AtLYONSthereareafewsubterraneanremainsofaqueducts,butnoRomanArchitecture.

SometimeafterleavingLyons,therailway,whichfollowsthecourseoftheRhone,entersanarrowpassamongst themountains,where there is little roomformore than the riverand the roadbetween theprecipitousand rockybanks.The scenery isverygrand, and theprospect is especially fineat abendof theriverwhere the ancient town ofVIENNE, rising high upon a bold promontorysurmountedbyitsruinedcastle,burstsupontheview.

Thetownitselfismostinteresting.Viennewastheancientcityandcapitalofthe Alobroges before the time of Cæsar. Under the Romans it attained greatsplendour. Cæsar embellished and fortified it, and Augustus and Tiberius

bestowed favourson it. Itwasalso the seatofaPrætor,andhadaSenateandCouncil, five legions, and a celebrated school. The city increased to such anextent that it became necessary to extend it on the other side of the Rhone.Viennewasdividedintothreetowns:—Viennethestrong,containingthecitadel;Viennetherich,thetownproper;andViennethebeautiful,ontherightsideoftheRhone (nowcalledStColombe),wheremany fineworksof art havebeenfound. During the later Empire Vienne continued to be a place of greatimportance, not unfrequently the residence of the Emperors, and played aprominentpartinthenumerousrevolutionsofthetimes.

ItwasalsothecradleofChristianityintheWest,which,astraditionrelates,wastherefoundedbyStPaulonhiswayintoSpain.TheArchbishopsofViennebecameforatimePrimatesofGaul.

ButitwassoontoencountertheusualseriesofdisasterswhichovertooktheRoman towns of SouthernGaul, being conquered by theBurgundians in 438,ravagedbytheLombardsin558,anddestroyedbytheSaracensin737.

Boson,KingofthenewKingdomofBurgundyandProvence,madeViennehis capital. But the second Kingdom of Burgundy perished in anarchy, andVienne became the capital of a feudal province ruled by a suzerain called theDauphinoftheViennois.

Thetownstandsonthewesternslopeofahillfacingtheriver,withtwosteepheights above it, viz., that of Salonica, crownedwith the ruins of aMediævalCastle,andtheMontPipet,whosesummitissurroundedwithanenclosingwallandtowers,whichoccupythepositionof,andmayhaveformedthecitadelfor,theRomangarrison,butthebuildingshavebeenalteredinlatertimes.

Vienne possesses several interesting Roman relics, the most important ofwhichisthetemplededicatedtoAugustusandLivia(Fig.1).

Thisbuildinghasinitstimebeendreadfullyabused.

[Imageunavailable.]FIG.1.TEMPLEOFAUGUSTUSANDLIVIA,VIENNE.

It was formerly converted into a church, and shockingly disfigured. Thecolumnssurroundingthecellawereblockedupwithcommonmasonry,and,asifthiswas notBarbarism enough, the fluting of the columnswas scraped off tomakethemflushwiththelineof theenclosingwall.Theedificehasnowbeencarefullyandjudiciouslyrestored;andasacompletespecimenofatempleoftheRomansinGaulisonlysurpassedbythe“MaisonCarrée”atNimes.Itisabout80feetlongby50feetwide.InfrontaresixCorinthiancolumns,crownedwithentablature and pediment, and on each side six detached columns with twopilasters in rear attached to the cella. The whole is placed on a stylobate, towhich twelvestepsascend in front.The templestood inaForum,someof thepavement of which has been recently uncovered, and the foundations of thecolonnadewhichsurroundeditlaidbare.

[Imageunavailable.]FIG.2.ROMANFORUM,VIENNE.

Alargenumberofantiquerelicsareherecollected—amongstothers,portionsofshafts,andbasesofcolumnsofgiganticsize,whichmusthavebelongedtoabuilding of immense proportions. The admirably preserved and well knowngroupoftwochildrenstrugglingforthepossessionofabirdisoneofthefinestobjects in the collection, which also includes many interesting fragments ofsculptureandarchitecture.Viennepossessedat leastoneancient theatre, somerelics of which still exist in the ranges of steps forming the seats of theauditorium.

RemainsofundergroundaqueductsandRomanwaysarealso tobeseen intheneighbourhood.Of thearcadeof theancientForumtherenowonlyremaintwoarchesandpartofavault(Fig.2).TheCorinthiancolumnsarehalfburiedinthesoil,andtheentablaturehasbeenheightenedwithamediævalupperstorey,butthecolossalproportionsoftheoriginalbuildingarestillverystriking.Nearthisaresomemassivesub-structuresandaportionofanimmensestaircase,thestonesofwhichstillfitaswellasthedaytheywerebuilt.

[Imageunavailable.]FIG.3.THEPYRAMID,VIENNE.

Alittlewaysouthofthetown,andonthelevelgroundneartheriver,standsaremarkablethoughunfinishedmonumentcalledthe“needle”or“pyramid”(Fig.3).Theupperpartconsistsofatallandpartlyhollowsquarepyramid.Thebaseispiercedwithfourarches,eachflankedwithtwoengagedcolumns,thecapitalsof which are only roughly blocked out. The Romans were in the habit ofbuildingthus,andexecutingthesculptureafterwards.Themasonryisbeautifullyjointedandputtogetherwithoutcement;buttheblockshavebeencrampedwithiron, and the holes made for the purpose of extracting these cramps areunfortunatelyonlytooapparenthere,asinsomanyotherRomanedifices.Thereisnoinscriptionorotherindicationofthepurposeforwhichthismonumentwaserected, but it has most probably been commemorative, and the name ofAlexanderSeverushasbeengenerallyconnectedwithit.ProsperMériméeisofthisopinion,andaddsthat“theinterruptionoftheworkmightbeexplainedbyone of the revolutions so frequent in the Empire, which made men forget ordenounce the memory of the person to whom divine honours had previouslybeenpaid.”

[Imageunavailable.]FIG.4.VIENNERESTORED\.

The existing remains show that Vienne must have been a town of greatimportance and splendour in Roman times. An attempt has beenmade by anarchitectofthedistricttoexhibitinadrawinganillustrationofwhatViennewaslike in the days of its glory, ofwhich a reproduction is given in Fig. 4. Thisrestoration,althoughtoagreatextentimaginary,atleastservestogivesomeideaofthesplendourofaRomancity.

ThenextRomanedificesofimportanceindescendingtheRhonearefoundatORANGE,theancientArausio,thecapitaloftheCavares.ItwastakenbyCæsar,and became an important Roman colony. On approaching the town by therailway,one isstruckby theappearanceofan immensepileofbuildingwhichrearsitselfhighaboveall theotherstructuresoftheplace,butisat toogreatadistancetoallowitsfeaturestobedistinguished.Oncloserinspectionthisturnsout to be the prosceniumwall of the famous Theatre of Orange. Everyone isacquaintedwiththegeneraloutlineoftheRomanamphitheatre,buttheformofthetheatreisprobablynotgenerallysowellknown.Theseatswerearrangedinasimilarmannertothoseoftheamphitheatre,andwerealmostinvariablycutoutofthesideofahill,buttheyextendedonlyroundasemicircle.Theseconstitutedtheauditorium,thediameterofthesemicircleoppositethembeingoccupiedwithahighwallwhichenclosedthetheatreandformedthescena,infrontofwhichwas the stage where the actors appeared. This wall or scena was generallyelaboratelyadornedwitharchitecturalfeatures,includingaprofusionofmarblecolumns with their entablatures, niches with statues, &c. Dressing-rooms andotherapartmentsfortheactorswereeitherwithinthescena,orinspacesattheends.

ThetheatreofOrangecorrespondswiththisdescription.Theseats,risingintiers,arehollowedoutofahillside,andwherenaturalsupportwasawanting,ateither end, itwas supplied bybuildingwalls andvaults in continuationof therock-cut seats.Theprosceniumwall (Fig.5) isofgreat size,and isa splendidspecimen ofRoman construction, being 335 feet long by about 112 feet high,and is builtwith large carefully fittedblockswithout cement.This example isvaluable,astheprosceniumportionsof

[Imageunavailable.]FIG.5.ROMANTHEATRE,ORANGE.—Exterior.

ancient theatres are generally destroyed and thematerials removed.Externallythewall of the scena presents a very simple appearance, but has an imposingeffectfromitssize.Thegroundfloorisdesignedwithaseriesofarcheshavingpilastersbetween them.There isa largecentralentrance,and twosmaller sidedoors arranged symmetrically, and all square-headed. These probablycorresponded with the internal entrances, the central one being known as theRoyaldoorway,because theprincipalactor,called theking,enteredby it.Thefirst floor is quite plain; the next floor has an arcade surmounted with anentablature,abovewhichisarowoflargecorbels,theuseofwhichisdoubtful.Above these is a great gutter, then another row of corbels, and the summit iscrownedwithaprojectingcornice.Thesixcorbelsateachendoftheupperroware pierced, as if to form sockets to receive the feet of poles from which avelariumorgreatawningmightbestretchedoverthetheatre(aswasthecaseatthe Colosseum in Rome and other similar structures), but if so intended theycould never have been used for that purpose, owing to the projection of theuppercornice.ProsperMériméethinksthatthehighestportionofthewallabovethe level of the upper corbel course has been an addition or early restoration,whichhasrenderedthelowerrangeofcorbelsuseless,aswellastheupperones,owing toachangeofplanand the introductionofawooden roof, insteadofavelarium,fortheprotectionoftheactors.Ateitherendoftheprosceniumgreatblocks of buildings contained staircases, halls, dressing-rooms for the actors,placesforthemachinery,&c.

Theinteriorofthescena(Fig.6)wasdecoratedwiththreestoreysofcolumnsofpolishedgraniteandwhitemarble,nowentirelybrokendown,butofwhichalargequantityoffragmentsisstillvisible,alongwithvariouscarvings

[Imageunavailable.]FIG.6.ROMANTHEATRE,ORANGE.—Interior.

andotherworks.Thesearecollectedintheproscenium,andformaninterestingexhibition,givingsomeideaoftheformerrichnessofthedecoration.Theupperpartofthescenacarriedtheroofabovereferredto.Thebeamswereembeddedinthesolidmasonry,andprojectedovertheproscenium,theaperturesformedinthewalls to receive thembeingdistinctlyvisible.This roofhasevidentlybeenone source of the destruction of the building, as the calcined and blackenedappearanceoftheupperpartofthewallsshewsthatithassufferedfromagreatfire, thematerials forwhichcouldonlyhavebeenfurnishedbyawoodenroofovertheproscenium.

Thesketch(Fig.6)shewssomeoftherangesofseatscutoutoftherock,—those at the bottombeing in a fair state of preservation; and also someof thebuiltportionofoneofthewingswhichunitedthegreatprosceniumtothepartoftheauditoriumcutoutofthehillbehind.

IntheMiddleAgesthistheatre,asoftenhappenedwiththemassivebuildingsoftheRomans,wasconvertedintoafortification,andformedanoutworkofthecastle erectedby theDukeofOrangeon the summit of thehill above.But sosolidisitsconstruction,beingcomposedaftertheRomanmannerofbuilding,ofgreat blocks carefully fitted together without cement, that it has been able toendure for at least 1500 years, almost without change, all the destructiveinfluencesbothofmanandtheelements.

Immediatelyadjoiningthetheatreonthewestwasahippodrome,theoutlineofwhichisquitediscerniblefromthehighgroundabove.Itseemstohaverunnearlythewholelengthofthepresenttown,andremainsofitmaybetracedatintervals among the houses. The length and comparative narrowness of thestructure shew that it was intended for horse and chariot races, and not forgladiatorialcombatsandsimilarspectacles.Ofthisimmensebuildingalmosttheonly architectural features now remaining are a large arch across one of thestreets,locally,buterroneously,calledatriumphalgate,andsomeportionsofanarcadeincorporatedwiththemodernhouses.

AlmosteverywhereinOrangeantiquefragmentsaretobefound,andseveralstatuesandmosaicshavebeendiscovered.

But by far the finest relic in an artistic point of view is the well knownTriumphal Arch (Fig. 7). It stands at the northern entrance to the town, and,considering thehardusage ithas received, it is inawonderfullygoodstateofpreservation. The arch is about 70 feet long and 70 feet in height. Such amassivebuildingwastootemptingasafortresstobepassedoverintheMiddleAges,andweaccordinglyfinditusedfor thatpurposebyRaymonddesBaux,who played an important part in this country in the thirteenth century. The

northern façade is best preserved. The structure, as was usual in largemonuments of this nature, is pierced with a principal central arch and twosmaller side arches, and is adorned with four attached Corinthian columnsbetweenthearchessupportinganentablaturewithacentralpediment.Theeastflank has also four similar columns placed very close together. The archivoltsand frieze are enriched with sculptured figures, and the spaces over the sidearchescontain trophiesofarms.Theupperpanelover thecentralarch is filledwith a large bas-relief full of figures, but it is hard to say what scene isrepresented.Theshieldsareornamentedwithcrescent-likeforms,andononeofthemthenameof“Mario”canstillberead,whilediversenameswereformerlylegibleonothers.

[Imageunavailable.]FIG.7.TRIUMPHALARCH,ORANGE\.

Manyarethetheoriesanddisputationstowhichthesewordsandornamentshavegivenrise,butnothingpositivehasbeenmadeoutwithregardeithertothedateororiginoftheArch.IthasbeenascribedtoTiberius,anditsdatefixedA.D.21.Butitsstyleandornamentforbidthisconclusion.

MériméethinksthatthegreatanalogyofstylebetweenthevariousTriumphalArches of Provence, viz., those at Orange, St Remy, and Carpentras (to beafterwardsreferredto),rendersprobablethehypothesiswhichsupposesthemtohavebeenerectedatthesameepochandforthecelebrationofthesameevent,viz., the victories of Marcus Aurelius in Germany. The profusion of theornament, the formof the arms, and the incorrect andpretentious characterofthese monuments agree well with the architecture of the second century.MériméealsodrawsattentiontothemaritimetrophiesatOrange,andpointsouthowpicturesquelytherostraoftheships,themasts,oars,&c.,aregrouped.HebelievestheseprobablyrefertonavalconflictsontheDanube.

MrRuskinalsopointstotheexecutionofthesculptureofthisarchasagoodexample of sketching in sculpture; the shields and other arms and ornamentsbeingsurroundedwithadeeplycutline,whichdefinestheiroutlineclearlyasanartistwoulddowithhispencilinsketchingthem.Heconsiderssuchobjectsasunworthyofanymoreelaboratetreatment.

Theworkofrestorationhasbeenexecutedwithgreatcareandsuccess.Thewest sidehasbeenalmost rebuilt, butwithplain stone, appliedmerely for thepurpose of preserving the rest. No attempt has been made to imitate the oldwork,andwhatremainsoftheancientstructureisnotscrapedandpolishedup,assooftenhappensinFrenchrestorations,wherebythevalueofthemonumentasanexampleofancientartisentirelydestroyed.

Notvery far fromOrange, as abovementioned, anotherTriumphalArch isfoundatCARPENTRAS.ItismuchsimplerindesignthanthatatOrange,havingonlyonearchsupportedbyflutedpilasterswithcompositecaps.Thewholeoftheupperpartsabovethearcharedestroyed.Somesculpturesstillsurviveontheends,representingcaptiveschainedtotrophies.Theveryboldprojectionofthebas-reliefsisremarkable,andalsothefactthatinthesculpturedistantobjectsaremarkedwith a sunk line round them. This style of emphasising shadows andoutlines,andalsothemethodofdoingsobymeansofholesdrilledroundobjectsiscommoninthesculptureofthelowerEmpire.

Part of another single arch, apparently also an arch of triumph, has beenpreservedatCAVAILLON,butitisverysadlymutilated,andhasbeenrestoredatan ancient period, when stones carved with ornaments, mouldings, and

enrichmentshavebeenallmixedupinthemasonry.AtSTREMY(whichiseasilyaccessiblebyrailwayfromTarascon)thereare

also the ruins of a triumphal arch, together with a well-preserved and mostinterestingmausoleum(Fig.8).

ThesemonumentsarethesolesurvivingremainsoftheGallo-RomantownofGlanum Livii, a flourishing colony under the Romans, surroundedwith wallsandadornedwithtemples,aqueducts,andpublicbuildings,ofwhichsomefainttraces onlynowexist.The chief employment of the inhabitantswas to supplystones from quarries in the neighbourhood for the buildings in Arles andelsewhere.ThetownwasdestroyedbytheGothsin480.

Thetriumphalarchhasonlyoneopening,whichisratherlowinproportion,andisflankedbyflutedpillarsofwhichthecapsaregone.Oneachsideofthearcharewellsculpturedbas-reliefsrepresentingcaptivesinchainsaccompaniedbywomen.Theflankshaveniches,butnostatuesremain.

Mérimée admires the archivolt of the archway,whichhe calls a garlandoffruitandflowerssculpturedwiththesameperfectionofimitation,withthesametasteand

[Imageunavailable.]FIG.8.TRIUMPHALARCHANDMAUSOLEUM,STREMY\.

varietyofdetails,asisobservedintheGothicperiod.Thearchisabout40feetlongby18½feetwideand25feettotheundersideofthevault.

Themausoleumstandsa fewyards from thearch.Themainpart is square,thelowerportionformingapedestalsetuponabase,whichmeasuresabout22feeteachway,and theupperportionbeinganopenstorywith fourCorinthianengaged columns at the angles. The whole is crowned with a circular topcomposedof tenCorinthianpillars, theentablatureofwhichsupportsacupolaoriginallycoveredwithpalmleafscales.Theheightofthemonumentisabout60feet.Thepodiumisornamentedwithfinebas-reliefs,whichMériméedescribesasrepresenting—(South)ahunt;(East)aBattleofAmazons;(West)thedeathofPatrocles; (North) a Cavalry engagement. The figures of the upper storys arealso richly carved. Under the dome stand two draped statues. The followinginscriptionisengravedonthearchitraveofthenorthside:

SEX.L.M.IVLIEI.C.F.PARENTIBUS.SVEIS.Sextus,Lucius,Marcus,Julii,Curaveruntfieriparentibussuis—(Sextus,Lucius,Marcus, of the Julii, have caused this monument to be constructed to thememoryoftheirrelatives).

Various dates are assigned by different authors to these monuments; butprobablyMériméeisrightinconsideringthearchatleastofaboutthesamedateasthatofOrange.

Thismausoleumand similarmonuments, aswill behereafternoticed, haveevidently had a considerable influence on the forms of the early MediævalchurchsteeplesofProvence.

ARLES.—Wehave now arrived at the capital ofRomanGaul—the famouscityofArelateorArles.ItissupposedtohavebeenfoundedbytheGreeksfromMassiliaasatradingcentre,andhadbecomeanimportanttownbeforethetimeof Cæsar. The situation occupied was a very advantageous one, being at thepointoftheDeltaoftheRhone,wherethebifurcationoftherivercommences.The town is also supposed to have been in communication with an interiornavigable Lagoon in the time of the Romans, so that commodities could beconveyed by water with great facility in all directions. Arles thus formed avaluablemercantilecentre.Thepopulationisbelievedtohavereached100,000.Here Cæsar had the galleys constructed which he required for the siege ofMassilia.AftertakingthattownhesentTiberiustoestablishacolonyatArles.WithConstantineArleswasafavouritecity,andhemadeitthecapitalofGaul.Thetownwasatthattimedividedbytheriverintotwosections,apartbeingoneach side. These Constantine united by a bridge of boats. An abundantwater

supplywasbroughtbyaqueductsfromthemountains,andconductedacrosstheriverbymeansofsyphonpipesoflead,severalofwhichhavebeenfoundwiththe name of the maker stamped upon them, and are now to be seen in theMuseum.

Ausonius callsArles the “GallulaRomaArelas,” and praises its hospitableports,whichreceivedtherichesoftheRomanworld,andspreadtheminturntothe cities of Gaul and Aquitania. So important a city could not escape thesuccessive attacks of the Goths, Franks, and Saracens. By these invaders hersplendidedificeswereallnearlydestroyed,aswasentirely the fateof thoseatAvenioandMassilia.ButArleswasnotquitesounfortunateas the lastnamedcities, and still possesses some imposing though sadly ruined remnants of herformergreatness.

Of theexistingremainsbyfar themost important is theAmphitheatre.Thewallsformingthecompletecircuitandalargepartoftheseatsoftheinteriorarestillpreserved.Theexterior(Fig.9),accordingtotheusualdesignofthisclassoferections,consistsof twoarcadessuperimposedononeanother—thearchesbeingseparatedbyattachedcolumns.

In this instance the arches are sixty in number on each story.The attachedcolumnsofthelowerarcadearesquarepilasterswithDoriccapitals,andthoseoftheupperrangeareroundandoftheCorinthianorder.

[Imageunavailable.]FIG.9.AMPHITHEATRE,ARLES.—Exterior.

Thedesignmaypossiblyhaveoriginallyincludedanatticstory;butthis,ifitever existed,which seems to be doubtful, as not a single stone of it has beenfound,hasentirelydisappeared.

Mériméepointsoutthatthemouldingsandenrichmentsoftheremainderareallcarefullyfinished,whichwouldnotlikelyhavebeenthecasehadthebuildingnot been carried up to its full height, as the Romans were in the habit ofexecutingallthatclassofcarvedworkaftertheirbuildingswerecompleted—thestonesfor theornamentbeingonlyroughlyblockedoutat first.WeshallmeetwithaquantityofthispreparatoryworkintheAmphitheatreofNimes,whereithasbeenleftunfinished.

TheAmphitheatreofArles,aswastobeexpectedinthecapital,isthelargestbuildingofitsclassinGaul.ItisbuiltaftertheRomanmanner,withenormousblocks of carefully cut stone setwithout cement, and the staircases, passages,&c.,arestronglyvaulted.

[Imageunavailable.]FIG.10.AMPHITHEATRE,ARLES.—Interior.

The plan, as is usual in Roman Amphitheatres, is that of an ellipse, itslongitudinalaxismeasuring459feet,anditstransverseaxis341feet.Theseats,whichwerearrangedinforty-threerows(Fig.10),providedaccommodationfor26,000spectators.Therearefourprincipalentrances,attheNorth,South,East,andWest,andeightothersmallerdoorways.

Originally this amphitheatrewas probably built byCaligula orHadrian. IntheMiddleAgesitwastransformedintoafortress,andbecamethestrongholdofsome chief, or the citadel of the inhabitants. Four towers were at that timeerectedonthetopofthebuilding—threeofwhichstillremain.

The amphitheatre is said to have been restored byCharlesMartel after hisvictoriesovertheSaracens;andsomeancientstoneshavecertainlybeenusedtorepairthepodiumorbarrierbetweenthearenaandtheauditorium(asmaystillbeseen).

Mériméediscussesthequestion,howwerethespectatorsinthisandsimilarbuildingsprotectedfromthewildbeastswhichfoughtwithoneanotherorwithgladiatorsbyapodiumsuchasthis,notexceeding8or10feetinheight?

Hadthepodiumbeenhighenoughtoaffordsafety,itwouldhavepreventedalargepartoftheaudience,especiallyinthebackrows,fromseeingwhatpassedon their sideof thearena;an inconveniencewhichwouldcertainlyneverhavebeenendured;andhis idea is, that lionsorsimilaranimalswhichcouldspringmusthavebeenconfinedwithchainsorincages,andthatonlyanimalswhichdonotleap,suchaswildboars,mightbefreelybaitedintheopenarena.

The “Château des Arenes,” as the amphitheatre was called, was almostentirely invaded and choked up with the houses of the poorer inhabitants till1825,whenitwasresolvedtoclearoutthebuilding,—aworkwhichrequiredsixyearsforitsaccomplishment.Thestructureisnowincourseof“Restoration.”

Besides the amphitheatre Arles also possesses some remains of its RomanTheatre. These are, however, extremely scanty, consisting chiefly of the northandsouthentrancedoorways,andtwoloftymarblepillarswithCorinthiancaps(Fig.11).The latter formedpartof theornamentationof the scena, and,whenconsideredalongwith thegreatwallof the scenaatOrange,mayhelp togivesomeideaofthegenerallygorgeousaspectofthatfeatureoftheRomanTheatrewhenperfect.Theplanoftheorchestra,andafewrowsofruinedseats,canstillbediscerned.

[Imageunavailable.]FIG.11.ROMANTHEATRE,ARLES\.

A large number of marble fragments, composed of portions of columns,capitals, entablatures,&c., have been collected in the precincts of the theatre,and impress the spectator with a sense both of the great magnificence of thebuilding when complete, and of the terrible and long continued series ofdisasterstowhichithasowedademolitionsocomplete.Itshould,however,notbeomittedtomentionthatitwasfirstdismantledbytheBishops,whocarriedoffitsmarblestodecoratetheirchurches.

The remains of three parallelwalls,with a space between them, under theleveloftheproscenium,havegivenrisetovarioustheoriesastotheiruse.Themost likely view seems to be that the apertures were used for lowering thecurtain intobefore theperformancesbegan,aswas then thecustom, insteadofraising it, as is done in modern times. The theatre is supposed to have beenseated for 16,000 spectators. Several fine sculptures, now in the museum ofArlesortheLouvre,havebeendugoutoftheruinsofthisstructure.

Arles possesses the only ancientObelisk inGaul. It stands in the “place,”oppositetheentrancetothecathedral,andissetonthebacksoffourlions,raiseduponapedestal.Itwaselevatedtothiseminencein1676,afterhavinglainforlonginthebedoftheriver.Theshaftisofgreygranite,47feethigh,butitisnotof an elegant form, and tapers too rapidly towards the summit. It originallyformedthespinaofaRomancircus,whereitwasfoundin1389.

InthefrontwalloftheHôtelduNord(inthePlaced’hommes)areinsertedthefragmentsoftwoRomangranitecolumnswithCorinthiancaps,andpartofapediment(Fig.12).Butunfortunatelythetraveller,whileenjoyingthehospitalityofthepatronofthe“Nord,”andsleepingwithhisheadperhapswithinafewfeetoftheseremains,cannothavethesatisfactionofimagininghimselfadwellerinarealRomanedifice,asitisevidentthattheyarenotintheiroriginalposition,buthavebeenbroughtfromadistanceatsomeremotetimeandsetuphere.

There are a few remnants, close to the river, of a building said to be thePalaceofConstantine, includingabrick towercalled“La tourde laTrouille.”This is a palacewhich has hadmany and varied occupants—passing from itsRomanmastersdowntotheKingsoftheOstrogothsandVisigoths,theKingsofthe Franks, and the Kings of Arles, the “Holy Roman Emperors” (when theycameheretobecrownedKingsofArles),andtheCountsofProvence.

[Imageunavailable.]FIG.12.PLACED’HOMMES,ARLES\.

InRomantimestherewasaspacetotheeastofthetownusedasacemetery,and called the Elysii Campi, or Champs Elysées, now the “Alyscamps.” ThisnecropoliswasbytraditionsupposedtohavebeenspeciallyconsecratedbyourSaviour himself, and consequently became a very favourite place of burial.Princes and dignitaries of Church and State desired to rest here. Bodiescommittedtotheriver(alongwiththesuitableburialfees)weresuretoreachtheAlyscamps. Itwas celebrated by the poetsDante andAriosto, and became ofworld-widefame.Chapelsandchurcheswereerectedinthevicinity,therebeingnolessthannineteenatonetime.ButthetranslationofthebodyofStTrophime,A.D.1152,fromtheAlyscampstothecathedralofArles,seemedtotakeawaytheprestigeoftheformer,andfromthattimeitgraduallydecayed.

[Imageunavailable.]FIG.13.THEALYSCAMPS\.

During its palmy days in the early centuries, this cemetery had becomegreatly enrichedwith splendidmonuments and sarcophagi, partly heathen andpartly Christian, but all designed and executed after the Roman or Grecianmanner. At the Renaissance these ancient classic monuments were speciallyprized and admired, and many of them were removed. Sarcophagi weredistributedasspecimensofearlyChristianarttoRome,Lyons,andothertowns;theplacewasgraduallydesertedanddestroyed,andthemonumentswerefinallyturnedtocommonandignominioususessuchascattletroughsandbridgesovertheditchesinthefields.Nowthefewremainingtombshavebeencollectedandplacedon each sideof the road leading to the chapel ofStHonorat (Fig.13),where they produce from their position and their classic forms a strikingresemblancetotheburialplacesoftheRomans,whichlinedthewaysideattheentrancestotheircities,suchastheAppianwayatRome,andtheapproachtoPompeii.

[Imageunavailable.]FIG.14.FROMARLESMUSEUM\.

A largenumberof the finest sarcophagihave fortunatelybeenpreserved intheArlesmuseum.Someof themcertainlybelongtoPagantimes,butmostofthemareoflaterdate.Manyareadornedwithbas-reliefs,representingthehuntoftheStagorWildBoar,ApolloandtheMuses,andotherclassicandallegoricalsubjects.

[Imageunavailable.]FIG.15.TOMBOFCORNELIA,ARLES\.

AmuseumhasbeenestablishedinthedisusedGothicChurchofStAnne,inwhichsomefineexamplesofclassicsculpturearepreserved.BesidesthePagansarcophagiabovereferredtoitcontainssomeRomanorratherGreeksculpturesofconsiderablepurityandbeauty;theGreciandescentandcultureofthecountrybeingdistinctlyobservableinthesemonuments—justasthesameGreekfeelingprevailsinthepaintingsandsculptureofPompeii.Thefragmentofastatueofafemaledancer (Fig.14) isparticularlygraceful inposeand in theexecutionofthedrapery.Thesarcophagus(Fig.15),withaninscriptionandtwowellcarvedfestoons, is called the Tomb of Cornelia. Fig. 16 shews a finely carved oakwreath and vase on the monument to the “good Goddess,” and a beautifullysculptured though mutilated bust of the Empress Livia. Fig. 17 represents afragmentofveryspiritedcarvingoffoliagesaidtobefromthefriezeoftheArcdeTriomph,anamphoraandaCorinthiancapital.

[Imageunavailable.]FIG.16.FROMARLESMUSEUM.

TheMuseumalsoincludesalargenumberofearly

[Imageunavailable.]FIG.17.FROMARLESMUSEUM.

Christianmonuments.That inFig.18, representingscenes from the lifeofourSaviour,exhibitsfigurescarvedintheRomanmanner,andwearingtheRomancostume,butdegradedinstyle,—evidentlytheworkoftheLowEmpire.Christoccupiesthecentralcompartment,andfourwidearchescontainfiguresubjects,—those on the extreme right and left representing theMagdalene and Pilate,whilethetwocentralcompartmentscontainsaintsbearingpalmbranches.

[Imageunavailable.]FIG.18.FROMARLESMUSEUM.

Thearcadeon thissarcophagus issupportedonpillarswithcompositecapsandbases,andshaftsornamentedwithflutingsandtwists,similarincharactertotheshaftsoftheearlymediævalcloisters.Thearchivoltisaveritablearchitravewithleafenrichmentcarriedroundthearch,andfilledinwithascallopshell.Itthus forms a distinct and instructive example of themanner inwhich the lateRomansdispensedwith the straight architrave, andadopted the arch springingdirectlyfromthecapsofthecolumns,aswillbemorefullyexplainedfurtheron.It will then be shewn how this monument illustrates the transition from theleadingfeaturesoftheGreektrabeatedstyletothoseoffullydevelopedRomanArchitecture, and also the mode in which Roman art was continued intoChristiantimes.

Most of the early Christian sarcophagi are carved with Biblical subjectssymbolical of the new birth, the great Sacrifice, the Resurrection, the LastJudgment,&c.,suchasthecreationofAdamandEve,Mosesstrikingtherockorraisingtheserpent,Jonahandthewhale,Danielandthelions,theparablesandmiraclesofourLord,&c.These formas interestinga seriesofearlyChristiansculptures,combinedwithlateRomanfeatures,asisanywheretobefound.

On the east side of the town are the remains of some parts of the Romanwalls,builtintheirusualmassivemanner.Theseconsistofportionsofthegateofthetown,bywhichtheAurelianwayentered,flankedbyruinedroundtowers.

[Imageunavailable.]FIG.19.

NIMES(Nemausus).SituatedatnogreatdistancefromArles,andatthebaseofthehillswhichboundtheplainoftheRhone,NimesformedthecapitaloftheVolcesArecomiques(orinhabitantsoftheflatcountry).InB.C.121itsubmittedvoluntarilytoRome,andafewyearsB.C.Augustusplantedacolonythere.Beingenrichedwith baths,&c., byAgrippa,Nimes soon became an important townsurrounded with walls and towers, and provided with all the usual publicbuildings. It had reached the height of prosperitywhen itwas ravaged by theVandalsin407.In472itfellunderthepoweroftheVisigoths,whoestablishedthemselvesinthetown,andmadetheamphitheatretheirfortress.Aftersufferingthe usual course of sieges and destruction by theSaracens andFranks,Nimesearly declared itself a Republic. In 1185 it came under the suzerainty of theCount of Toulouse, in which condition it continued to flourish till it finallypassedtoFranceunderLouisVIII.,alongwiththeotherdomainsoftheCountofToulouseaftertheAlbigensianwars.

[Imageunavailable.]FIG.20.AMPHITHEATRE,NIMES.

Although Nimes was a comparatively obscure town in the days of theEmpire, the remainsof itsRomanmonumentsare the finest inSouthernGaul.The Amphitheatre (Fig. 19) is not quite so large as that at Arles, nor is theinterior (Fig. 20) so well preserved, but the exterior is more complete. Itmeasures 437 feet by 332 feet,with thirty-two rows of seatswhich containedabout 20,000 spectators. The amphitheatre is now well seen, owing to theremovalof thepaltrybuildingswhichhad invaded it bothwithinandwithout.Like all suchRomanworks it is constructedwith themostmassivematerials,builtwithoutcement,andallboundtogetherwithsolidstonelintelsandarches.Fig.21,aviewinthecorridoronthefirstfloor,givessomeideaofthecolossalstrength of the masonry. But these great stone lintels, massive as they are,indicate a vicious form of construction, many of them being cracked andshatteredby theweightof thearches restingupon them.Theexterior isof theusualdesignofsuchedificeshavingtwoarcadessuperimposedoneontheother,with upright pilasters, or engaged columns, between the arcades supportinghorizontalentablatures.Eacharcadehassixtyarches.Thepilastersofthegroundtieraresquare,andhavenobase,while theengagedcolumnsof theupper tierareroundandoftheDoricorder;abovethelatteristheattic,partlydemolished,but still containing 120 bold consoles with holes to receive the masts whichsupportedthevelariumorawning.

There are four principal entrances at the four cardinal points; that of theNorth ornamented with a cornice resting on two bulls’ fore quarters. Similarornamental bulls were introduced in the Temple which stood where theCathedral is now built, and on the fine gate of Augustus of this city. Sometherefore think it a kind of coat of arms given by the Emperors to the town.OthersimaginethatthesefeatureswereadoptedinordertoflattertheEmperorAugustus, somebulls’headshavingbeen sculpturedon thehouse inwhichhewasborn.Afewsculpturesarestillvisibleon theamphitheatre, including twogladiators,andtheRomanwolf.

Averylargepartof theornament is left inblock,only thewesterndivisionbeingfinished,thecarvingoftheremainderneverhavingbeencompleted.Thepodium surrounding the arena is low, as at Arles, thus confirmingMérimée’sviews as to the provisionswhich required to be adopted for the safety of theaudience.

[Imageunavailable.]FIG.21

Theinteriorhasbeengreatlyrestored,soas tomakeitavailablefora largemodernaudience,andtheamphitheatreisnowused,amongstotherexhibitions,for the annual branding of the young bulls of theCamargue,which, from thelively description of it given by Alexandre Dumas, seems to be a stirringspectacle,notunworthyofthisclassicarena.

In ancient times the lowest or first series of seats was set apart for thesenators; the second series for theknights; the third forplebeians; and the toprows for the slaves. The last being the most quarrelsome it was considereddesirabletoendeavourtopreventsquabblingbymarkingoffeachperson’sseat.Thiswas effected bymeans of lines cut in the stone, some ofwhich are stillvisibleinsitu.

Someyearsagothereexistedinthefirstprecinctsdivisionssimilartothoseofboxesinmoderntheatres.

ThecelebratedMaisonCarréeatNimes(Fig.22)isprobablythepurestpieceofRomanworktobefoundnorthoftheAlps,andcannotfailstronglytoimpressthe beholder, especially if he here sees for the first time a genuine Romantemple.ThedesigndoubtlessowesmuchofitsbeautyandpuritytotheGrecianspiritofthelocality.Thebuildingissmall,beingonlyabout80feetby40feet.The portico, with its ten Corinthian columns, and enriched pediment, is veryfine;buttheeffectoftheflankview,inwhichthecolumnsattachedtothecellaarevisible,isnotsosatisfactory.Thetempleissurroundedbythirtycolumnsinall,includingthoseoftheportico,whichstandfree,andtheengagedcolumnsofthe flanksand rear.This iswhat iscalled thepseudo-peripteralplan—the trueperipteral templehavingthecolumnsdetachedsoas toformanambulatoryallroundthecella.TheformeristhearrangementusualinRomantemples,which,accordingtoFergusson,neverfollowthegenuineperipteraltype.Itis,

[Imageunavailable.]FIG.22.MAISONCARREE,NIMES.

however,worthyofnote, that thePLANof thisbuildingwith itsdeepporch israther Italo-Etruscan than Greek, and thus adheres to the traditional typeobservedbytheRomans.

Thecornice isperhaps ratherover-enrichedand is indicativeofa latedate,whenclassicartwasindecadence;butthefriezeisbeautifullydesigned,andthestyleasawholeisremarkablypureandelegant.

Various ingenious attempts have been made to decipher the letters of thebronzeinscription(whichwereoriginallyfixedonthefriezeoftheportico),bymeansoftheholesformedbytheboltswhichattachedthemtothestonework.Thereadingwhichseemsmostprobablefromitsagreeingwiththestyleofthebuilding,indicatesthatitwasdedicatedtotwonoblesdistinguishedwiththetitleof“princesofyouth.”Itisasfollows:—

M.CAESARIAUGUSTIF.COS.L.CAESARIAUGUSTIF.COS.DESIGNATOPRINCIPIBUSJUVENTUTIS.

This inscription necessarily places theTemple in the age of theAntonines,since theonlyprincesknown towhom the abovenames and title ofPrincipesJuventutis will apply, after the sons of Agrippa, were Marcus Aurelius, andLuciusVerus,adoptedsonsofAntoninusPius.

FromexcavationsaroundtheedificeithasbeenascertainedthattheTempleformed a centre from which colonnades extended on either hand. It thusprobably stood at the end of a Forum, the colonnades aroundwhich enclosedshopsandplacesofbusinessorpleasure.Thisedificehaspassedthroughmanyvicissitudes; and it is marvellous how it has survived all the various uses orabusestowhichithasbeensubject.ItwasnaturallyinthecourseofeventsfirstchangedfromaPaganTempleintoaChristianChurch;intheeleventhcenturyitformed the council chamber of themunicipal body; and at a later time it wasdegradedintoastable,whentheflutingsofthecolumnsweregratedofftoallowcartstopassbetweenthem.ItthenbecameattachedtoanAugustinianConvent,andwasusedasamausoleumandplaceofburial.Morerecentlyitwasoccupiedas the Hall of meeting of the revolutionary tribunal, and still later as a cornmarket.Now it hasbeenput ingoodorder, and contains the localmuseumofantiquities. This Museum comprises some good sculpture, especially a finestatueofVenus(Fig.23),andnumerousantiquarianfragments,—manyforwantof room being ranged round an enclosure in the open air. Portions of Romanmosaics and foundations of an earlier Roman building have been discoveredunder thesoilof theMaisonCarrée, thusshewing that ithasbeenerectedatalaterperiodthanthefirstoccupationofthesitebytheRomans.

[Imageunavailable.]FIG.23.STATUEOFVENUS.

AccordingtoMériméethestyleaccordswiththetimeoftheAntonines,whenthedecadencehadbegun,andwhenrichnessandmultiplicityofdetailsreplacedthesimplemajestyofthefirstcentury.Healsopointsoutvariousirregularitiesinthestructurewhichwouldneverhavebeentoleratedintheearlierperiod,—suchas,thatthecolumnsarenotequallyspaced,thatthereisanunequalnumberofmodillionsontheoppositesides,thatthecapsaretoolow,andtheshaftsofthecolumns too long (being 10¼ diameters in height). But notwithstanding thesedefectstheMaisonCarréeisabuildingofwhichNimesandFrancemaywellbeproud.

[Imageunavailable.]FIG.24.NYMPHÆUM,NIMES

The Nymphæum or Temple of the Nymphs at Nimes (Fig. 24), with itsaccompanying fountain, is another charming and quite unique structure. Thefountain bursts forth in great abundance at the base of a hill called MontCavalier.ItisenclosedinaspacewhichwasformerlyaRomanBath,andisthenledaway throughwideopenconduitsorcanals, all linedwith stoneand facedwith pilasters. The whole is situated in a pretty public garden to which thefountaingivesaspecialcharacter.Inthisgardentoo,arefoundtheruinsoftheabove temple, formerly called of Diana, which, however, is now supposed tohavebeenaNymphæum,orTemplededicatedtotheNymphs,andformingpartof theBaths.The interior contains twelvenichesof gooddesign, and the roofwas constructedwith large stone arches or transverse ribs, betweenwhich thespacewas filled inwith a plainwaggon vault or flags of stone. This kind ofvaulting was also adopted, as will be further explained afterwards, in theconstructionoftheearlyChristianchurchesofSyria,andhadundoubtedlygreatinfluence on the design of the first vaulted churches of Provence. TheNymphæumnowcontainsamuseumofbustsandstatues.Thistempleisshewn,by an inscription, to have been built along with the Baths in the time ofAugustus. The variety and elegance of its details are further evidence of theGreciantasteofthepeopleofthedistrict.TheaqueductfromthePontduGardterminatedinareservoirnearthispoint.

TheTourMagne(Fig.25),on the topof thehill above theFountainof theNymphs, is a Roman building, the object of which has given rise to muchdiscussion,withoutanydefiniteconclusionbeingarrivedat.Itseems,however,mostlikelytohavebeenamausoleum.Theplanisoctagonal,andthewallsarebuiltwithroughashlar.Thestructureishollow,andfrom90to100feethigh.Itwasattached to thewallsofAugustus,and in later timeswasconverted intoafortressbytheCountofToulouse.ThegeneralresemblanceofthedesignofthismonumenttothatofAugustusatLaTurbie,whichweshallmeetwithfurtheron,isverystriking.

TwooftheRomangatesofNimesremain.ThePorted’Auguste,foundedB.C.16, has a double arch for vehicles, and two side openings for foot passengersflanked by two towers. Like the Roman gates of Autun these two towerscontainedstairsleadingtothewalls,andformedpostsofobservation.Theothergate,thePortedeFrance,liestothewestoftheamphitheatre,andhasonewidearchway.

[Imageunavailable.]FIG.25.LATOURMAGNE,NIMES.

[Imageunavailable.]FIG.26.LEPONTDUGARD.

PONTDUGARD(Fig.26).ThismagnificentspecimenofRomanengineeringis situated at a distance of about 13 miles N.E. from Nimes, on the way toAvignon,andcannowbereachedbyrail.Itformedpartofanaqueduct(partlyintunnelandpartly inopencanal)ofabout25miles in length,whichbroughtanample supply ofwater toNimes. Thiswork is said to have been built byM.Agrippa,son-in-lawofAugustus,19yearsB.C.Ithasthusfor1900yearsdefiedall theattacksofman,bothbarbarianandcivilised,aswellas theelements, towhich so many other Roman monuments have succumbed, and still standsalmostasperfectasat first.Thearcadesabutateitherendon theslopeof thehills at thebaseofwhich flows the riverGardon.Theaqueductmeasures160feetinheight,and882feetinlengthonthetop.Itiscomposedofthreestages,all built with enormous blocks of stone placed together without cement, andpresents probably the most stupendous example of the solidity of RomanworkmanshipinGaul.Butitisroughlyandirregularlyconstructed,asifutilityalonehadbeenconsidered,andnoregardpaidtobeauty;thearchesareunequalinspan,andthestructureitselfisbentinitslength.Thearchesareconstructed,thoseof the twoupper arcadeswith three, and thoseof the lower arcadewithfourdistinctcoursesinthebreadthofthestructure.Thesecoursesarecomposedofstonesofimmensesize,placedsidebyside,butnototherwisejoinedtogether.Abovetheuppertierliestheconduitforthewater,5feethigh,and2feetwide,coveredoverwithimmenseflags,whicheventheGothsseemtohavedespairedofbeingabletodestroy.TheconduitislinedwithstrongRomancement,whichstillremainssoundandgood.Theprojectingblocksobservedontheflanksandunder the arches were intended to receive scaffolding for the execution ofrepairs,shouldtheseeverberequiredinaworksosimpleandsubstantial.“Whatagrandfaith,”exclaimsMérimée,“musttheconstructorsofthisaqueducthavehadintheeternaldurationoftheRomanEmpire,whentheymadeprovisionforrepairing this gigantic and enduring work!” The bridge placed alongside thelowerarchesisofmodernconstruction,havingbeenerectedin1743.

LeavingArlesforMarseilleswetraverseacountryasbareanduninterestingasanAfricandesert.Totheright,onthewesternsideoftheRhone,liesthegreatplainoftheCamargue,thedeltaoftheriver,composedofmingledsaltmudandstagnantpools,theresultofthecontestbetweenthewatersoftheRhoneandthesea; the former constantly pouring down immense volumes ofdébris, and thelatter, obeying the impulseof thewind, as constantlydriving it backupon theland.But the railway, keeping on the eastern side of the river, runs through adifferent but not less remarkable plain called the “Crau.” This consists of animmenseaccumulationofshingle,composedofwater-wornandroundedstones

ofallsizes—thefabledsceneofthefightofHerculeswiththeLigurians,whenJupiter rained down these stones to provide the hero with ammunition. Thisextensive plain was a barren wilderness until a system of irrigation wasintroducedbytheconstructionoftheCanaldeCraponne,wherebythewateroftheDuranceisbroughtdownforitsfertilisation.HavingatlastcrossedtheCrauwearriveatSTCHAMAS,where theeye is relievedby thebrightandpeacefulprospect over the Etang de Berre, an extensive branch of the Mediterraneanalmostentirelysurroundedwithland.StChamasisaquaintoldtown,withsomeofitshouseshollowedoutoftherockandtracesofancientramparts.Abouthalf-a-miledistantmaybeseenaninterestingRomanBridgecalledthePontFlavia.Itisconstructedwiththeusualsolidmasonry,andspanstheriverTouloubrewithonearch,whichisabuttedbytherockybanks.Theentranceateitherendtotheroadwayoverthebridgeisthroughanarch,decoratedwithCorinthiancolumnsand entablature. These archways are well preserved and are illustrated inFergusson’s “Handbook of Architecture.” The columns are surmounted withlions,andthefriezebearsaninscriptionshewingthat thestructurewaserectedbyoneoftheFlavii.

Somedistancenorth from this, on the slopeof the chainof theVernégues,whichdividesthevalleyoftheDurancefromthatoftheRhone,aretobefoundthe relicsof a smallCorinthian temple,originallyprecededwithaperistyleoffourcolumns in front,andpilastersof returnoneachside,ofwhich,however,onlyone singlepillarnowsurvives.Thiswasdoubtless the siteof the ancientErnaginum.

In early Christian times this temple seems to have been converted into achurch,andacircular-headedwindowopenedinthewallofthecella.AchapeldedicatedtoStCésairewasin the tenthcenturyerectedagainst thenorthwall,withadoorintothemainchurch,nowbuiltup.ThetempleiswellillustratedinTexier and Pullan’s “Byzantine Architecture,” and is said to be “full of thesentimentof pureGreek art.”The carvingof the capital, as shewn inTexier’sdrawing, is in thebest style. “Theproportionsof theentirecolumn,whichareexcellent,”saysTexier“andthefoliageofthecapital,whichseemstohavebeeninspired by that of themonument to Lysicrates, prove that this little building,concealedamongstthemountainsofProvence,wastheworkofaGreekartistofthecolonyofMassilia.”

It has already been pointed out how capriciously theRoman remains havebeen preserved in Southern Gaul. While a small provincial town like Nimespossessessomanysplendidexamples,thegreatandancientcitiesofMarseillesandNarbonnehavescarcelyasinglerelicoftheirGreekorRomancivilisation

left. At Marseilles some fragments of walls with an archway and somesubterraneanvaultsundertheChurchofStSauveuraretheonlyremainsofthesplendidedificeswhichnodoubtonceadornedthisancientandimportantcity.

AllalongthecoastbetweentheRhoneandthePyrenees,manytownsexistedandflourishedundertheEmpire,butthereisnowscarcelyafragmentofRomanworktobefoundinthewholeprovince.

Leaving therefore for the present this south-western district, we shall nowfollowthegreatAurelianwaywhichconductedfromSpainandGauleastwardintoItaly.Thisroadpasses throughthecelebratedRiviera, thefavouritewinterresortofthedelicatefromeverycountryinEurope,andevenfromAmerica.Itconsistsofanarrowstripof landbetween the lowerspursof theAlpsand thesea;butthislevelstripisfrequentlyinterruptedbybranchesorrootssentdownfromthemountainswhichrunoutasCapesintotheMediterranean,enclosingintheirarmsbeautifullyshelteredsunnybays,eachhavingatownorvillageofitsown.TheRomanroadclungtothemountains,theengineersfindingiteasiertospan with bridges the higher rugged ravines of the torrents than the broadchannels of the rivers near their mouths, where the shingly and shiftingfoundationwas found insecure.Of the townsand stationswhichexistedalongthisrouteinRomantimes,somevestigesmaystillbetraced.

TOULON, now the great naval arsenal of France in the Mediterranean(formerly TeloMartius), contains noRoman buildings; but somemiles to theeastward, on the road by the coast leading toHyères, the ruins of an ancientRomantowncalledPOMPONIANAhavebeendiscoveredandpartlyexcavated—exposing to view portions of the walls of houses, vaults, walls of enceinte,frescoes, fragments of sculpture, aqueducts, baths, &c. The wall of a quaypresentsthepeculiarityofbeingbuiltaboveabasementformedoflargecubesofstone, superimposed, but not united with cement, which seems to be ofCyclopeanwork.

Moving eastward we passLE LUC (Forum Voconii) in the middle of thefertile “garden of Provence,” where one Roman sculpture of a boar hunt hasbeen preserved; and following the course of the river Argens, with the rockymountainsofLesMauresontherightwearriveatFRÉJUS,animportantsea-portinRomantimes,andthenknownasJuliiForum.

This town is supposed to have been first occupied by the Phœnicians, andafterwardsbytheGreekcolonists.ItwasenlargedandimprovedbyJuliusCæsarandAugustus. It then possessed a valuable harbour at themouth of the riverArgens,towhichAugustussentthefleetofgalleyswhichhetookfromAnthony

at the battle of Actium; but the sediment of the river has now silted up theharbour,andformedaflatplainofaboutamileinbreadthbetweentheancientportandthesea.Theprotectingwallsoftheharbour,withasolidobeliskattheend,whichnodoubtmarkedtheentrance,stillremain,butarenowhighanddryontheplain.Adjoiningthesearethewallsofastrongfortorcastellumfor theprotection of the port, builtwithRomanmasonry of small sized cubic stones.The “Porte dorée,” is an archway close to the railway, built with similarmasonry,dividedwithcoursesofbrickwork,nowgreatlyrestoredandrenewed.Itis

[Imageunavailable.]FIG.27.AMPHITHEATRE,FRÉJUS.

supposedtohavebeenthegatebetweentheportandthetown.Someruinsofthebathshavebeendiscoveredadjoiningthis.Considerableremainsof theancientRoman city walls, enclosing five times the extent of the present town, stillremain. Close to the railway station relics of the “gate of Gaul,” and otherRomanworksareobservable.Followingthesefromtherailwaystationtowardstheleft,theruinsoftheRomanAmphitheatre(Fig.27),throughwhichthepublicroad passes by a picturesque archway, are soon reached. The interior is fairlypreserved,togetherwiththearcheswhichsustainedtheseats,staircases,&c.,buttheexteriorwallsandarcades(if thebuildingeverhadanornamentalexterior,which is doubtful) are now completely awanting.TheAmphitheatre is 375 ft.long by 273 ft. wide. The east side rests on the slope of a hill, so that littlebuildingwasrequiredinthatposition,butthewestsideofthestructureisraisedfromthelevelplain.

Continuing round the old walls of the town to the eastward, we find in agarden the ruins of aRomanTheatre. The dimensions of this building,whichwasofsmallsizecomparedtothosewehavemetwithatOrangeandArles,arequite traceable, but the scena is gone all but the foundations, and only somewallsandruinedarchesoftheauditoriumremainaboveground.

A little further round the walls, traces are observed of the great aqueductwhich brought the water of the river Siagnolles to Fréjus from a distance ofabove20miles.Onturningthenorth-eastangleofthewalls,theruinedpiersoftheaqueductareseenstretchingacrosstheplain.Attheabovepointtheconduitis in a canal owing to the height of the ground. On reaching the main roadleading fromFréjus to the eastwards, the aqueduct takes a suddenbend to theeast, and follows the road for a considerable distance. At this bend was anentrancegateofthetown,calledthegateofRome,aportionofwhichstillexists.From here a branch canal took the water to the port. In its long course theaqueduct is sometimes in cutting, and sometimes carried on lofty piers andarches 87 feet wide. Those near the town (Fig. 28) are amongst the finestspecimens, but someportions in themore remotevalleys also still retain theirarches,andatoneplacetheaqueductiscarriedintwoparallelcanalsonseparatearches.

[Imageunavailable.]FIG.28.AQUEDUCT,FRÉJUS.

Between Fréjus andCannes, theRomanViaAurelia passes inland throughthechainoftheEsterellemountains,whencetheRomansobtainedmuchofthegraniteandporphyryfoundintheirmonuments.AtCannesandneighbourhoodthere are a few Roman relics. A bridge over one of the small streams whichdescend from the hills through the town is said (but this is doubtful) to be ofRomanorigin.AdelightfulwalkofanhourfromCannesoverthehillsleadsbyVallauris to CLAUSONNE, where the well preserved remains of the Romanaqueduct (Fig.29)which conveyed thewater supply toAntibes are still to beseen.

[Imageunavailable.]FIG.29.AQUEDUCTOFCLAUSONNE.

AtANTIBES,theancientRomanAntipolis,therearenoRomanremains;butaccordingtoM.Lenthéric,astonehasbeenfoundherewithaGreekinscription,giving proof of the ancientworship of theHellenes in this region in the fifthcenturyB.C.

AtVENCE, theancientVentium,atownsomesevenmilesinland,anumberofRoman inscriptionsarebuilt into thewallof theCathedral,and twogranitecolumnsarepreserved,whicharesupposedtohavebeenanciently

[Imageunavailable.]FIG.30.CIMIÈZ(LookingN.E.)

presentedtothetownbythecityofMarseilles(seePartVI.)CrossingthewideanddangerouschanneloftheVar(formerlytheboundary

betweenFranceandSavoy)wearriveatNice.

[Imageunavailable.]FIG.31.CIMIEZ(LookingS.W.)

NICE (or Nizza), although now the most important town on the Riviera,possessesnoancientbuildings.InRomantimesCemenelum(nowCimièz), thechief cityof theMaritimeAlps, stoodon a lofty site about threemiles up theriver Paglione from the modern town. This ancient city has almost entirelydisappeared,itsonlyrelicsbeingtheruinsofasmallamphitheatre(Figs.30and31),throughthecentreofwhichthepublicroadnowpasses,andsomeexcavatedhypocausts in the garden of a villa adjoining.The amphitheatremeasures 214feet long by 178 feet wide, and it has been calculated that it was capable ofcontainingabout8000spectators.Theformofthearenaandtheslopeofthefirstseriesof seats canbedistinctly seen, but otherwise thebuilding is a completeruin.Afewoftheperforatedcorbelsforthesupportofthepoleswhichcarriedthe velariummay, however, be still observed on the exterior. But thewant ofarchitectural features is to some extent compensated by the grandeur of theviews obtained from the walls, comprising the whole of the coast fromBordighera on the east, to the Cap d’Antibes on the west. Proceeding in thatdirection, a drive along the magnificent Cornice-road soon brings us to theancientboundarybetweenGaulandItalyat

[Imageunavailable.]FIG.32.MONUMENTTOAUGUSTUS,LATURBIE.

LATURBIE (Turbia or Trophæa), a small town standing on an inland passformedbyanotchinthemountains,whichhereriseingreatprecipicesdirectlyfromthesea.OnthisneckatrophywasbuiltincommemorationofthevictoriesofAugustusover theAlpine tribes.Themonument (Fig.32)hasbeenofgreatsize,andisbuiltwithlargeblocksofstone.Itprobablystoodonasquarebase,onwhichwaserectedthegreatcircularmassabove.Itwasadornedwithstatues,and a colossal figure of the emperor crowned the top. The designwould thusresemble a greatmany of the splendidmausoleums erected about that time inItaly.AsabovenoticedthisedificebearsastronglikenesstotheTourMagneatNimes. ThemassiveRomanwork is still traceable in the lower parts filled inwithrubblebetween.Fragmentsofan inscriptionhavebeenfound in theruinscommemoratingthetriumphsofthedivineEmperorandHighPriestAugustus.Inmediævaltimesthismonumentwas,asusual,convertedintoafortress,asthework of the upper part still shews. It is executed in inferiormasonry, and thecorniceisItalianincharacter.ThefortresswasblownupbyMarshaldeVillarsin the seventeenth century.Thegateways of the town (seePartVI.) and otherstructures have been built with massive stones from the ruins of the trophy,which,assooftenhappens,hasbeenusedasaconvenientquarry.

Asplendidviewofthecoastisobtainedfromthesummit,includingMonaco,MonteCarlo,Mentone,andpointafterpoint to theeastward leading intoItaly.But thoughwe now stand on the borders of Italy, we should still have far totravel through the land ere we encountered such a fine series of Romanstructuresasthosewehavejustbeencontemplating.NottillwereachVerona,orRomeitself,aremonuments tobefoundcomparablewith theamphitheatresofArlesandNimes,orthetheatreofOrange;andthereisprobablynotempleeveninRomesocompleteandstrikinginitsunityandspiritastheMaisonCarréeatNimes. But our way lies not across this border.Wemust now turn back andfollowinthelateredificesthecourseofRomanArtaftertheFalloftheEmpire,andthegrowthanddevelopmentofthenewstyleswhichsprungfromit.

[Imageunavailable.]

[Imageunavailable.]V.

THEtransitionfromthearchitectureofRometothatofmediævaltimesformsoneofthemostinterestingandinstructiveepochsinourart.Thewholehistoryof Roman art is that of a transition from the external trabeated style,with itshorizontalentablature,whichwascommontotheearlyracesofGreeceandItaly,tothecompletedevelopmentoftheinternalarchedarchitecture,whichwasthefinaloutcomeofRomanconstructionalforms.

The leading featuresof that Italo-Greekarchitecturecontaina reminiscenceorsurvivalof theprimitiveelementsofwoodenconstruction, fromwhich theyweredoubtlesstraditionallyderived,althoughinthecourseoftimetheiroriginhadbeen lost sightof.Thus theuprightpillarswith their flutingsare idealiseddescendantsof theEgyptiancolumn,whichagain representsabundleof reedstied together.Thehorizontal entablature is derived from thebeams laid acrosstheheadsofthepillars,inaccordancewiththeearliestandmostnaturalmodeofwooden construction. The pediment is the evident continuation (both in placeand time) of the couples and ties of a wooden roof of the simplest andmostprimitivedesign;while the side cornice represents theprojectionof the eaves,and the triglyphs andmodillions are the imitative survivals of the ends of thecrossbeamsortiesandtheslopingraftersofthewoodenroof.Forcenturiesthistrabeated principle prevailed in Rome; but together with it there existed adisturbing element, which at first appeared to be small and insignificant, butwhich nevertheless contained the elements of the greatest revolutions inarchitecturewhich theworldhasyet seen.That little featurewas the arch, thedistinguishingprincipleoftruestoneconstruction—theseedcontainingthegermfromwhich, throughRoman cultivation, have sprung all the great families ofmediævalarchitecture,whetherByzantine,Gothic,orSaracenic.

The earlier architecture of theRomanswas doubtless chiefly derived fromthatoftheEtruscans,who,liketheGreeks,followedthetrabeatedprinciple.ThisoriginisdistinctlytraceableintheplansoftheRomantemples,whicharenevertruly peripteral, or surrounded with a detached colonnade, like those of theGreeks, but have a deep portico at one end only, in front of the cella.Of thisarrangementwehaveseenabeautifulexampleintheMaisonCarréeatNimes.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 theintroduction at a later period of the finer developments of Greek architecturewhichweresouniversallyfollowedduringtheEmpire.Meanwhilethearch,theantagonistic element to the trabeatedprinciple,wasgraduallyprogressing; andfromitsprimitiveobscureuseinsubstructures,conduits,andsimilarengineeringsituations, it had forced itself into notice above ground, and had gainedrecognitionintheelevationsasaproperarchitecturalelement.Hencearosethecombination, so conspicuous in the architecture of the Romans, of trabeatedfeatures, such as pilasters and entablatures, with the arched method ofconstructionwhich they had adopted from an early period, and ofwhich theyultimately shewed themselves such masters. The amphitheatres and thetriumphalarchesoftheempirewellillustratethismixtureofarchedconstruction,as shewn in the round-headed wall openings, combined with trabeateddecoration,intheformofhorizontalentablaturessupportedonengagedcolumnsorpilasters.Thismixedstylelongprevailed,andexamplesofitaretobefoundineverypartof theRomanworld.But in later times,whenpurityof tastehadbegun to decay, the Romans gradually gave fuller scope to their nobleconstructive powers, and allowed them to find a worthier expression in theirdesigns.Thistookplacechieflyintheirengineeringworks,suchasthePontduGard,andintheirinteriorarchitecture,as,forinstance,inthegreathallsoftheBaths ofDiocletian andCaracalla, theBasilica ofConstantine (orMaxentius)and other similar works, in some of which immense intersecting vaults weresuccessfullyexecuted.Thesimplebarrelortunnelvaultisofveryancientorigin,and was adopted by the Romans from the earliest times. They also freelyemployed round intersecting vaults for covering spaces of all sizes up to thegreatexamplesabovereferredto.ButthemostastonishingfeatoftheRomansinconnectionwithvaultconstructionistheiradoptionandapplicationofthedome.InthePantheonatRomewehaveanexampleofthatspeciesofvaultintroducedatonceinitsperfectforminthelargestexampleintheworld.TheporticoofthistemplebelongstotheageofAugustus,anditisthereforethoughtbymanythattherotundaanddomeareofthesamedate.ItisveryremarkablethatnosmallerRoman domes of earlier date are to be found, and that this style should, as itwere,beborn inperfectmanhoodwithouthavingpassed through thestagesofinfancy and growth. These no doubt existed, although we have as yet beenunabletotracethem.Possibly,asProfessorBaldwinBrownsuggests,thedomeisofeasternorigin,anditsenlargedconstructionmayhavebeenworkedoutinsome of theHellenistic cities, such asAlexandria,where the earlier exampleshavenowperished.

Alongwith the introductionof theabovenewandsplendiddevelopmentofvaulting in their interiors, the Romans still adhered in the decoration of theirexteriors to theItalo-Grecianportico,with itsentablatureandpediment. Itwasnot till the timeof theLowerEmpire that theseelementscame tobemodifiedandslowlyabandoned.Thestagesbywhichthetrabeatedformswerebydegreesstrippedoffcan,however,bedistinctlytraced.Thearchesandvaultsemployedin the baths, tombs, &c., no doubt conduced to that result. In these the archbecame the important feature internally, and naturally in course of time itassumed a more prominent position externally also. Archivolts, or curvedarchitravesrunningroundthearches,suchaswereincommonuseinbuildingslike the Colosseum, had gradually intruded themselves amongst the Greekpilastersandentablaturesoftheexteriorelevations;whileinlateredifices,suchasthepalaceofDiocletianatSpalatro, thestraightarchitravewasomitted,andonly the arched one retained. The early Christian sarcophagi shew the sameimportant step. In theseacommondesignconsistsofanarcadecontaining thefigureofanapostle ineacharch,and thesearchesorarchivoltsspringdirectlyfrom thecapsof thecolumns,withoutanystraightarchitravebeingemployed.Ofthisagoodexamplehasbeengivenabove,page63.

Inall transitionalstyles it isdifficult,and indeedscarcelypossible, todrawthe line where one style terminates and another begins. This is especiallydifficult inconnectionwith thepassage fromRoman tomediævalarchitecture.ThelatterwasinfactforcenturiesnotadifferentstylebutsimplyacontinuationofthatoftheEmpire.

After the adoption of Christianity the purposes to which the Christianbuildingswereappliedwascertainlyverydifferentfromthatoftheirprototypes,but the architecture was the same. The circular domed edifices raised by theRomans as mausoleums were imitated by the Christians in their circularbaptisteries; while the style of construction employed in the great basilica orpillared hall lighted by a clerestory, was exactly copied in the nave or largevesselof theChristianChurch.Thecontinuityofstyle iscomplete; there isnobreak. The same Corinthian or Ionic pillars, the same entablatures, the sameroofs and vault are used in both. So close is the resemblance between theChristiancircularbaptisteries(severalofwhichweshallmeetwithinProvence)and Roman circular monuments, that the former are generally regarded asRoman temples converted to Christian uses. The early churches are usuallycalledbasilicas,andhavehithertobeensupposedtobederivedfromtheRomanbasilica. But Professor Baldwin Brown, in his recent interesting and learnedwork“FromScholatoCathedral,”endeavourstoprovethatthisisnotthecase.

Thebasilicahadnodoubttheformofapillaredhallwithcentralandsideaisles,theformer litbyaclerestory,but ithadnoapse,or if therewasone itdidnotoccupytheprominentpositionofthatfeatureintheearlychurches.Theoriginoftheapse,whichwasanessentialfeatureinallchurches,containingasitdidtheseat of theBishops in the centre and those of the presbyters on either side, isattributedbyProfessorBaldwinBrowntothememorialcellaeerectedbyPagansandChristiansalikeinthecemeteries.Theseoftenassumedadomedorapsidalform, and were much resorted to on saints’ natal days, for commemorativefestivalsandreligiousceremonies,heldinthecemeteriesabovethespotwherethemartyr’sbonesreposed in thecatacombbelow.Ata later time,when theserelicshadbeen transferred tocryptsbelow thealtarsof thechurches, theapsewas a featurenaturally introduced to complete the resemblance to theoriginaltomb.Asregardsthenave,thescholaeorhallsofmeetingofprivatesocietiesareregarded by Professor Baldwin Brown as the principal model of the earlychurch.Under theemperors theChristianswereallowed to formburialguilds,and these, like other guilds, had their scholae. The schola often had an apsecontainingtheseatofthepresident;andtheaboveauthorisofopinionthatthelarge churches built after the conversion of Constantine are rather enlargedscholaethancopiesofbasilicas.

However this may be, the type of the early Christian church or basilicapresentedtoviewanelongatedhallwithtwoorfourrowsofpillars,dividingitintothreeorfiveaisles,withaloftytriumphalarchattheendofthecentralnave,leading intoawideopen space raised somestepshigher than thenave, and inwhichstoodthealtar.Beyondthiswastheinvariableapsewithitssemi-domedceilingadornedwithmosaics,andcontaining,elevatedbyafewstepsabovethefloor, the throne of the Bishop, and the seats of the Presbyters. The wholebuildingwascoveredwithanopenwoodenroof.

SomeoftheseearlychurcheshavebeenpreservedorrestoredinRome—suchasSanPaolofuorileMura,StaMariaMaggioreandSanClemente.

There iseveryreason tobelieve that theabovewas theusual formofearlychurches in theWest.AtRavenna,whichwastheprincipalcity inItalyduringthe Lower Empire, being the seat of the Exarch, the representative of theEmperor in the West, there are fine examples of the various kinds of earlyChristian religious edifices, dating from the fifth to the seventh century. ThegreatChurch orBasilica, used for the assembly of thewhole congregation, isrepresented inStApollinareNuovo. Ithas theusual rowofcolumnsoneithersideof thenave, separating it from thesideaisles,andsupportinga flatupperwall splendidly decorated with mosaics, the whole being ornamented with

Romandetails.Theupperportionofthewallispiercedwithclerestorywindows,andattheeastendisthegreatapse.

The Baptistery or Ceremonial Church is as usual octagonal and is domed.Herealsothewallsarecoveredwithfinemosaics.

Another extremely interesting building at Ravenna is the church of SanVitale. This edifice (whether designed as a monument or as a church isuncertain) is octagonal anddomed, verymuch after the style of the temple ofMinervaMedicaandsimilarRomanstructures.

SanVitalehasaspecialinterestfromitshavingformedthemodeladoptedbyCharlemagneforthechurchwhichheerectedatAix-la-Chapelle,toservealsoashis own mausoleum. It thus constitutes an example of a Roman designreproducedinRavenna,underthelateEmpire,asaChristianstructure,andagainservingasamodelforamediævalmausoleumaslateastheeighthcentury.ThisshowsdistinctlythecontinuityofRomandesignanditsdirect influenceontheartoflatertimes.

TheabovethreeedificesatRavennapresentfullydevelopedexamplesofthethreechiefbuildings required inconnectionwith thechurch servicesup to theninthcentury,viz.,thechurch,thebaptistery,andthemausoleum.AsweproceedweshallmeetwithproofsthatthesameclassesofedificeswereinuseandwerecarriedoutinasimilarmannerinotherpartsoftheWesternEmpire.ThecircularoroctagonalbaptisteryisoffrequentoccurrenceinSouthernGaul.Examplesofcircularchurchesarealsonotawanting,butthereiseverygroundforbelievingthat thebasilicanformofchurch, like thatofStApollinare,was theplanmostgenerallyadoptedinWesternEurope.

At Ravenna, an early circular tower or campanile, generally similar to thesquareonesatRomeandelsewhere, still exists.This is a feature theoriginofwhichhasnotyetbeenaccuratelydetermined.Theprevailingopinion,however,now is that these towers were at first erected as places of observation anddefence,beinginthatrespectsomewhatsimilarintheirconceptiontotheroundtowers of Ireland. As in San Vitale, one form of a Roman octagonal-domedbuildingisfollowed,soatSanLorenzoinMilananotherdesignofasomewhatsimilar character is carried out, showing that the basilican form, althoughgeneral,wasnotuniversal.

InconsequenceofthedestructioncausedbytheinvasionsoftheBarbarians,byfireorotherwise,veryfewedificesnowexistinWesternEuropeofthetimebetweenJustinianandCharlemagne.DuringallthattimeofdisasterintheWest,theEasternEmpirestillmaintaineditselfinsplendour,andgaveencouragementto architecture and the fine arts. From an early time the Byzantine architects

showedapreferenceforthedomeovertheintersectingvault,anditispossibletofollowinthestillexistingedifices,themodeinwhichthedomicalformofroofwasgraduallyworkedout,untilinthegreatchurchofSta.Sophia,erectedunderJustinian, in thesixthcentury, the largestandnoblestbuildingof thestylewassuccessfullycompleted.

InthedetailsofthestyleoftheLowerEmpire,aspractisedintheEast,thereis considerable evidenceofGreek taste.The sharp thistle-like sculpture of thefoliageisdesignedinamannernotunlikethatoftheCorinthiancapitalsoftheChoragicMonument of Lysicrates atAthens. TheByzantines also excelled inflatanddelicatecarving,suchasthatgenerallyexecutedinivoryorfinewood,and in ornamentalmetalwork and jewellery.When theWest began to revive,thisByzantine art naturallyproduced some influenceon it.Avery remarkableexampleof thisoccursinthechurchofStMark’satVenice,erectedaboutA.D.950,which inevery feature—inplan, indistributionofparts, in theuseof thedome, and in its mosaic decorations,—is a distinct importation fromConstantinople.

But the art of the East was destined to produce, at a later period, amuchstrongereffect,asweshallafterwardssee, inProvenceandAquitaine.Besidesthe domical structures ofConstantinople, another series ofChristian buildingswhichhadagreat influenceonWesternarchitectureexists in theEast.A largenumberof churcheshavebeenbrought to light inSyriaby theworkofCountMelchiordeVogüé.ThesecorrespondingeneralfeatureswiththeearlychurchesoftheWest.Theycompriseacentralnaveandsideaisles,separatedbyrowsofpiers,with nave arches thrown longitudinally between them. The nave is alsocrossedtransverselywitharchescastbetweenthepiers,andtheseareabuttedbyarchesthrownoverthesideaisles.Thelatter,inordertoresistthethrustofthecentral arch, require to be placed at a considerable height. The side aisles arethusrenderedunnecessarilylofty,andarethereforedividedintotwostoryswitha floor which forms a gallery. The nave piers and their transverse arches areplacedprettyclosetogetherinordertocarrythegreatflagstonesofwhichtheroofisfrequentlycomposed,andwhicharesupporteduponthem.Althoughtheroof is in some cases flat, the general system of construction of these Syrianchurches is very similar to what is found in the oldest churches of SouthernGaul; and which, as already mentioned, was also used in the Nymphæum atNimes. There can be little doubt but that the Syrian structureswere carefullystudied by the numerousmonkswho visited the East in the eleventh century,whilePalestinewas in thehandsof theCrusaders, and that theywere therebyhelpedforward in theenterprisewhichwas thenabsorbing theattentionof the

Westernarchitects,viz.,howtorooftheirchurcheswithstonevaults.HithertotheWesternbasilicashadbeenroofedwithtimber.Afewexamples

of these early basilicas have escaped the universal destruction, and serve toindicatewhattheotherchurcheswhichexistedbeforetheeleventhcenturywerelike.

The BasseŒuvre at Beauvais is a well known specimen. It has a row ofsquare piers on each side of the nave, separating it from the side aisles andcarrying, on round arches, the upper walls containing the windows of theclerestory—the whole being covered in with a wooden roof. It was probablyterminatedtotheeastwithasemicircularapse,andatthewestwithanarthexorporch.

Theseearlychurcheswerenodoubtallofverysimpleconstruction,theonlyornamentsbeingthemarblecolumnsandcarvedworkwhichinsomelocalitieswere available from Roman buildings.Where these existed the style adoptednaturallyfollowedtheRomanforms,butindistrictswheretheywereabsentthestyle gradually passed into the Romanesque, under the influence of the newelements imported by theNorthern invaders.We have seen howCharlemagneattemptedtofollowaRomanstructure inhisgreatchurchatAix,andthat isadistinct indication of the general tendency. The chief object at this period oftransition was to produce an effective internal design, the exterior beinginvariablyverysimple.InthisalsothesystembywhichRomanarchitecturehadbeendevelopedcontinuedtobecarriedout.

When the newpolitical conditions of the different divisions ofEurope hadbecome somewhat settled, these principles were worked out separately andindependently in each country and province, and produced a great variety ofstyles, all comprehendedunder thegeneral titleofRomanesque.Theywere inreality all derived from ancient Roman architecture, but by their very varietytheyindicatethenewspiritwhichwasnowbeginningtoexpressitself.

As above mentioned the great desideratum in the eleventh century was asimpleformofstoneroof.Theearlierwoodenroofhadbeenfoundsoliabletodestruction by fire, that great efforts were now made to provide a fire-proofcovering.

AtSanMiniato, nearFlorence, there still stands a very fine basilica of thebeginningof theeleventhcentury,whichshewsonemethod inwhich thiswasattemptedtobedone,andwhichrecallsthemodeofconstructionoftheSyrianChurchesabovereferredto.

SanMiniato is divided into three long bays in its length by circular stone

arches, springing fromclusteredpiers, thrownacross thenave,eachbaybeingagainsubdividedbythreelongitudinalarchivoltsrestingonsimplepillars.

Theabovegreattransversearchesdonot,asintheSyrianexamples,carrytheroof,whichisinthisinstanceofwood,andisthusnotquitefireproof;butevenifthe timbers were destroyed by fire, the three transverse arches would tend tobindthestructurealltogether,andpreventfurtherruin.

[Imageunavailable.]FIG.33.SANMINIATO.

InthechurchofNotreDameduPréatLeMansinthenorth-westofFrance,thereisanotherexampleofasimilarformofroof,constructedinthemiddleoftheeleventhcentury.

InProvencethesystemofvaultinggenerallyadoptedwasofamorecompletecharacter, derived in all probability, as already mentioned, from the Romansystem (as used in theNymphæum at Nimes), and perhaps also aided by theexamples of the vaulted churches seen by the Crusaders in Syria. When therevivaloftheeleventhcenturytookplace,theProvençalchurcheswereusuallyerected on the basilican plan, which doubtless was the traditional one. Thesechurches are small, but they generally embrace a central nave with two sideaisles, each terminated to the eastward with an apse. The roof is almostinvariably composed of a pointed barrel or tunnel vault, with strengtheningtransverse ribs springing from the caps of pilasters carried up from the navepiers,asforinstanceinStTrophimeatArles.

Thesideaislesarealsoarched,eachwithonehalfofapointedvaultthrownagainsttheupperpartofthenavewall,soastoabutthecentralvault.Theroofconsists of tiles laid directly on the extrados of the arches, after the Romanmanner,sothatthereisherenothingliabletosufferfromfire.Thereis,however,itwillbenoticed,oneremarkabledivergencefromtheRomanmodel,inwhichthevaultsandarchesarealwaysround.InProvencetheyareinvariablypointed.This form of vault, as mentioned by Mérimée, Fergusson, and others, wasadopted, not from choice but as a necessity, or at least a convenience ofconstruction.Thepointed formwas found tohaveseveraladvantagesover theround.Itwaseasierofconstruction,amatterofgreatconsequenceinthoserudetimes;itexertedlessthrustonthesidewalls,andwasthereforemorestable;anditfittedbettertheslopeofthetiledroofcovering.

It is evident that the roof of the side aisles, in order properly to abut thecentral vault, had to be carried up to a considerable height. This height beingmorethanwasnecessaryintheaisles,issometimesdividedintotwostorys,theupperoneformingagallery—anarrangementwhichwasfrequentlyadoptedinLombardyandtheRhineland,andalso,aswehaveseen,intheSyrianchurchesabovereferredto.OnegreatobjectiontotheProvençalsystemofvaultingisthatthechurchesareverydark—aclerestorybeingobviouslyimpossibleconsistentlywithsafety.Numerousexpedientswereadopted toprovidemore light, suchasbyintroducingwindowsinthegables,andbyheighteningthesidewallssoastoadmitofasmallclerestoryovertheroofoftheaisles.Butthelatterwasfoundtobeaveryunsafecourse,andat thebestonlyclerestorywindowsofverysmallsizecouldbe introduced, so that the longbarrelvaults still remaineddarkand

gloomy.In Aquitaine an entirely different system of vaulting was accidentally

introduced, and threatened at one time to spread itself over the whole ofSouthern Gaul. The story of the importation of this style, and the variousmodifications arisingoutof it, is somewhat strangeand remarkable.Owing tothepirateswhoinfestedtheStraitsofGibraltar, thetradefromtheLevantwiththeWest of France and Britain, was carried on bymeans of caravans, whichconveyed the goods across the country, from theMediterranean to theBay ofBiscay. The goods landed at Marseilles or Narbonne were thus carried byLimoges to La Rochelle and Nantes, where they were again shipped for theNorth of France andBritain. The town of Perigueux, situated in the centre ofAquitaine, at that timeprobably the richest country inGaul,became thehead-quartersoftheVenetianmerchants,bywhomthistrafficwaschieflycarriedon.These Venetians, as they had in the tenth century imported the plan anddecorations of St Mark’s at Venice, from the East, so they soon afterwardsresolved tocarry thesamemodelwith themintoAquitaine.AtPerigueux theyerectedachurchexactlyaftertheplanofStMark’s,beingintheformofaGreekcross,crownedwithonedomeoverthecentralcrossing,andfourdomesoverthefourarmsofthecross.ThegeneralideaofthischurchofStFrontatPerigueuxisundoubtedly borrowed from StMark’s, but the execution seems to have beenentrusted toanativeartist; for,although theconception isEastern, thestyleofworkmanship, is that of the locality. In the original the arches and domes arespherical,whilehere theyarepolygonalandpointed,whichwehaveseenwastheProvençalsystemofconstruction.Thependentiveswhichfilluptheanglesunder the domes are rudely executed in horizontal corbelling, not dressed asportions of a spherical vault, as theywould have been by a scientific Easternarchitect.

The churchofStFront atPerigueuxhadgreat influenceon the subsequentarchitectureofAquitaineandtheWestofFrance.TheplanofStMark’swasnotfollowedinotherexamples,theoldtraditionalbasilicanplanbeingpreferredandadhered to; but the dome raised upon pendentives, as introduced at St Front,becamethecommonformofvaultinginAquitaineandtheWestofFranceintheeleventhand twelfthcenturies. In thechurches thusconstructed the sideaislesarefrequentlyomitted,andthebuildingconsistsofasinglehall, roofedwithaseries of domes resting on transverse arches, which are abutted with largeinternal buttresses. We thus find in Aquitaine and the South generally twoimportantderivationsfromStFront,viz.,1st,thedomedsystemofvaulting,and2nd, the single or aisleless nave,—the latter being sometimes vaulted with

domesandsometimeswithgroinedarches.AslateasthethirteenthcenturytheinfluenceofthedomemadeitselffeltinthechurchesofAquitaine,Poitou,andAnjou;whiletheinfluenceof theplanofthesingleaislelessnavecontinuedtobeprominentinthechurchesofLanguedoclongafterthedomewasabandoned,andevenaftertheGothicoftheNorthhadinvadedtheSouthernprovinces.

It thushappensthatearlychurchessuchas theCathedralsatToulouse(Fig.34)andFréjus(seePartVI.)presentamixtureoftheseideas,beingsometimesfounddesignedontheplanoftheaislelesshall,butatthesametimeroofedwithgroinedvaulting.Thebuttressesinallthesesinglenavechurchesarefrequentlyinternal,andformdeeprecesses,whichareutilisedassidechapels.

AtadistancefromPerigueuxasacentre,domesaresometimesused,asisthecase,forinstance,inAuvergne,butinProvencethedomeisgenerallylimitedtothespaceoverthecrossing.

In the latter locality the Byzantine influence exhibits itself in a differentdirection, being chiefly confined to details and subordinate features. But hereanother factor comes into play. The presence of the Roman monuments stillexistinginProvencehasevidentlytendedtoimpressaRomancharacteronthearchitecture of the district. So strikingly indeed does some of the ProvençalarchitectureresembleRomanwork,bothingeneraldesignanddetail,thatithasfrequentlybeenmaintainedthatitisactuallytheworkoftheLowerEmpire.

The style of Provence in the twelfth century differs on this accountconsiderablyfromthatoftheotherRomanesquestyles.TherevivalwhichtookplacealloverEuropeintheeleventhandtwelfthcenturiesoccurredinProvencealso,buttheresulttherewassomewhatpeculiar,theeffectoftheRomanremainsbeing to produce in many of the features of Provençal architecture a closerresemblance to the Romanesque style of Rome and Italy than to that of theRhinelandandtheNorth.

[Imageunavailable.]FIG.34.TOULOUSECATHEDRAL.

ThetowersandcampanilesofProvencealsoeithercorrespondindesignwiththoseofItalyorareimitatedfromRomanmonumentsinthecountry.

The circular baptisteries, ofwhich a goodmany examples survive, are likethoseinRome,constructedwithcolumnsandcapsfromancientbuildings,orarewroughtinimitationofthem.

SculpturealsoaboundsinProvence,beinginspiredbytheabundantremainsof ancient work in this favoured province of the Empire. Along with theimitations of Roman work, there is also, as already remarked, a considerableinfusion of Byzantine influence. This, according to Viollet-le-Duc, may beobservedinthepolygonalformoftheapses;inthepolygonalcupolassupportedonaseriesofcorbelledpendentives;intheflatarcadesemployedtodecoratethewalls;inthemouldingswithsmallprojectionandnumerousmembers;intheflatanddelicateornament;andinthesharpandtoothedcarvingofthefoliage.Otherwriters,however,areofopinionthattoomuchweighthasbeenattributedtotheinfluence of Byzantine art, and that almost all the above elements may beaccountedforby theRomantraditionsof the locality. It isdoubtful inhowfartheRomanbuildingswhichsurvivedinProvenceandtheimportedclassictasteofByzantiumwerebeneficialtotheartsinthatcountry.Theynodoubtgaveanimpetus and motive which would otherwise have been awanting, and thusassistedtheProvençalsinmakingtheearlystarttheydidintherevivaloftheirarchitecture. But on the other hand they acted prejudicially to that revival, inimpressingonitthestampoftheclassictrabeatedstyle,whichintheirabsenceitwouldhaveescaped,andmightprobablyhavebeendevelopedin thefreerandmorenaturalmannerwhichoccurredatalaterdateintheNorth.

TheearlyuseofthepointedarchinthevaultingoftheProvençalchurchesisanotherstrikingfeatureofthearchitectureofthedistrict.MuchhasbeenwrittenabouttheoriginofthepointedarchandthedateofitsintroductionintoWesternEurope.IntheNorthofFranceitsfirstuseoccurredinthetwelfthcentury,anditwas at one time maintained that the Provençal churches, from their havingpointedvaults,mustnecessarilybelater thanthatdate.Thereisnow,however,noquestionas to thegreaterantiquityofmanyof theSouthernbuildings, thusprovingthat theuseof thepointedarchwasadoptedintheSouthconsiderablyearlierthanintheNorth.

WehavealreadyseenthatthatformofarchwasfirstusedinProvenceasaconstructionalexpedient,andnotfromanypreferenceforthepointedform.TheoriginalideamaypossiblyhavebeenderivedfromtheMoorsinSpain,amongstwhomthepointedarchwascommonfromearlytimes,andwasemployedasadecorativefeature.InProvenceitsusewaslimitedtothevaulting,theroundarch

beingpreferredforalltheornamentalpartsofthearchitecture,anditcontinuedto be so employed till the thirteenth century. It is a striking circumstance,observes Mérimée, that at the moment when the round arch was entirelyabandoned in theNorth thepointed arch experienced the samedisgrace in theSouth. In theNorth thepointedarchbecame thedecorative form,when in theSouth the round arch was preferred. The position of the pointed arch is thuscompletely reversed in the North and in the South. The greater part of thevaulted constructions of the thirteenth century in the South are exclusivelyround, theadvancement in skill,both inexecutionand in theuseofmaterials,havingrenderedthatformmoregenerallyavailable.Numerousexamplesofthisemploymentoftheroundarchwillbefoundinthefollowingpages.

The Roman and Byzantine influences were naturally strongest where theancient remains andEasternornamentsweremost frequentlymetwith.Asweretire from theMediterraneannorthwards andwestwards theRomanbuildingsbecomelessnumerousandthesignsofByzantinecommercediminish.Inthosevariouscountriesdifferentstyleswerenaturallydeveloped.ThesearedividedbyViollet-le-Duc into the schoolsofToulouse,Poitou,Auvergne,Burgundy,&c.,allhavingdistinctcharacteristicsinplans,elevations,formoftowers,ornament,sculpture,andeverydetail.OfthesevariousschoolstheBurgundianwas,duringthe twelfth century, in advance of all the others, not only in the size andmagnificence of its buildings, but also as regards progress in design—effortsbeing theremade to free theornaments from theconventional and stereotypedpatternsofclassicart.

Viollet-le-Duc endeavours to account for this advancement in Burgundianarchitecture by the suggestion that it possibly arose from the study of thepaintings of Byzantine MSS., which were numerous in the monasteries, andtherefore more frequently under the eyes of the monks than the purelyarchitecturalformsofbuildings.Thesepaintingspreserveconsiderablefreedomof treatment both as regards natural expression in the features and dramaticaction in the figure, and are much less bound and fixed by traditional andconventionalrulesthanthearchitecturalformsandornament.

TheartistmonksoftheBurgundianconventswerethusledtolooktonatureas theirmodel in sculpture, and their attentionwasgradually turned tonaturalobjects as their guide in the representation of foliage, aswell as figures. Thisprocess,incourseoftime,openedthewayforanentiredeparturefromancientprecedent, and led to thewonderful development of the natural school of theRoyalDomain,whichtookplaceintheendofthetwelfthandbeginningofthethirteenthcenturies.

AttheheadoftheBurgundianschoolstoodthegreatBenedictineAbbeyofCluny.(Seeante,p.20).ThechurchofthisAbbeywasthelargestbuildingofitstime, although unfortunately not one stone of it now remains upon another.Clunyhadnumerousdependenciesandoffshootswhichwereallanimatedwiththesamespirit,andspreadatasteforrichnessandmagnificenceinarchitecture,wherevertheywereplanted.

Buttheperiodwearenowconsideringwasoneofawakeningandexpansion,not only in the direction of architectural art, but also in every department ofintellectualandreligiousdevelopment.Itisnotthereforetobewonderedatthatall men were not actuated by the same feeling of admiration for splendidbuildings and paintings. Many of the religious rather sympathised with theseverityoftheoldascetics.Itappearedtothesereformersthatallthissumptuousandsplendidmodeoflifewasnotinaccordancewiththefundamentalprinciplesof their religion, and they longed to return to the simplicity of the primitivechurch.

Amongst thosewhoraised theirvoicesmoststrenuously in thisbehalf,wasthe great St Bernard, who even went the length of separating from theClunisians,anddevotedhisenergytotheencouragementoftheneworderoftheCistertians,whichwasdestinedtoplayanimportantpartinthefuturehistoryoftheChurchanditsarchitecture.Ofthesevererulesofthisorder,thoserelatingtotheerectionofbuildings,wereamongstthemoststringent.Thesewererequiredtobeofthesimplestform,andtobeentirelyfreefromornamentanddecorationofeverykind.Atfirstthismaximwasstrictlyadheredtoinallthebuildingsofthe Cistertians, which are therefore of the baldest possible description, as thenumerous examples hereafter illustrated in Provence and elsewhere show.Butthisveryseverityofstyleseemstohavehadgreatinfluenceinclearingthewayfor the introductionof anewandmorenatural art, by sweeping away the lastremains of the ancient traditional forms, and leaving the course clear for theinvention of novel ornamentation derived from natural objects. This may beregarded as the second phase of Provençal art. The first comprised all thoseprimitivestructures,thestyleofwhichwasfoundedonRomanorclassicdesign.But this second phase discarded all such ornament, and retained only thestructuralelementswhichhadup to this timebeendeveloped.Theseofcourseincludedtheuseofthepointedarch,whichisalwaysemployedinthevaultingand all the important structural features, while the round form is frequentlyretainedintheminorarches.OfthisbarebutvigorousstylenofinerexamplecanbecitedthantheAbbeyofThoronet(tobeafterwardsdescribed),butthewholecountryabounds(asweshallfind)withexamples,bothlargeandsmall,ofthis

reformedorsecondperiodofProvençalarchitecture.AfteratimetheCistertianstrictnesswas gradually relaxed. Themore ornate style of theClunisianswasfoundtobemoreinaccordancewiththefeelingsandtasteofthetimes;andtheCistertiansultimatelycametoviewiththeminthebeautyandrichnessoftheiredifices. But, as above pointed out, the traditional Roman and Byzantineelements were entirely banished, and a new and natural system of ornamentadopted.

UptothedatewhichwehavenowreachedtheprogressofthegreatmonasticcentresofBurgundyandthecitiesof theSouthhadbeeninadvanceof thatoftheRoyalDomain,andtheNorthernprovincesgenerally.Butfromtheendofthetwelfth century many circumstances combined to reverse that position. Thecountry of the Franks had become settled—the restless spirit of that people,whichhadfoundexpressionintheCrusades,hadexhausteditself;theideaoftheonegreatandholyRomanEmpirehadpassedaway,andthevariouscountriesofmodernEuropewere gradually consolidating themselves and forming separatenationalities.

The Feudal system, which tended to break up all general authority, wasgraduallybeingsubjectedtothegrowingpowerofacentralsupremeruler.Tradeandcommercewerereviving.Thetownsandcorporationswhichhadgrownupunder the fostering care of themonasteries, or under the shadow of the greatcastles of thenobility,werenowassuming amoreprominent and independentposition.Theyperseveringlypressedtheirclaimsontheirsuperiors,whetherlayorecclesiastical,andwerebyslowdegreesobtainingchartersandliberties.TheBishopswhose seeswereconnectedwith the townsencouraged thecitizens inthiscourse,withtheviewofstrengtheningtheirownpowerandimportance,soastoenablethemtokeeppacewithandifpossibleovercomethegreatinfluenceoftheirrivalsthemonasteries.Thisgrowthofthepopularelementinthetownsnaturallyledtotheemploymentoflaymeninconnectionwiththedesigningandexecutionoftheworksofthecathedralandotherecclesiasticaledificesattachedtothevarioussees.

The monks, who had hitherto been the sole possessors of the requisiteknowledge and practical skill, had by their schools, and by the guilds oftradesmen which they had encouraged, sown the seeds which were nowspringing up in a form they had not looked for, and producing a crop of layartists,whoweresoontoleavetheiroldmastersbehind.Themonasticsystemofcarryingoneverythingaccordingtorulehadlongheldarchitectureinbondage.Under the new impulse all conventional ruleswere abandoned, and the artiststrusted to the inspiration of nature for their guidance. Hence it followed that

whether in planning, in construction, or in ormamentation, the forms so longreverentlyfollowedbythearchitectsofthemonasteries,werespeedilydroppedbythelayartistsofthetowns,andanewartsprungupwiththemostmarvellousrapidity. To the new school of artists nothing which would naturally andlogicallysuittheirrequirementscameamiss.Theroundarchwasthetraditionalform of the ecclesiastics, but, the lay architects of the North finding (as thebuildersoftheSouthhadlongpreviouslydone)thatthepointedarchwasmoreflexibleandamenable to their requirements, forthwithadopted it.Thisenabledthem to overcome what had hitherto been the great difficulty with the roundarch,viz.,toerectintersectingvaultsoverspacesofanyform,whethersquareoroblong, and at the same time tokeep the apexof all thevaults at anydesiredheight.Thetransversearchesandthewallarchesbeingthuspointed,soonledinthemostnaturalmannertothewindowarcheswithinthelatterbeingalsomadeofapointedshape,soas toconformto theoutlineof thewallarch,andbyaneasytransitionthepointedarchwassoonadoptedforallthewallopeningsasthemostflexible,andmostinaccordancewiththespiritofthenewstyle.

In like manner the old conventional forms of decoration, derived fromByzantinecarvingsandMSS.orfromRomanremains,wereentirelyabandoned,andinspirationindecorativedesignwassoughtinthenaturalflowersandplantsofthesoil.

Theintellectualdevelopment,nolessthantheartistic,ofthisgreatperiodofrevivalwasboldlyrepresentedinitsarchitecture.Thetimidformsoftraditionalconstructionweresoonleftbehind,andscientificmethodswereintroduced.Theclumsymodeofsustaining thecentralvaultby thehalfvaultof thesideaisleswassupersededbytheboldandbeautifulformoftheflyingbuttress,loadedwithpinnacleswhereneededtosecurestability.Thisscientificinventionenabledthearchitects todispensewithheavywalls and tobring thewholepressureof thevaultsontopoints,wheretheyweredischargedbytheflyingbuttresses.Thesidewallswereonlyrequiredasenclosingscreens,notassupports,sothattherewasfree scope and every inducement for the expansion of the windows, whichrapidlyprogressedtillthewholebuildingbecame,instrikingcontrasttothedarkandgloomystructuresofthemonasticregime,anedificeofmarvellouslightnessandelegance,illuminatedfromfloortovaultwithwallsofglowingglass.

TherapidandextensivedevelopmentoftheGothicstyleoftheNorthisoneof themost remarkable facts in the history of architecture.Within the centuryfollowing the firstappearanceof thestyle in thepointedvaultingof theabbeychurchofStDenis,erectedundertheAbbéSugerin1144,thisstylereacheditshighest point. During that period it found expression in most of the great

cathedrals of the North of France, such as Paris, Chartres, Sens, Amiens,Beauvais,&c.ThisoccurredcontemporaneouslywiththelongandbrilliantreignofPhilipAugustus,underwhomtheroyalpowerbecameconsolidated,andtheroyaldomainextendedtoanextraordinarydegree.

As the royaldomainextended, itsGothicarchitectureextendedwith it,andevenpassedbeyondit,andproducedastrikingeffectontheprovinces,suchasProvence,notyet absorbed into thekingdomofFrance.Of thiswe shallmeetwith several remarkable examples, as in the cathedrals of Carcassonne andNarbonne,wherethedesignsarepureNorthernGothic,andwerefurnishedbyanorthernarchitect.But theseandsimilarstructuresalwaysstrikeoneashavingtheappearanceofexotics; theyareevidently importedplants,notnative to thesoil.Therearealso,asweshallsee,manyotherbuildingsintheSouthinwhichsome of the features only of the Gothic style are adopted, and which exhibitvarious attempts to ingraft its details on the native art. But even this is notsuccessful,thebuildingshavingneitherthelightnessandeleganceoftheGothic,northemassivegrandeurofthenativestyle.

Inlatertimes,whenProvenceandagreatpartoftheRivierahadpassedintothekingdomofFrance, itsperiodofvigourandindependencehadfadedaway,and its architecture only presents a picture of the various foreign influencesunderwhichit lay.This isseenintheexamplesof theflamboyantworkof theFrench, and in the Italian Gothic introduced by the Genoese, who were longmasters of the Riviera. All other architecture, however, soon yielded to therevivaloftheclassicstyle,whichhere,amongstsomanyRomanrelics,foundacongenialsoil.

ThegreatdevelopmentofGothicarchitectureintheNorthwasnotlimitedtochurches and other ecclesiastical structures, but extended to every species ofbuilding.ForitisoneoftheleadingcharacteristicsofGothic,thatitisavailableforeveryvarietyofarchitectural requirement. It isafreeandnaturalstyle,notsubjecttothearbitraryrulesofmonasticoracademicsystems,butreadytoapplyitself in thesimplestandmostdirectmanner toallhumanwants in thewayofbuilding.TheGothiclayarchitectsthereforenaturallydirectedtheirskilltotheproper development of Domestic and Castellated Architecture, as well asEcclesiasticalandMonastic.Oftheformer,manymostinterestingexamplesareto be seen in theSouthern towns; and of the castellated architecture,we shallmeetwithnotonlysuchsplendidexamplesasthePope’sPalaceatAvignon,andthe great castles of Villeneuve and Beaucaire; but we shall also have anopportunityofexamining,atCarcassonneandAiguesMortes,thetownswhichpossess probably the completest andbest preserved specimens, nowextant, of

themilitaryarchitectureoftheMiddleAges.That kind of architecturewas, aswas natural, especially in the South, to a

considerable extent founded on that of the Romans. This will be more fullyexplained and illustrated, when we come to treat of the fortifications ofCarcassonne,whicharepartlyRomanorofRomanfoundation.IntheNorththeearlyfortressesconsistedofearthenmounds,protectedbypalisadesandditches.Such were the defences of the native Gauls, which Cæsar found so boldlydefended. To these succeeded the strong towers of masonry, of which theNorman keep is the well known type. Stone-built towers of that descriptiongraduallysupersededthewoodenfortsetuponthetopofanearthen“motte”ormoundwhich formed the central stronghold of the earlier fortresses.Masonrythen,stepbystep,tooktheplaceofwoodinthedefences;first,aswehaveseen,inthekeep,andthenintheenclosingwalls.Asthescienceofattackimproved,the latterweremadestronger,andwere further fortifiedby theconstruction inconnectionwiththemofnumerousstrongtowers.TheseweregenerallyroundintheNorth and square in the South. Themeans of active defencewere chieflyfrom the parapet.At first the parapets of thewalls and towerswere armed intimeofwarwithwoodenenclosures,called“hoards”or“brétêches,”projectedonshortwoodenbeams.Theseenabledthedefenderstooverlookandprotectthebase of theworks,whichwere then theweak points of the fortifications, andwereliabletoattackbysappingormining.Theassailantscarriedoutthiskindofassaultbyrollinguptheirsapperstothewallsin“cats”or“sows”(smallwagonsstronglyconstructedanddefendedonthetopwithbagsofwoolandwethides),whichcouldonlybedestroyedbygreatstonesandbeams,hurleddownfromtheprojecting “hoards” above.The sockets for thiswooden armature of thewallsstill existsunaltered in the thirteenthcentury fortificationsofCarcassonneandAiguesMortes. By degrees the wooden hoards were abandoned, being foundliable todestructionby the fire balls or “Greek fire,”which the crusaders hadlearned the use of in the East. Parapets ofmasonry were then substituted forthem,projectedonboldstonecorbels,which left intervalsbetweentheparapetand the faceof thewall,called”machicolations,” throughwhich thedefenderscould rainmissiles on the assailants. In the fourteenth century these corbelledparapetsareamongstthemostprominentandpicturesquefeaturesofthecastlesandfortificationsoftheperiod.Incourseoftimethestoneparapetswerefurtherimprovedandheightenedintoseveralstorys,theloweronesbeingcovered,andtheupperforminganopencrenellatedwalk.Inthefifteenthcenturythissystemreached its height, and produced in the lofty towers and walls, crownedwiththeirnumerousboldlyoverhangingworks,someofthemostmagnificentworks

ofthemilitaryarchitectureoftheMiddleAges.Weshallhaveoccasiontorefertothevarioussystemsofdefenceadoptedinthedifferentcastlesandtownstobevisited, when attention will also be drawn to the differences of the systemsadoptedintheNorthandSouth.WeshallalsofindaremarkableapplicationofcastellatedfeaturesinthechurchesoftheSouth,where,afterthetwelfthcentury,almost every ecclesiastical structure is carefully fortified.Thisproduces in thechurchesof theSouthoneof theirmost strikingpeculiarities, andgives them,instead of the light and gracefully aspiring character of the Northern Gothicstructures, a reflection of the grim and stern aspect of the feudal castle. Thepeculiarchurcharchitecturejustreferredto,nodoubtderiveditsoriginfromtheconstant state of alarm and disturbance inwhich the Southern provinceswerekeptbytheAlbigensianwars,andtheattacksoftheMoorsandCorsairsbyseaand land. Some place of refuge and defence was required by the harassedinhabitants, who naturally fled to the church and fortified themselves therein.Frequently the cathedralswere comprisedwithin the precincts of theBishop’sPalace,whichwasfortifiedlikeafeudalcastle.Thecathedralbeingthelargestbuildingwaseagerlyseizeduponasanimportantpartofthefortifications,andevenwhen thedesignwas inNorthernGothic,hadexternallyat least toadoptmany of the defensive features of the South. Of this remarkable illustrationsoccuratNarbonne,Béziers,andFréjus.

We have now rapidly sketched the various steps by which Romanarchitecturewasgraduallytransformed,frombeinginitsdecorativefeaturesanimitationoftheclassictrabeatedstyle,intoanembodimentofthetrueprinciplesof arcuated or genuine stone construction, as exhibited in the fully developedGothic of the thirteenth century. We have seen that this was by no means asimple process, and that it was only accomplished by the ordeal of thedestructivethoughpurifyingdissolutionoftheDarkAges,whencethetruespiritof Roman construction emerged, cleared to a great extent of the extraneouselements with which it had been so long encrusted. But although the truefeaturesofarcuatedarchitecturenowslowlybegan tobedeveloped, theywerebothaidedandretardedbythesurvivingrelicsofRomanartwhichexistedintheWest,aswellasbytheinfluenceoftheclassictastewhichcontinuedtoprevail,althoughinamodifiedandexpandedcondition,intheEast.Thecountrythroughwhichweareabouttotravelisremarkablyfavourableforthestudyoftheeffectsof these various influences. We have already seen how rich it is in genuineRoman structures. In our further progress we shall note how these examplesserved as models for the revival of the architecture; for so closely were theancient designs frequently followed that the new structures were almost

completeresuscitationsofthestyleoftheLowerEmpire.We shall also have many opportunities of observing the influence of the

modified classic art imported fromByzantium. Thence came the domewhichforms one of the most important elements in the mediæval architecture ofAquitaine and the South, as well as numerous details and ornaments whichservedas the foundationormotive formuchof thearchitecturaldecorationoftheWest,especiallyinProvence.Howstronglytheseinfluencesproducedtheirimpressonthearchitectureoftheregionwearetotraverse,willbeapparent;anditwillprobablybeagreedbyall thatalthoughtheartofProvencewas therebyadvanced at first, the chief tendency of these classic reminiscences was toencourageanadherencetotraditionalforms,whichpreventedsuchafreegrowthanddevelopmentaswasafterwardsdisplayedintheNortherndistricts,wheretheclassicelementswerelessabundant.Butinonerespectatleastthearchitectureof Provence deserves our gratitude and admiration, for, amidst all its classicsurroundings, it boldly adopted and adhered to the true principle of arcuatedconstruction,andintroducedtheuseofthepointedarch.Althoughinitsearlierstagesthisimportantfeaturewasaccompaniedandencumberedwiththereviveddetails ofRomanwork, still, aswe shall see, in its later phase, it entirely andcompletelydiscardedthem;andinthetwelfthcentury,undertheguidanceoftheCistertians, Provence produced a simple and natural style of arcuatedarchitecture in which every feature is regulated by strict adherence to thegenuine principles of stone construction. Of this simple but strong andimpressivestyleweshallmeetwithmanyfineexamples.

UptothistimetheProvençalarchitectshadledtheway,buttheperiodhadnowarrivedwhentheirprinciplesweretobetakenupandcarriedoutwiththeboldness and energy of the Northern kingdom of France, then in its youthfulprime.ThelayarchitectsoftheNorth,seizingontheProvençalprincipleofthepointed arch, which they at once perceived to be so flexible and easy ofapplicationtoeveryrequirement,soondevelopedfromitthemagnificentsystemof the perfected Gothic of the thirteenth century. This was at once felt andacknowledged on all hands to be an immense step in advance of anythinghitherto attempted in theWest, andwas speedily allowed to overshadow, andfinally tosupersedeallothervarietiesofmediævaldevelopment.Of this resultnumerousillustrationswilloccurinthecourseofourjourney;butweshallalsoobserve how tenaciously the original forms of construction and plan wereadhered to in the South, even after theNorthernGothic had been accepted assupremeinallminordetails.

[Imageunavailable.]VI.

HAVINGnowglancedrapidlyatthegeneralhistoryandvariousphasesofthearchitecture of Provence during the Middle Ages, we shall recommence ourjourney at Lyons, and visit the various places on our route southwards toMarseilles, and thence westwards and eastwards along the Riviera, wherearchitecturalsubjectsaretobefound,givingamoredetailedaccountofeachinitsturn,andspeciallynotingthoseofthe

MEDIÆVALPERIOD.

AtLYONSthetravellerisatonceintroducedtothelocalstyleintheChurchoftheAinay,whichhoweverismuchmodernisedandrestored.Someportionsofthewallsmaybeasoldasthetenthcentury,buttheconsecrationoftheexistingbuilding (barringsubsequent restorations) tookplace in1107.The fourgranitecolumnsofthechoirarepossiblyantique.

The church has the Basilican form, with central nave and side aisles. Thesquare lantern over the crossing, which forms a dwarf tower externally andcupolainternally,ispeculiartothispartofthecountry.Thesquaretoweratthewest end (Fig. 35) with its successive stages of small windows, has a far-offresemblancetotheancientbrickcampanilesofItaly—aresemblancewhichweshall findmore strikingly illustrated inmore Southern examples. The peculiarincrustationsinredandothercolouredstones,whichhaveapleasingandEasterneffect,areafeatureofcommonoccurrenceinthechurchesoftheAuvergnat,notfar distant from Lyons towards the south-west. The pointed doorways aremodern,butarereproductionsofarestorationofthetwelfthcentury.

[Imageunavailable.]FIG.35.THEAINAY,LYONS.

Thecathedralisafinespecimenofthemixedstyleofthispartofthecountry,the choir being partlyRomanesque of the end of the twelfth century. The flatarcadesof the interior (Fig.36),composedof large trefoiledarches, restingonflutedpilasters,areverycharacteristicoftheBurgundianstyle.Theideaofthesepilasters is derived from those of the Roman gates at Autun. In the cathedralthereaswellasatTournus,andothertownsofUpperBurgundy,suchpilastersare of frequent use. The form of the clerestory windows seems to have beenborrowedfromthesearcades.Thechoirhasanapse,butnoaislerunningroundit, as invariably happens in theNorth. Externally it presents a curious gallerywith twisted shafts and inlaid coloured stones, like those of the Ainay. Thetowers at the transepts are a remarkable feature. The nave is Nothern Gothicworkofthethirteenthandfourteenthcenturies,—butthevaultingissexpartite,aformentirely abandoned in theNorth at thatdate.Someof the carvingon thewestfrontisveryvigorousandfine,recallingthesplendidworkontheportalsofthenorthandsouthtranseptsofRouen.

[Imageunavailable.]FIG.36.ARCADESINCATHEDRAL,LYONS.

Altogetherthisbuildingpresentsinthechoirandtranseptsasingularmixtureof the styles of Upper Burgundy, with those of the Rhine on the East, andAuvergneontheWest;whilethenaveisanexampleofatransplanteddesignofNothernGothic.

IndescendingtheRhonethevalleysoonnarrows,andwepassintothegorgesamongst the mountains. On one of the rocky heights which jut out into thevalley,theancientspiresofVienne,andthesummitofMontPipet,crownedwithitsRomancitadel,standboldlyoutagainstthesky.

The townoccupies a strongposition and commands the pass, hence itwasoccupied as a fortress by the Allobroges from early times. Afterwards animportantcityundertheRomans(asalreadymentionedinPartIV.),itcontinuedsoduringtheMiddleAges.Butitsufferedseverelyfromtheattacksofinvaders,beingfirstravagedbytheLombards,andafterwardsbytheSaracens.

In theninth centuryBoson,KingofBurgundyandProvence,madeViennehis capital. After the fall of that kingdom, the city declined, and became thepossessionoftheDukesofAlbon,whogovernedunderthetitleofDauphinsofViennois,till1349,whenHumbertII.cededthecountrytotheKingofFrance.

[Imageunavailable.]FIG.37.STANDRÉ-LE-BAS,VIENNE.

The towers of the twomost ancient churches, viz., StAndré-le-bas and StPierre(Figs.37and38),areveryfineexamplesofthecampanile-likedesignsofthe South, and strikingly resemble that of the Ainay at Lyons. The former isornamentedwiththearcadingsocharacteristicofthechurchesoftheRhineandLombardy, some of the miniature arches resting on corbels carved withgrotesqueheads.ThetowerofStPierrehasthelargetrilobedarch,alsocommonintheregiontotheeastward.

StPierreisveryancientandshewsmasonryconstructedsomewhataftertheRoman manner, with courses of brickwork dividing the rubble. The westentranceisprecededbyaporchornarthexinanearlystyle.

StAndré-le-baswasthechapeloftheDukeofBurgundy.Thischurchhasasinglenave(inthestyleofthesouth-westprovinces),withgroinedvaultingandheavy buttresses, but the interior has been completely restored.An inscriptionfixesitsdateas1142.Therearealsosomeremainsofafinecloisteradjoining.

[Imageunavailable.]FIG.38.STPIERRE,VIENNE.

The cathedral of St Maurice is, like that of Lyons, a mixture of differentstyles,andhasfewofthemeritsofany.Itwasbegunintheeleventhcentury,andnotcompletedtillthesixteenth.Theplanisthatofabasilicawithanapseattheeastendofthechoir.Thereareacentralnaveandsideaisles,butthelatterstopat their eastern extremity with square ends, and are not continued round thecentralapse.Theeighteastmostpillarsofthenavebelongtothetwelfthcentury,and are partly decoratedwith fluted pilasters in the style ofUpperBurgundy.Thecapsare“historied,”orcarvedwith

[Imageunavailable.]FIG.39.STMAURICE,VIENNE.

figuresaftertheRomanesquestyle;whilethearchesarepointedandornamentedwithbilletmouldings.Aboveandbelowthetriforiumgalleryisacourseofredstone containing sculptures of all sorts of subjects, like the inlaid work ofAuvergne.Thevaultingisofthefourteenthcentury.Inthesixteenthcenturytheproportionsofthecathedralwerefounddefective,thebuildingbeingconsideredtooshortforitslength,andseveralbayswerethenaddedtothewestendintheflorid Northern style of the period. The west portal (Fig. 39), with its richlycarved tracery and sculpture, standing as it does at the top of a lofty flight ofsteps,renderednecessarybytheslopeofthegroundtothewestward,musthavebeen a fine example of its style before the statues and carving, which soprofuselyadorned it,weredestroyedduring thewarsof religion,by theBarondesAdrets,in1562.Thecathedralis300feetlongby100feetwide,but,owingtothemixedcharacterofitsdesign,itissomewhatheavyineffect.

AremarkableexampleofadoubleroundtowerofRenaissanceart(Fig.40)standsclosetotheancientForum,andseveralspecimensofantiquehousesofallagesaretobeseeninthebusyandpicturesquestreets.

[Imageunavailable.]FIG.40.HOUSEINVIENNE.

The next town of importance reached isVALENCE, which, however, is notvery rich in architectural subjects. The cathedral (St Apollinaire) is of thetwelfthcentury,andshewssomespecialfeaturesindicativeoftheinfluenceofthestyleofAuvergne,suchasanarcadeon theoutsideof thenave,withalternateroundandstraightsidedarches.ThecapsofthenavepiersareveryCorinthianincharacter,andtheroofisatunnelvault.Theapseisround,andisstrengthenedwithbuttressesintheformofsmallshafts,afeatureverycommoninAuvergne.ButthisandtheotherchurcheshaveallbeenreconstructedinRenaissancetimes.TheMaison-des-Têtes (Fig.41), near thePlace desClercs is awell preservedandtellingspecimenofafloriddomesticfaçadeof1534.

[Imageunavailable.]FIG.41.MAISON-DES-TETES,VALENCE.

IndescendingtheRhonethetravellercannotfailtonoticethattheprecipitousmountainswhich bound the plain on thewest side of the river are frequentlycrowned with the shattered remains of mediæval castles. Of these one of themoststrikingistheCASTLEOFCRUSSOL(Fig.42)oppositeValence.Thisgreatcastle, now reduced to a mere fragmentary heap of ruins, was formerly the

strongholdofthefamilyofCrussol,Ducsd’Uzès.Itformsafinefeatureinthelandscape, andcommandsa splendidviewof thecourseof theRhoneand thevalleyoftheIsère,withtheAlpstotheeastward.Butitisnowsoruinedthatacloserinspectionissomewhatdisappointingtothearchitect.

A fewmiles lower down the very interesting ruins of theMONASTERYOFCRUASareseenonthesamesideoftheriver.Thismaybeconvenientlyreachedby the railway on that side, or from Montélimar. The latter course forms abeautifuldrive,withouttakingthetravellergoingsouthfarfromhisdirectline.CrossingtheRhonebythebridgeofboatsnotfarfromthestation,theruinsofwhatoncewas thepowerfulcastleofRochemaurmeet theview,crowning therockyheightinfront,andextendinggreatwallsofenceintedowntothevillageat the base. The detached tower forming the keep, which could only beapproachedbyadraw-bridge,nowstandsashatteredruinonitsisolatedpeak.

[Imageunavailable.]FIG.42.CASTLEOFCRUSSOL.

Adriveofafewmilesalongalevelroad,abovewhichontheleftrisegreatmasses of basaltic rock forming fantastic figures not unlike the ruinswehavejust passed, brings us to the village of CRUAS, where we discover twoarchitecturalsubjectsofsomeimportance.Onthehillabovethevillagestandtheruins of the ancientmonastery, now greatly dilapidated, and having the spacebetweenthewallschokedupwiththesteepandirregularstreetsofasmalltown.

The monastic buildings have almost entirely disappeared, the materialshaving doubtless served for the construction of the shabby houseswhich nowoccupytheirplace.Someportionsoftheenclosingwalls,however,stillsurvive,togetherwithoneveryinterestingedifice,whichremains

[Imageunavailable.]FIG.43.ABBEYOFCRUASFROMS.-W.

[Imageunavailable.]FIG.44.MONASTERYCHURCH,CRUAS.

tolerablyentire.Thisistheancientchapeloftheabbey,originallyabuildingofthe twelfth century, butwhich in the fourteenth centurywas engulphedby theenclosing walls and fortifications then erected, and heightened so as to beconverted into a keep (Fig. 43). The interior has, however, been preserveduntouched,andshews thesimplestyleof theCistertiansof the twelfthcentury(Fig.44).Theplanconsistsofasinglenavewithplainpilasterssetagainst theside walls, from which spring the flat transverse arches which strengthen theround tunnelvault.Theeastendisterminatedwithasemi-circularapseroofedwith a spherical dome, and ornamented with the small arcaded pattern socommonatthatperiod.Ontheleftornorthernsidewallarchesareintroduced,asifforasideaisle,but thereisnoappearanceofanyaisleseverhavingexisted.The plain round archedwest doorway still exists, and the line of the originalgableaboveitisdistinctlyobservableinthemasonry(seeFig.43).

The keep built round and over the church is of remarkable design. Largeroundbuttresseshavebeenaddedat theouterangles,withsquarebuttressesatthesides,andbotharecarriedupsoastoreceivethearcheswhichsupporttheparapet on the top.These arches spring frombold corbels projecting from thebuttresses,andaresetwellforwardfromthefaceofthewalls,soastoleaveaspacebetweenthemainwallandtheparapet.Thisspaceformsalongopeningormachicolation, by means of which the base of the walls could be defendedagainsthostileoperations.WeshallseebyandbythatthisisthesameformofmachicolationaswasadoptedinthePope’sPalaceatAvignon,andelsewhereintheSouth.

Theparapetiscrenellated,and,fromthebeamholesstillvisibleinthewalls,wemayinferthatitwasprovidedwithwoodenhoardingsfordefence.

Thechurchinthevillageatthebaseofthehill(Fig.45)hasalsosomepointsof special interest. It is of early twelfth century design, and has a vaultedsubterranean crypt with numerous sculptured caps. The upper church has asquaretoweratthewestend,andatranseptwiththreecircularapsesopeningoutof it to theeast,—thecentralapse forming thechoir,and thesideapses lateralchapels. Over the crossing rises an octagonal lantern, containing a domecrownedwithasmallercircularlantern.The

[Imageunavailable.]FIG.45.CHURCHATCRUAS.

wholecompositionandstyleofornamentationstronglyrecallthearchitectureofthe Rhineland and Lombardy. The thin strips of pilasters on the apses andlantern,withsmallarcade-enrichmentbetween,togetherwiththegeneralformofthe lantern, strikingly recall the churches of Bonn and Cologne. The westerntower again is similar to thosewehave left behindatVienneandLyons.Thischurch, like many others we shall encounter, illustrates what has above beenstatedastotheuniversalityoftheonestylewhichprevailedoverthe“Empire,”beforeitwasbrokenupintoseparatenationalities.

Soonafter leavingMontélimarwith its frowningcitadel, inwhich therearesome ancientRomanesquedetails, and a great tower of the fourteenth centurycalledthe“TourdeNarbonne,”weobserveontheoppositesideoftheRhonethepicturesquetownofVIVIERS,clusteringonapyramidalrock,andappropriatelycrownedwiththecathedralandspire.Thechurchisofthefourteenthcentury,asinglenavewithoutaisles.Itissaidthatthecrowdedandnarrowstreetscontainsomeoldhouses,buttheplaceisapparentlymorepicturesquethanarchitectural.

We now approach the country in which the peculiar elements of theProvençal style become distinctly apparent. About four miles north-east fromPierrelatte, theancient townofGardeAdhémarmaybeseen toweringaloftonthe crest of a bold promontory about 500 feet high. This town contains aRomanesquechurchwithaneasternandwesternapse,aftertheGermanfashion,a rather remarkable feature here, but showing, like the ornaments alreadyreferredto,aninfluencefromtheRhine.Thesideaislesarevaultedwithquarter-circlearches,andtheexteriorisfinishedwithasmallbelfryandsteeple.

Aboutsixmilestothesouth-eastofPierrelatteliesthevillageofSTPAUL-TROIS-CHÂTEAUX, where another very remarkable church is found. The townwasofsomeimportancefromRomantimesdownward,andretaineditsbishop’ssee till theRevolution. Several fineRoman sculptures have been found in thelocality,andarepreservedintheCalvetmuseumatAvignon;andafewremainsofRomanstructures andcolumnsare still tobe seen.But themost interestingedificeinthetownistheancientcathedralofthetwelfthcentury.AsthisisthefirstbuildingwehavemetwithwhichischaracteristicallyProvençalinstyle,soit is also one which preserves in a very distinct and marked manner thetraditionalRoman

[Imageunavailable.]FIG.46.STPAUL-TROIS-CHATEAUX.PartofExterior(fromRévoil).

featuresof that style.Theannexedgeometricviewofoneof theexteriorbays(Fig.46.))shewshowcloseistheimitationintheProvençalarchitectureofthetwelfthcenturyofthatoftheRomanstructureswhichnodoubtthenexistedonthe spot. The pilasters, crownedwith their complete entablature of architrave,frieze,andcornice,andfilledinwithanintermediatearcade,mightbepartofaRoman amphitheatre (such as those at Nimes and Arles); and indeed it issupposedthattracesofanancientamphitheatrehavebeendiscoveredatStPaul.Everydetailmightbelong to theLowerEmpire.Theornamentsof thecornicearedirectlyimitatedfromthemodillionsandleafenrichmentsofRomanwork;and theegganddart, andother classicdetails are freelyused throughout.TheinteriorornamentisequallyRomanindesign.Theeastendisterminatedwithanapse,whichhaseightflutedcolumns.Thetwosideaislesarecoveredwithhalfwagonvaults,andthenave,whichisunusuallyhigh,withasimpletunnelvault.

ThislocalitybringsusforthefirsttimeintocontactwithatraditionofwhichweshallfindmanytracesinvariouspartsofProvence,viz.,thattheGospelwasintroduced into this country by the family of Lazarus, and some othercontemporariesofChrist,whohadbeendrivenhitherbypersecution.AtStPaulthestorygoesthatthefirstbishopwastheblindmanwhosesightwasrestored,andwhoassumedthenameofRestitutus.

AboutthreemilesfromStPaulmaybeseenthemonumentofthissaint,saidtobeofveryancientandcuriousconstruction.Itispartlybuiltintothechurch,andisornamentedwitharemarkablefrieze,containingaruderepresentationofthelastsupper.

ThestationofLaCroisière is thenearest toavery remarkablespecimenofmediæval construction, the PONT ST ESPRIT. This celebrated bridge wasplanned and begun in 1265 by Jean de Tensanges, the abbot of the order ofCluny,inthedistrictofStSavourinduPort,whichbelongedtotheabbey.Itwasthirtyyearsinbuilding,butwehaveproofthattheworkwaswellplannedandskilfullyexecuted,inthefactthatitsubsiststillthepresentday.Thelengthofthebridge is about 3000 feet, and thewidth of the roadway is 16 feet. There aretwenty-two arches, all semi-circular in form, and constructed with carefullywroughtcoursesofarchstones,formingseparateringssettogethersidebyside,but not bonded into one another. This mode of construction was probablyborrowedfromthebridgeofStBénezetatAvignon,whichagainderiveditfromtheRomanPontduGard.Over thepiersare smallerarchedopenings toallowthewaterofthehighfloodsoftheRhonetopassfreelythrough.LikethePontStBénezetatAvignonthePontStEspritdoesnotrunstraightacrosstheriver,butis 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 theoppositesidesoftheriver.Theseremainedtilltheseventeenthcentury,whenoneofthemwasbroughtintoconnectionwiththecitadelofthetownconstructedbyLouisXIII.Thiswasthelastbridgeerectedbythe“Frèreshospitalierspontifes”(ofwhomweshallhearmoreatAvignon).After the thirteenthcenturyneitherCommunesnorNoblesfounditnecessarytoapplytothemonksfortheiraidasarchitectsandengineers.Bythattimethelayarchitectshadsupersededthem,inthemannerabovedescribed(PartV.)

Passing next close under the rocky heights crowned with the picturesqueruinsofthecastlesofMontdragonandMornas,themassivewallofthetheatreofOrangerisinghighabovetheplainarreststheeye.

A little further on the ramparts and gates of the small walled town ofCOURTHÉZONarevisibleclosetotherailway;soonafterpassingwhich,theboldoutlineofthegreatPalaceofthePopesdiscoversitselftoviewtoweringonitsrockabovethetownofAVIGNON.

Onnearerapproach, thecitywallsandgates,surmountedwithboldcorbelsandmachicolations,andthenumeroustowersandspiresofthechurches,unitetogiveastrikingfirstimpressionofthecity.Asitischef-lieuofthedepartmentofVaucluse,andtheSeeofanArchbishop,Avignonisatownofsomebusinessandprominence.Thetravellerwillherefindbetteraccommodationthanhegenerallymeetswithinthecountrytowns.Thismaythereforeberegardedasagoodplacetoestablishone’sheadquartersforafewdays,bothforthepurposeofseeingthevery splendid monuments of the town, and also as a convenient centre fromwhich excursionsmay bemade to the interesting Provençal churches of earlydate,whichaboundinthevicinity.

Although Avignon was an important Roman colony, it has already beenremarkedhowbarrenit is inRomanremains.After thefallofRome,itpassedsuccessively through the hands of the Burgundians, the Franks, and theVisigoths:itwastwicetakenbytheSaracens(730and737),andtwicedeliveredby Charles Martel. Afterwards it became part of the Kingdom of Arles, andsubsequentlycapitaloftheMarquisateofProvence.

In the twelfthcentury thecommunitydeclared itselfafreeand independentcity,anderectednewwallsandfortifications.Avignonrangedherselfonthesideof theAlbigenses; and, as previouslymentioned, shewas besieged and taken,andin1251becamesubjecttotheCountofProvence.

In 1308 an event happened which had a very important bearing on thesubsequent history of the city. Pope Clement V., finding his position in Italy

insecureamidstthedreadfulfactionswhichrentthatcountry, judgeditprudenttoretiretoAvignon,wherehewouldbeundertheprotection(ifalsounderthepower) of the King of France. Avignon thereafter continued for more than acentury theHolySee, andduring that timesevenPontiffs and twoAnti-PopesreignedinthisnewRome.

Asalreadynarrated,PopeClementVI.purchasedthesuzeraintyofAvignonandthecontroloftheVenaissinfromJeanne,theQueenofNaplesandCountessofProvence,in1348.SuccessivePopesusedeveryexertiontorendertheplacesecure,andespeciallybuilt themselves,on theRocher-des-Doms, the immensePalace,whichstillformsthemostprominentfeatureofthetown.Thewallsandfortificationswerebegunin1349,andfinishedin1368.

When the Popes returned to Rome, Avignon was governed for them by aLegate,whowasdisplacedinfavouroftheRepublicin1797.

ThePalaceofthePopesiswellsituatedfordefence.Itstandsonthetopofanabrupt rock, round thebaseofwhich,on thenorth, sweeps thedeepandrapidcurrent of the Rhone. The rock is perpendicular all round the east and southsides,andisthuscutofffromthetown;whileonthewest,wherealonethesiteisapproachable, the access is steep, and is protected by the lofty andmenacingwallsofthePalace(seePlan,Fig.49).

TheChurchofNotreDamedesDoms(A)occupiesthesummitoftherock,andisofmucholderdatethanthePope’sPalace.Theporchofthischurch(Fig.47)isextremelyinterestingasanexampleofProvençalarchitecturesostrikinglyancient in character as to have been long held to be a classic structure of theLowerEmpire.ItexactlyresemblesaRomandesigninitsgeneralidea,forming,asitwere,acompartmentofaclassicedifice,withaflutedCorinthiancolumnateachside,andanarcheddoorwayoropeningbetween.Onthecolumnsrestsanentablature, and the whole is crowned with a triangular pediment. TheCorinthiancapitals, thecorniceswitheggandleafenrichments, themouldings,imposts,&c., are all strikinglyRoman in character. The inner doorway to thechurch is similar.Mérimée points out that the size of the stones used in thisporchdoesnotcorrespondwithRomanwork,beingsmaller thanRoman largework and larger than Roman small work. Also that the stones of which thecolumnsarecomposedare

[Imageunavailable.]FIG.47.CHURCHOFNOTREDAMEDESDOMSANDPALACEOFTHEPOPES,AVIGNON.

wrought with tails bonded into the wall (alternating right and left), which heregardsas contrary to classicpractice.Thebull’s-eyeof the tympanum is alsonotRoman,butmightbeanaddition. It isprobable that thesidesof theporchwereoriginallyopen.

Thedateofthisporchhasbeenthesubjectofmuchdiscussion;butitseemsmostlikelythatitbelongstotheearlypartoftheeleventhcentury.Itwasatthatdatethatarchitecturebeganslowlytorevive;andthisisprobablyoneofthefirstefforts.Designerswouldthennaturallyfallbackontheclassicforms,ofwhichexampleswere abundant around them.There aremany instances inwhich theearly mediæval architecture can be traced to Roman structures found in theirvicinity. We have already met with one striking example at St Paul-trois-Châteaux;and itwaspreviously shewnhow thegatesofAutun influenced thearchitectureofalargedistrict,inwhichpilasters,copiedfromthoseofthePorted’Arroux,areuniversallyused insteadof roundshafts.Weshall alsopresentlyseehowthedome-toppedcampanilesofProvencearealsocopiedfromRomanmonuments, such as that at St Remy; and how in almost all the churchesthroughout Provence Roman columns, caps, cornices, mouldings, andenrichments are freely imitated.But these imitations are generally incomplete,andinvariablycontaindefectsoromissions,whichshewthattheyareimperfectcopies, and not real Romanwork. Such imperfections affect the details ratherthanthegeneralstyle.Intheinstancebeforeus,itisstatedthatthecorniceoftheantiquepartofthetowerabovetheporchiscopiedexactlyfromthatoftheatticoftheArchatOrange.

The interiorofNotreDamedesDoms isanexampleofanearlyProvençalchurch,butnotaveryfavourableone,asithasbeenfrequentlyalteredandaddedto.The choir is of 1671, and the lateral chapels are of the fourteenthcentury,whileRenaissancebalconies inmarblehavebeenaddedinfrontof thegallery,overthesideaisles.

In the choir is a remarkable chair of the twelfth century, in whitemarble,whichwastheseatofthePope;andthetombofJohnXXII.(Fig.48),inoneofthesidechapels,isafinespecimenoftheimportedNorthernGothicstyle.

Thetower,partlydestroyedinthefifteenthcentury,wasrepairedin1430;andthecolossalstatueoftheVirginwasaddedin1859.

The walls of the interior were once decorated with frescoes by SimoneMemmi,buttheyarenowalmostobliterated;andtheinteriorissodark,thatthefewfragmentsremainingcannotbeseen.

[Imageunavailable.]

FIG.48.MONUMENTOFPOPEJOHNXXII.

Originallythechurchconsistedofasinglenave,withoutaisles,vaultedwithapointedbarrel-vault,strengthenedwithtransverseribsandinternalbuttresses,being,asaboveexplained,oneof thearrangementscommon inProvence.Theeast end terminated with an apse, the bay in front of which is vaulted in aremarkablemanner.Adomeisfrequentlyintroducedinthisposition;butinthepresent instance, owing to the width of the bay being small compared to thewidthofthechurch,asquarespaceonwhichtoraisethedomecouldnotreadilybeobtained.To

[Imageunavailable.]FIG.49.PLANOFTHEPALACEOFTHEPOPES,AVIGNON,fromViollet-le-Duc’sDictionnaire.

accomplishthis,successivearchesarethrownacrossbetweenthetransverseribs,risingwiththecurveofthelatterandadvancingoveroneanother,tillthecentralspacebecomesasquare,onwhichalantern,witheightRoman-lookingcolumns,israisedandsupportsanoctagonaldomeabove.

Inthetwelfthcenturytherock,onthesummitofwhichstandstheChurchofNotreDamedesDoms,wascoveredwithhabitationsandgardens,whichweredominatedby theancientcastlesof thePodestàand theBishop.PopeClementV.,onhisfirstarrivalatAvignon,occupiedtheConventoftheDominicans;andJohnXXII., in 1316, lived in the buildingwhich existed in his daywhere thePope’s Palace now stands. In 1336 Benedict XII. demolished what hispredecessors had erected, and rebuilt the northern part of the existing Palace(Plan, Fig. 49—from Viollet-le-Duc’s Dictionnaire), being the side next theCathedral,onagrandscale,fromplansbythearchitectPierreObreri.Hisworksterminatedatthe“TourdeTrouillas,”orthegreatdonjon(B)attheN.-E.angle,andismarkedbyanotherimmensetower(B)atthewestendoftherange,calledthe“TourdelaGache.”

The south face (E) of the northern courtyard, and the southern walls ofenceintewereconstructedunderPopeClementVI.ItwasalsohewhoacquiredthesuzeraintyofAvignonandtheComtatVenaissinfromQueenJeannein1347.

The southern front of the palace was completed by Pope Innocent VI.,including thegreatChapel,orConsistorialHall (G), abuildingabout170 feetlongby50feetwide,roofedwithpointedandgroinedvaulting.Thegreattower(H)adjoiningtothesouthcontainsthesacristy,&c.UrbanV.levelledthespacewhichforms theCourd’honneur (D), excavating theplatformoutof the solidrock.Owingtotheslopeoftheground,thiscourtisaboutonestorylowerthantheoldernortherncourt.

Thesamepontifffurthererectedtheeastwing,andaddedtheseventhtower,called theTourdesAnges.GregoryXI. leftAvignonand returned toRome in1376.

AvignonwasthusoccupiedbythePopesfrom1316to1376,orsixtyyears,duringwhichtimetherereignedsixPopes.TheywereallSouthernFrenchmen,acircumstance which probably had considerable influence on the style of thearchitecture,whichisundoubtedlyquitethatofProvence,andhassmallaffinitywiththestyletheninuseinItaly,notwithstandingthatthenameofthearchitectObreri sounds somewhat Italian. The construction, mouldings, vaults, anddefences,areallinthestyleofSouthernFrenchwork,anddonotrecallItalianfeatures.TheonlyItaliandetailsarethepaintingsonthevaultsandceilings,saidto have been executed by Giotto and Simone Memmi. Of these there are

unfortunatelyonlyafewfragmentsleft.ThevaultofthegreatConsistorialHallwascompletelypainted,butthebuildinghavingbeencutupintoseveralfloorsin order to convert it into barracks (in which occupation it still remains), thefadedanddamagedconditionofthepaintingscanwellbeconceived.

The Anti-Popes Clement VII. and Benedict XIII. occupied Avignon from1379 to 1403. The latter was besieged in the palace byGeneral Boucicaut in1398.ThePope fled,but thepalacedidnot capitulate till 1411.Thebuildingssufferedseverelyfromfireswhichoccurredin1378and1413.

Theprincipalentrance to thepalace ison thewestside,andopensfromanesplanade which commands the surroundings, and was formerly divided intoseveral baileys or courts, withwalls, towers and gates. The entrance gatewaywas defended with two portcullises, with folding gates and doublemachicolations.Ithadoriginallyanadvancedworkinfront,whichwasreplacedintheseventeenthcenturybyacrenellatedwall.Theappearanceofthebuilding,whether itberegardedexternallyorfromthecourtyard, isgrandandimposingfrom its vastness and height. The towers and walls are, even in their presentcrippled condition,most commanding from theirmagnitude, the former beingabout150feetinheight,whilethewallsrisetoabout100feet.Onenteringthegreatcourtyard(D),evidencepresentsitselfofthedifferenceinlevelbetweenitand theoldernorthern court (C), in the rugged foundationonwhich the southfrontofthelatterstands,therockhavingbeencutdown,asabovementioned,tothe level of the lower court. The frowningmachicolations of that side,whichlook somewhat out of place in a Cour d’honneur, are explained when weremember that under PopeBenedictXII. this formed the exterior of the southface of the palace, before the south courtyardwas added byClementVI. andInnocentVI.

The most striking feature of the architectural details of the palace is themachicolationsof theparapet.These consist in longgroovesopeningbetweenthe inside of the parapet and the external face of thewalls, the parapet beingcarriedonpointedarches thrownbetweenbuttresseswhichproject at intervals(seeFig.47).This formofmachicolation (whichwehavealreadyobservedatCruas) ismuchusedin thesouthernprovinces,perhapsfromtheprevalenceofsuch works in the churches, most of which were fortified, and where thebuttresseswhichexistedforotherreasons,werefoundconvenient,andwerethusutilized.Theselongmachicolationshavetheadvantageofallowingbeams,andother lengthy missiles to be thrown down on assailants; but the frequentlyrecurringbroadbuttressesorwall spaces,which have no defence immediatelyoverthem,areadrawback.

IntheNorththeselonggroovesareveryrarelyused;acontinuousseriesofmachicolationsbetweenboldcorbelsbeingtheformalmostinvariablypreferred.AtAvignon the towers were crownedwith the latter kind of defences, as therelicsofthebrokencorbelsstillshew.

TheCourd’honneurcommunicatesfreelywitheverypartofthestructure.Totheright,onentering, isobservedthearcadewhichcontainsthegreatstaircaseleadingintwoflightstotheprincipalapartmentsonthefirstfloor.Twoposternsopen from this courtyard, and these are carefully masked in the re-enteringanglesbybuttresses,anddefendedwithaportcullis.Astaircasealsoleadstotheuppercourtyard.

ThemostancientpartofthepalaceistheTourdeTrouillas,atthenorth-eastangle,animmensemasswhichtowersabovealltheotherworksandformedtheKeep.

ThePope’sapartmentsinthetimeofUrbanV.wereonthefirstfloorofthebuildings surrounding the Cour d’honneur. From the landing of the greatstaircase,whichgaveaccess to theprincipalapartments,passageswerecarriedround thebuilding in the thicknessof thewallnext thecourtyard.Thesewerecarefully constructed and finished with pointed and groined vaults. Theycommunicatedwith the various rooms, and alsowith several staircaseswhichconnected the different floors, and led to the defences on the roof. Theapartments of the south court were also joined to those of the north court bythesepassages.Thegreatkitchenwassituatedonthefirstfloorofthebuildingnext thekeep. Ithasahighpyramidalvault,whichgives itamysterious look,andperhapsledtoitsbeinglongregardedasthechamberoftortureandhallofexecutionoftheInquisitors.Thebanquetinghallwasinthenorthcourt,nearthekitchenandthekeep.Thesmallertower(M)inthecentreoftheeastflank(nowcalledtheSalledelaJustice)containsintwofloorssomeadmirablepaintingsofthefourteenthandfifteenthcenturies,whichareinafairstateofpreservation.

The entire building is of the most massive masonry—the whole of thebasementbeingvaultedandconstructedsoastodefydestruction.

Commencing with the great keep at the north-east angle, and proceedingroundthepalacebythewest,south,andeast,thetowersoccurinthefollowingorder:—north-east—TourdeTrouillas;north-west—TourdelaGache,followedbytheTourdeStJean,TourdeStLaurent,TourdelaCloche,TourdesAnges,Tourd’Estrapade.

Onecircumstancespeciallynoticeableabout thedesignof thepalaceof thePopesistheentireabsenceofeffortaftersymmetryintheelevations,suchasisgenerallyaimedatinthecaseofthelargepalacesorhallsofthelateGothicand

Renaissance periods. Here the various blocks of building are simply placedwheretheyarerequired,andthedifferentlevelsandirregularitiesofthegroundaremade available in themost natural and convenientmanner,with the resultthattheeffectisdelightfullyvariedandimpressivefromeverypointofview,andateveryturning.[A]

Therockon thenorthside isalmostperpendicular,butherealso theaccesshadadefencecalledtheTourStMartin,whichisnowremoved.Fromthispointslopesleddowntothegateof thechâteletwhichprotectedthebridgeovertheRhone.

Thewalls, with their gateways, which still encircle Avignon, were erectedbetween1348and1364duringtheresidenceofthePopesinthecity.Thesewalls(Fig.50.))donotrepresentaveryimportantdefensivework,evenfor the timewhen erected; they are neither sufficiently high nor are the towers of suitableconstructionforareallystrongenceinte.Theyareratheranoutworkinfrontofthepalace,whichwasitselfacitadelofimpregnablestrength.

[Imageunavailable.]FIG.50.PORTIONOFCITYWALL,AVIGNON.Westside.

AtAvignon,asintheSouthgenerally,andalsoinItalythetowersaresquare,andtheyareconstructedwiththesidenextthetownleftopen,sothatincaseofbeingtakenbyanenemytheycouldnotbeheldagainsttheinhabitants.Theyarenotbuilt,asthetowersonthewallsofenceinteofthegreatcastleswere,ofsizeandstrengthenoughtostandanindependentsiege.

The large square towers occur at pretty wide intervals, and intermediatesmaller turrets are occasionally introduced to strengthen the curtains betweenthem.These are composedof twoplainbuttresseswith a pointed arch thrownacross between them near the parapet, behind which there is a longmachicolationonthesameprincipleasthoseofthePalace.

Atthebaseofthewall,andbetweenthesebuttresses,aboldslopeortalusisintroduced, with the double object of thickening the wall at a point where itmight be attacked by sap, and also to intercept any stone balls or otherprojectilesthrownfromthemachicolation,andcausethemtoricochetobliquelyagainst“cats”orotherenginesbroughtuptoassailthewall.Thetaluswouldofcourse be designed in every case of such a slope asmight be best suited fordefence,accordingtothenatureofthelowerpartofthefortifications,whetheraditch or a rocky escarpment. The walls of Avignon were entirely surroundedwithawetditchabove20yardswide,and15feetdeepbelowthecrestof thecounter-scarp.Theditchwas suppliedwithwater from theRhone, theSorgue,andbranchesoftheDurance.OfthetwolastriverstheformerjoinstheRhoneaboveandthelatterbelowAvignon.Thebottomoftheditchwaspavedtoenablethesludge tobecleanedout.Theditcheshavenowbeencompletely filledup,andthespacesoutsidethewallsconvertedintoapublicpromenade.

The towers, as above remarked, are for the most part of the square formgenerallyadoptedintheSouth,asdistinguishedfromtheroundformwhichwasusually employed in the North. The latter was considered safer, from its notpresenting,likethesquaretowers,anyflatsurfaceunprotectedbytheadjoiningcurtainsagainstwhichminerscouldoperateincomparativesafety.

Theparapetiscarriedonveryboldcorbelsoffourandfivecoursesinheight,with pointed arches between them. The corbels at the angles being setdiagonally,havearathergreaterprojectionthanthoseatrightanglestothewall,andhave thereforeanadditionalcourse in theheight.Thearchesadjoining theangleswouldnaturallybewiderthanthoseonthefaces,buttoobviatethisthecorbelsnexttheangleonesareslightlyinclinedtowardsthem,soastoequalisethewidthof theopenings.This is thegeneral rule in all square towersof thisdescription.

The gates of the town are simple arched passages passing through square

towers,beinga typeofgatewayof frequentoccurrence in theSouth.Theyarenot protected with flanking towers or angle turrets, such as are invariablyemployedforgreatersecurityintheNorth.Thegate-towersweredefendedwithchâteletson theouter sideof the fosse.Of these, the“PorteStLazare”on thenorth-eastsideofthetownisthebestpreserved.Thishadaforeworkattachedtothegatewaywhichprotectedthedrawbridge.Thelatterdescendedonalandingwhich formed a detached square barbican, fortified with a parapet and angleturrets, and surroundedwithaditch.From thisoutworkanotherdrawbridge inoneofthesides,andthereforeatrightanglestothemaingateway,gaveaccesstothe exterior roadway. This gateway was destroyed by an inundation of theDurancein1358,andwasreconstructedin1364byPierreObreri, thearchitectofthePapalPalace.

The gateways of Provence, such as those of Orange andMarseilles, wereusuallysimilarindesigntothoseofAvignon.AtCarpentrasandAiguesMortesexamples still exist of gateways pierced in square towers without flankingtowersorturrets.

PONTSTBÉNEZET.—ThetwooppositebanksoftheRhoneweregenerallyinancienttimesinthehandsofdifferentsuperiors.Thus,inthefourteenthcentury,whiletheComtatVenaissinontheeastbelongedtothePopes,theoppositesideof the river formed part of the kingdom of France. In order to protect thedifferent domains castles were erected at both ends of the bridge whichconnectedthem.

[Imageunavailable.]FIG.51.PONTSTBÉNEZETANDCHAPELOFSTNICHOLAS,AVIGNON.

ThebridgeofStBénezet(Fig.51),whichunitedProvencewiththewestsideof the Rhone opposite Avignon, is said to have been built by Petit Benôit, ashepherdoftheVivarais,whobelievedhimselfinspiredwithamissiontocarryout this great project. Benôit became the chief of a society of “hospitaliers,”institutedinthetwelfthcenturyforthepurposeofbuildingbridges,establishingferries,andassistingtravellers.HehadalreadyconstructedabridgeatMaupas,whenin1178heinstigatedthegreatundertakingofbridgingtheRhoneoppositeAvignon.This he began in 1178 and finished in 1188.The bridgewas almost1000yardslong,andtheroadwayisabout16feetwideincludingtheparapets.Like the Pont St Esprit it forms an obtuse angle against the stream, and thecentrerestsonaflatislandinthemiddleoftheriver.Therewere18archesinall,includingthoseontheisland.Thepiersareofalonglowform,andtheirsharpbeaks project a considerable way up and down the river beyond the bridge,givingthewhole,asseenfromtheheightsoftheRocherdesDoms,verymuchthe appearance of a bridge of boats. The alternate piers seem to have hadrecessesforallowingvehicles topass,andallhadarchwaysabovethelevelofthe beaks to allow the passage of the flood waters of the Rhone which aresometimes excessive. The arches are slightly elliptical, or egg-shaped, whichrenders them stronger at the apex than the semicircle would be. They areconstructedwithfourringsofarchstonesinthewidthofthebridge,formedwithcarefully cut voussoirs—each ring being separate from, but placed closealongsideof,theothers.ThisideawasprobablyderivedfromthesystemadoptedintheRomanPontduGard(asaboveexplained),whichisnotfardistant.

The bridge was cut for defensive purposes in 1395, during the siege ofAvignon. Itwasprobably thereafter imperfectly repaired, and in1602 threeofthearchesfell;in1633twootherarchesgaveway,andin1670twomore.Itisnowreducedtothethreearchesadjoiningthechâteletonthesidenextthetown.

OnthepiernearestthelandstillstandsapicturesquechapeldedicatedtoStNicholas(Fig.51).Thefloorofthischapelbeingonthelevelofthetopofthepierwasconsiderablybelowthatoftheroadwayofthebridge;butthebuildingwassocontrivedthatpassengersonthebridgecouldseedownthroughanarcadeintotheinterior.Accesstothechapelwasprovidedbystepscorbelledoutononesideofthebridge.Atalaterperiodthestructurehasbeenraisedandmodernised.

[Imageunavailable.]FIG.52.TOWEROFVILLENEUVE.

ThepassageofthebridgewasdefendedontherightbankbytheTOWEROFVILLENEUVE, (Fig.52),erected in1307byPhilippe leBel,underhisarchitectRodolphedeMeruel.

Likemostoftheworkofthisperiod,thewallsarefacedwithstonessquare-dressed,butwiththesurfaceleftrough.Thetowerisfinishedwiththeusualboldcorbelling, machicolations, and angle bartizans, and is surmounted by a loftywatch-turret.ItwillbeobservedthatthestyleofthisFrenchtoweristhatoftheNorth,anddiffersmateriallyfromthetowersofAvignonabovedescribed.

[Imageunavailable.]FIG.53.ORATORYINCASTLEOFSTANDRÉ.

In order more completely to protect this part of his domains, Philipconstructed, in the end of the thirteenth century, the important fortress ofSTANDRÉ, immediately opposite Avignon, and close to the small town ofVilleneuve-lez-Avignon. This citadel enclosed a large space occupying thesummit of a rocky hill, and comprised numerous buildings, including amonastery.Theextentofthefortressmaybeconceived,whenitisnoticedthatenclosedwithinthewalls,indifferentpartsofthelargespaceofvacantground,maystillbeseenaconvent,withitsgardens,andasmalltown.Aportionofthemoreancientbuildingsstillsurvivesintheformofasmalloratory(Fig.53)ofthetwelfthcentury,withpolygonalapse,havingacirculararcade,andacornicecontaining modillions after the classic manner. This great castle had but onegate,which opened to the southwards, on the only accessible side of the site.Thatgateway(Fig.54)isasplendidspecimenofmilitaryarchitecture,havingavaulted archway13 feet inwidth,with finelymoulded jambs and arches (Fig.56).Oneithersideisalargeroundtower,crownedwithamachicolatedparapet(Fig.55).Thevaultedpassagethroughthegatehousewasdefendedateachendwith a portcullis and folding gates. The apartments in the towers with roundfronts, are large and finely vaultedwith pointed groins, and the floors are allpaved.Theplatformonthe topisalsoofpavementrestingonthevaultbelow.Thewholebuildingisthusputoutofdangerfromfire.

[Imageunavailable.]FIG.54.CASTLEOFSTANDRÉ,VILLENEUVE-LEZ-AVIGNON.

PlanofEntranceGateway.

[Imageunavailable.]FIG.55.CASTLEOFSTANDRÉ,VILLENEUVE-LEZ-AVIGNON.ExteriorofGateway.

[Imageunavailable.]FIG.56.CASTLEOFSTANDRÉ.InteriorofGateway.

[Imageunavailable.]FIG.57.CASTLEOFSTANDRÉ.FireplaceinGatehouse.

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 amachicolatedparapet.Thisplatform,aswellasthoseoverthetowers,werethuswell adapted to receive the large catapults, mangonels, and other militaryengines in use in the fourteenth century. The diagonalwallswhich fill up theangles next the walls of enceinte contained staircases, &c., and are set at ananglesoastopresentafrontagainstassailantsapproachingfromtheflanks.Theround wells of the staircases were continued above the roof with roundenclosures, which were visible above the parapet in the form of crenellatedturrets.

[Imageunavailable.]FIG.58.CASTLEOFSTANDRÉ.WallsofEnceinte.

The rooms in the gatehouse are well finished in ashlar work, and haveornamental chimneys, ofwhich Fig.57 is a specimen. That over the entrancegateway contained the apparatus for working the portcullis. These chambershave been used as political prisons at various times; and the unfortunateoccupantshaverelievedtheirwearyhoursbycarvingallkindsofmemorandaonthewallsandfloor,amongstwhichreligioussymbolsandpicturesminglewitharmorial bearings, initials, and scraps of verse. These carvings are often wellexecuted,andtheyformaveryinteresting,althoughmelancholyexhibition.

[Imageunavailable.]FIG.59.GUARD-ROOMONWALL,STANDRÉ.

Some remains of the outer barbican which protected the approach to thegatewaymaystillbeobserved.

ThewallsofenceinteofStAndrépresent some interestingandpicturesquedetails. The great round tower at the south-west angle (Fig.57) and the plaincurtains adjoining it are very characteristic of the period, and havemore of aNorthernthanaSouthernaspect.

[Imageunavailable.]FIG.60.REMAINSOFAGUARD-ROOMONWALL,STANDRÉ.

Theinteriorofthewalls,withtheirparapetsandparapetwalks,areingoodpreservation,andformfineillustrationsofthesefeatures.Inthelongstretchofthenorthwall, inwhich thereareno towers toprotect theparapetwalksor tocontainguard-roomsorpostsforreliefsofsentries,smallchamberswereformedat intervals for that purpose on the top of thewall (Figs. 59, 60). These nowpresentaveryquaintappearance,andaresuggestiveofmanyacoldandwearywatch. They were only large enough to hold half-a-dozen men, but theyconstituted points which guarded the circulation on the “chemins de rondes.”Theywereprovidedwithafireplaceandloopstotheexterior,andhadlittlespy-holes looking along the parapet walks. The latter are widened towards theinterior of thewallswith corbelling, and follow the slope of the ground,withstepsatintervals.

[Imageunavailable.]FIG.61.CHURCHOFVILLENEUVE-LEZ-AVIGNON.

ThereareseveralinterestingarchitecturalrelicsinthetownofVILLENEUVE.The church, a Gothic edifice of the fourteenth century, is designed on theSouthernplanof awide hall, but is executedwithGothic details, andpointedvaulting.Thetowerattheeastend(Fig.61)isagoodspecimenofthemassivefortifiedtypeofchurchtowerssocommonintheSouth.

Fromthe rampartsof thecastle the ruinsof the“CHARTREUSEDUVALDEBÉNÉDICTION” are seen in thevalleybeneath.Thismonasterywas founded in1356 by Pope Innocent VI., who was buried there, and over whose grave asplendidmonumentinthestyleoftheNorthernGothicwaserected.Afterbeingsadly neglected and abused for many years, it has now been removed to thechapelofthehospital.

TheCHURCHESOFAVIGNON aremostly on the Southern plan of a singlewidenavewith internalbuttresses containingchapelsbetween them,while theornamentalfeaturesarealmostallderivedfromNorthernGothic.Theyareallofthefourteenthcentury,andthatofStPierrehasanelaborateGothicfrontintheflamboyantstylepractisedintheNorthinthesixteenthcentury.

The “beffroi” of the ancient Hôtel-de-Ville, the emblem of the city’sindependence,built in1354,stillexists,but issosurroundedwithbuildingsasnottobeproperlyvisible.

InthevicinityofAvignon,oratleastmoreeasilygotatfromtherethananyother comfortable resting-place, are many most interesting examples of earlyProvençal architecture. In the immediate neighbourhood are the ruins of theABBEYOFSTRUF—situatedaboutonemiletothesouthward.Thechurchhasagood apse, and is partly fortified.Twomiles to the north-east of the town arefound the remains of the PRIORY OF ST VÉRAN, founded 1140, and stillcontainingsometracesofearlypaintings.BotharefiguredbyRévoil.

At a greater distance from Avignon many more very primitive andpicturesque illustrationsofearlyProvençal architecture are to bemetwith.Oftheseseveralmaybevisitedtogetheras theylie in thesameeasterlydirection,suchasCarpentras,Pernes,andLeThor.

VAISON is also a place of considerable architectural interest, but it issomewhatremotefromAvignon,andmaybebestreachedfromOrange.Inthedaysof theEmpire the townofVaison,whichwasofgreatantiquity,stoodonthe plain of the riverOuvèze,where the soil still abounds in relics ofRomansculpture, tiles,mosaics,hypocausts,andotherworks.Somegoodstatueshavealso been found and conveyed to themuseum atAvignon. The cathedralwas

originally founded at an early period in the same low situation, but the townbeing exposed to frequent assaults, the inhabitants found it necessary in thetwelfthcentury to remove theirhouses toa securer siteon thehill above.ThetwodivisionsofthetownareunitedbyaRomanbridgeofonespanofoversixtyfeet,whichisbuilt,withtheusualsolidity,acrosstheOuvèze.

Connectedwith theold townare twoveryancientchurches,StQuinin,andthecathedral,whichhavesurvivedthemanyattacksoftheBarbarians,andthefinal demolition of the town by theCount of Toulouse in the twelfth century.These churches are illustrated byRévoil, and shew in all their details a closeadherencetoRomandesign.StQuininissoveryRomaninmanyofitsfeaturesthatithasbeenfrequentlysupposedtobelongtothesixthcentury,butfromtheascertaineddatesofmanyparallelinstancesit isnowregardedasaremarkableexampleof themode inwhich thebuilders of the eleventh century copied theornament of theRomanworks they saw around them,while they at the sametimeaddedfeaturesoftheirowninvention.ThusthecapsaremainlyCorinthianindesign,buthavesomefiguresmixedwiththeacanthusleaves,inthemannerof the Romance “storied” carvings, the foliage being well executed after anexistingpattern,andthefiguresrudelycutaccordingtotheoriginaldesignoftheperiod.

TheplanofStQuininisveryremarkable,theapsebeingtriangularexternally,and semi-circular, or rather triapsal, internally. The vaults are of the usualpointedwagonform.

Thecathedral isachurchwithcentralnaveandsideaisles, terminatedwiththreeapses.Thecentraloneissemi-circularintheinterior,butisenclosedinasquare envelope on the exterior. The latter is an addition made at a periodsubsequent to theoriginalconstruction,andmayhavebeen inconnectionwithdefence;anarrangementofwhichweshallfindsimilarexamplesatFréjusandelsewhere.Thecentralnaveisroofedwithapointedwagonvault,andthesideaisleswithtruncatedwagonvaults,havingalongcurvetowardstheouterwall,andashortonetowardsthenave,andthusactingasflyingbuttressesagainstthelatter. The cloister and tower, or campanile, are noteworthy; and a very rarefeature ishere found in theoriginalbishop’s throne,which ispreserved in thecentreof theapse,asatTorcelloandotherprimitivechurches.Fromhistoricaldata,itseemsmostprobablethatthiscathedralexistedinitspresentstatebeforethedestructionofthetownin1160;andasthesquareenvelopeoftheapseandthevaultingareprobablyarestorationofastillearlierstructure,itseemslikelythattheoldestportionsbelongtothepreviouscentury.

After the destruction of the Gallo-Roman town, the bishop built himself a

castleonthesummitofthehillonwhichthenewtownwaserected.Thechapelof thecastleservedashiscathedral till thefifteenthcentury,whentheexistingchurchofthenewtownwasconstructedinlieuofthechapel,whichwasfoundtoosmallforthegrowingpopulation.

TheexcursiontoCARPENTRASmaybemadebyrail,andfromthatpointtheancientarchitecturalremainsatPernesandVenasquemaybeeasilyreached.AtCarpentras,besidestheRomanarchalreadydescribed,thechurchofStSiffreinandtheGothicgatewaysofthetownarewellworthvisiting.

VENASQUE contains a very ancient baptistery covered with a dome, andornamented with marble columns and classic capitals. The whole structure isbelievedtobelongtotheRomanperiod.

AtPERNES there is a church partlyRomanesque and partlyGothic,with acupola over the choir supported on pendentives, and a crypt of the eleventhcentury.

LETHOR,asmallvillageabout12mileseast fromAvignonon theroad toAix,contains, in thechurchofSte-Marie-au-lac,amost interestingexampleofthemixtureofRomanandRomanesquefeaturesinProvençalarchitecture.Thenave consists of a single hall roofed with a tunnel vault, strengthened withtransverseribs,exceptthebaynexttheapse,whichiscoveredwithanoctagonaldome,formerlysurmountedbyabelfry.Thewestfaçadeandporchareveryfine,and bear a striking resemblance in style to Notre Dame des Doms and StGabriel.

CAVAILLON,besidesitsRomanremains,containsaninterestingearlychurch.Itconsistsofasinglenavefinishedwithanapse,whichissemi-circularwithinandhexagonalexternally.

The original side aisles have been converted into chapels, and the pointedtunnelvaultiscarriedongreatpiers,withtwistedorflutedshaftsintheanglestowardsthetop(asatAixandArles).

Amidstthemarshes,abouthalfwaybetweenCavaillonandStRemy,isfoundthesmallchurchofMolléges,formerlythechapelofaCistertianmonastery.Thebelfryofthischurch(Fig.62)iscitedbyViollet-le-Ducasastrikingexampleofthe influenceofRomanmonuments, suchas thatatStRemy,on thedesignofsome of the Provençal steeples. It is certainly remarkable that this tellingillustrationshouldoccursoneartheoriginal(seep.49).

In approaching TARASCON, we again observe the opposite banks of theRhone occupied by two castles representing the dominating powers on either

side.Themassive rockon the rightbank,crownedwithhighcrenellatedwallsand lofty keep, is the royal castle ofBeaucaire; and the lower butmore solidlookingpileclose to the leftbankof theRhone is thecastlesaid tohavebeenfinishedandoccupiedbyKingRenéofProvence.

[Imageunavailable.]62.LECLOCHERDEMOLLÉGES.fromViollet-le-Duc’sDictionnaire.)

ThehistoryofTarascon is similar to thatof theother townson theRhone.Originally a market, established by the Greek colonists of Marseilles, it wasconverted into a Roman settlement, and retained some of its municipalinstitutionsandlibertiesunderthesuzeraintyoftheCountsofProvence,tilltheyweregraduallylostunderthefeudalsystem.ThechurchofStMartha,originallybuiltinthetwelfthcentury,ontheruinsofaRomantemple,was

[Imageunavailable.]FIG.63.STEMARTHE,TARASCON.

reconstructed in the fourteenthcentury, and isof theusualSouthernplanwithGothicdetails.

Thesouthporchof the twelfthcenturychurchhoweverstillexists,and isaverybeautifulexampleof theProvençal style (Fig.63). In general character itcorrespondswith thefiner instancesweshallmeetwithatArlesandStGilles,although on a reduced scale. The round and octagonal nook shafts have capspartlycopiedfromtheCorinthian,andpartlycarvedwithRomanesquefigures.Thenumerous finemouldingsof thearchcontainacuriousmixtureofRomanandMediævalornaments,intheclassiceggcombinedwiththeGothicdog-toothenrichments.The small arcade above,with alternate flutedpilasters and roundshafts,allfinishedwithenrichedcapsrestingonacornicesupportedoncarvedheads,haveanadvancedRomanesquecharacter.

This church is dedicated to Martha, the sister of Mary, who along withLazarusandotherprimitivesaints,aretraditionallysupposedtohaveconvertedthesouthofGaultoChristianity.MarthaissaidtohaveendearedherselftothepeopleofTarascon,bydeliveringthetownfromthepowerofahideousdragon,which feat is celebratedannuallybyanextraordinaryprocession, inwhich theTarasque (a pantomimic dragon) makes a great figure, followed byrepresentativesofallthemembersoftheholyfamily,andattendedbymultitudesofpeople.

TheCastleofTarascon(Fig.64)standsonarockwhichrisesbutlittleabovetheleveloftheriver.BegunbyLouisII.ofProvenceinthefourteenthcentury,itwasfinishedbyKingRenéinthefifteenth.Itisnowaprison,sothattheinteriorisnoteasilyaccessible.

There is here a curious mixture of the Southern square tower with theNorthern round form,while the smaller details are all of theNorthernGothicstyle.Thegeneral

[Imageunavailable.]FIG.64.CASTLEOFTARASCON.

effectisfine,althoughsomewhatheavy,andthedetailsoftheentrancegateway,with its separate drawbridges for carriages and foot passengers, and itsornamentalparapetandcorbelsareparticularlynoteworthy.

[Imageunavailable.]FIG.65.HOUSEINTARASCON.

Tarascon has some good bits of architecture in its narrow but somewhatpicturesque streets,—the winding stair and projecting turret being veryeffectivelytreatedinoneinstance(Fig.65).Thegatewayof thetown(Fig.66)on the east is also simple but good, and quite Northern in style, having tworoundtowersflankingtheentrancearchway.

BEAUCAIRE.—CrossingthebridgeofboatsfromthecastleofKingRené,thebarelimestonerocksurmountedbytheCastleofBeaucairemeetstheview(Fig.68).ThiscastlewasancientlyapossessionoftheCountsofToulouse.DuringtheAlbigensiancrusade itwasbesiegedbySimondeMontfort, andan interestingaccountofthesiegeoperationsbyhimselfstillexists.Whileengagedinthesiegehe was attacked and defeated by Raymond VII. (1216). Although now acomplete ruin internally, thewallsexistall roundandshew thegreatextentofthefortress(Fig.67).Theouterenceinte,anditslongapproachbywideflightsof stairs from thewest, canstillbe traced,asalso theoutlineof theouterandinnerbailey.Thegatewayofthelatter,inafragmentarystate,stillsurvives.Theimmensestrengthofthefortaliceisdistinctlyapparent,owingtotheheightandsteepnessofthenakedrockonwhichitstands(Fig.69).

[Imageunavailable.]FIG.66.GATEOFTARASCON.

Almosttheonlydefensivebuildinginfairpreservation

[Imageunavailable.]FIG.67.PLANOFTHECASTLEOFBEAUCAIRE.

istheremarkabledonjonwhichriseshighabovethewalls.Thistower(Fig.70)isoftheveryunusualformofatriangleinplan;thatshapehavingprobablybeenadopted in order to fit a projecting spur of the rock. The basement floor (notaccessible)wasdoubtlessenteredfromatrapdoorinthefloorabove.Ithasnoopeningstotheoutside.Thestair

[Imageunavailable.]FIG.68.CASTLEOFBEAUCAIREFROMS.-E.

[Imageunavailable.]FIG.69.CASTLEOFBEAUCAIREFROMN.-E.

tothefirstfloorisstraightandiscarriedupinthethicknessofthewall.Thefirstfloorformsatriangularhallwithgroinedvaultofpeculiarform,hasafireplacein one angle, and is lightedwith small loops. From this floor the staircase iscarried up as a wheel in the south angle of the walls. The top floor has asegmentalvaultwhichcarriestheflatstoneroof.Thisisformedofstoneflagsalloverlapped and laid in regular courses, each slightly higher than the others astheyrisetowardsthecentre.

[Imageunavailable.]FIG.70.PLANSOFTHEKEEP.

The staircase turret stands independently upon this platform, and has aslopingstoneroof.Theparapetisveryperfect,andis,asusual,projectedonboldcorbels (Fig.71).Owing to the sharpanglesof theplan, the inclinationof thecorbels near the angles towards one another (in order to keep the arches overthemasequalaspossible)ismuchgreaterthanusual—moremarkedthanthat,forinstance,ofthecorbelsatAvignon(above

[Imageunavailable.]FIG.71.CASTLEOFBEAUCAIRE.(InteriorofCourtyard.)

referred to, p. 150).The corbels at the angleswhich are right angles have theusual additional courses in the height. A bold ovolo moulding runs roundbeneath the corbel-course, theobject ofwhich is tokeep the inner faceof themachicolation well clear of the front of the wall, so that stone balls or othermissilesthrowndownwouldrunnoriskofbeingdivertedfromtheircoursebystrikinganyoftheprojectionsoftherough-facedmasonrywithwhichthetoweris built. The parapet is provided with large embrasures, and the merlons orspaces between are pierced with loops of the crossed shape adopted in thefourteenthcentury.

Theparapetwallpartlycarriedoncorbelsisseenwindingroundthesummitof thewallofenceinte(seeFig.71),withstepswhere theheightsvary;and inthesouth-eastangleoftheinnercourtyardadjoiningtheruinedgatewayfromtheoutertotheinnercourtyard,therestillstandstheveryinterestingtwelfthcenturychapelofthecastle.

This oratory is generally similar in design to the one within the castle atVilleneuve(ante,Fig. 52). The doorway at thewest end is round-arched, andcontains details which are remarkably characteristic of Provence, the purelyRoman egg and leaf enrichments being mixed with dogtooth and otherornaments of Romanesque design. The small square tower which crowns thewestgableispeculiar,beingmoreinthestyleofthebelfriesfurtherNorthandEast,thanthoseoftheSouth.

FromTarasconabranchrailwayrunstoStRemy(theRomanruinsatwhichhavealreadybeendescribed), and from thatpoint the strangeold townofLesBauxmaybereached.

LESBAUX.—Thisancientbutdecayedfortressisoneofthemostpicturesqueandremarkableobjectsinthedistrict.Itissituatedonthetopofarockyheight(Fig. 72), not far fromwhere the Alpines begin to rise from the plain of theRhone, over which it has a commanding and extensive prospect. Formerly aconsiderable fortified town, it is now deserted, save by a few wanderers andbeggars,andpresentsthemelancholyappearanceofanabandonedcity,ofwhichtheemptyhousesarefastfallingintoruin.This,however,asweshallhereafternotice, is by nomeans a solitary example of a Southern town overtaken by asimilarfate.ButLesBauxhasthisstrikingpeculiaritytodistinguishit,thatitisacitynotbuilt,butexcavatedoutoftherock.ItisnotuncommontofindhousescutintherockinseveralpartsofFrance,whereadryandsoftformationrenderssuch an operation suitable, and, as iswell known, rock-hewn temples, tombs,andotherbuildingsaboundinEgypt,Syria,andtheEast.PossiblysomeofthegreatchiefsofthefamilyofLesBaux(whoweredistinguishedCrusaders)may

haveadoptedtheideafromexamplestheysawintheHolyLand.

[Imageunavailable.]FIG.72.FORTRESSOFLESBAUX.

The town is now almost a heap of ruins, although some façades of goodRenaissancedesignstilladornthesilentstreets.

The castle, which covered a large part of the site, had walls composed ofsolid rock, the superfluous material being cut away both on the inside andoutside. In some cases the rock, which is a soft limestone, and decays byexposure,hasgivenwayquickeronone side thananother,with the result thatlargemassesof“wall”have falleneither flaton theground,or in solidblocksdownthecliffs.Inotherinstancestowershavetoppledagainsttowers,liketreescutatthefoot,producingamostconfusedandoverturnedappearance,asiftheresultofsiegeorearthquake.

Withrespecttothearchitecture,saysMérimée,“Theexceptionalsituationofthe town of Les Baux has given rise to a style which scarcely furnishes anyindications of the ancient epochs of its history; however, I have seen nothingwhichappearedtobeolderthanthetwelfthcentury.Achurchinfairconditionseemstobeoftheepochoftransition.Intherightaisleareseenacorniceandtransversearchenrichedwithdog-toothandzig-zagornaments.Therestof thechurch has been repaired in the fifteenth century, and several very elegantchapelshavebeenaddedtoit.”ThischurchisillustratedbyRévoil.

Onthesouthsideofthetownabas-reliefofthreelargefiguresandpartofaLatininscription,carvedtoagreatscaleonthefaceoftherock,havegivenriseto some extraordinary theories. The figures are called Les Trois Maries orTremaié. Many observers regard them as Roman, and suppose that theyrepresentMarius (theconquerorof thisdistrict, about100B.C.),hiswifeJulia,andaSyrianprophetessorsorceresscalledMartha,whoaccompaniedthegreatleaderandforetoldhisvictories.ButM.Lenthéric,inhisinterestingworkontheVillesMortesdelaMéditerranée,alreadyreferredto,takesanentirelydifferentview.Hecontendsthat thesefiguresrepresentLazarusandthetwoMarys;andconsiders theexistenceof thechurchdedicated to the“SaintesMaries”(whichweshallreachbyandbye),togetherwiththeabovefiguresandinscription,andthetraditionsofthecountry,sufficientproofthatthefamilyofLazarusandtheircompanionswerereallythefirstmissionariesofChristianityinSouthernGaul.

Thereisanotherlargeinscriptionandtwomorefiguresonanotherrock,buttheyaretoomuchdecayedtobeaccuratelyinterpreted.

ThereseemstobenodoubtthatatownhasexistedherefromthetimeoftheRomans, although no Roman architecture can now be detected. In mediævaltimesitwasthehomeofthefamousfamilyofLesBaux,whosehistory(writtenby Jules Canonge) comprisesmuch of that of Provence from the tenth to thefifteenthcentury.

In the tenth centuryLesBauxwas already one of the largest towns of thecountry,andwasforlongtheseatofafamousCourtofLove.Inthethirteenthcentury the “Seigneurs des Baux” possessed seventy-nine free burghs. Theywere amongst themostpowerful andboldest baronsof the land, and acquiredgreat titlesandpossessions,being in turn thePrincesofOrange, theCountsofProvence, Kings of Arles andVienne, and Emperors of Constantinople. Theycommandedfleetsandarmies,andbecamepodestàsofthefreetowns.Theyalsodistinguished themselves as Crusaders, and joined Charles of Anjou in hisconquestofNaples.Infollowingthehistoryofthisdistinguishedraceonegetsamore lively and impressive idea of the life and manners of those stirringmediævaltimesinProvencethancaneasilybefoundelsewhere.

But thefamilylost theirprestigewhenBarraldesBaux,podestàof thefreetownofArles, betrayed the republic toCharles ofAnjou.LesBaux from thistimedeclined,and thecastlewasfinallydismantledby theDukeofGuise; thetownwasabandonedand the finemansions fell intodecay,aprocesswhich isstillinprogress,bothbytheactionofnatureandatthehandsofthepeasantryoftheneighbourhood.LesBauxmaybegotateitherfromFontvieille(famousforits quarries of “Arles stone”), towhich there is a railway fromArles, or fromTarascon,ineithercasedrivingtoParadou(sixkilometresfromFontvieille,andsixteenfromTarascon),orfromStRemy.

[Imageunavailable.]FIG.73.CHURCHOFSTGABRIEL.WestFront.(FromRévoil.)

Afewmiles fromTarascon,on the road toArles, theancient churchofSTGABRIEL rises amidst the ruins of the still more ancient Roman city ofErnaginum.A largenumberof tombs,similar to thoseweshallpresentlymeetwithattheAlyscampsnearArles,butoftheplainestform,areherefoundalongwithfragmentsofinscriptions,statues,andotherantiquerelics.ThechurchofStGabriel, likesomanyothers inProvence,comprises in itsdesignamixtureofclassicandRomanesquefeatures.Thewestfront(Fig.73)isoneofthefinestofits kind.The entrancedoorway,with its fluted column, its imitatedCorinthiancapitals,andhighpitchedpedimentfullofclassicenrichments,mighteasilypassforastructureof theLowerEmpire.Thebas-reliefs represent thecreationandthevisitoftheangelGabrieltotheVirgin,—thepersonagesbeingidentifiedbytheirnames inscribedbeside them.Theupperpartof the frontexhibitsagreatarchivolt springing from imposts on each side of the portal, abovewhich is astraight cornice supporting a second pointed archivolt. The latter contains asmall circular window richly ornamented with classic leaves and otherenrichments, and having the symbols of the four evangelists placed around it.Thechurchhasasinglenave,coveredwithapointedtunnelvault.Thebuttressesaremore pronounced than usual, whichmay indicate a transition towards thelaterProvençalstyle,andseemtopointtothedateofthebuildingbeinglateinthetwelfthcentury,notwithstandingitsveryclassicfeatures.

AshortjourneynowbringsustoARLES,theancientcapitaloftheprovince,andoneofthechiefarchitecturalcentresofourdistrict,bothasregardsclassicandmediævalart.

The principalmediæval edifice ofArles is the church of St Trophime, thepatronsaint.Itisalargeandimportantstructure,containingspecimensofallthepeculiarities of Provençal architecture on a complete and extensive scale. Thenave of the churchwas erected in the twelfth century, and is quite distinct incharacter from the beautiful western porch and the splendid cloisters whichbelongtotheolderandmoreornateperiodofProvençalarchitecture.Thechoirandapsewererebuiltin1430intheNorthernstyle.Thenave(Fig.74),likethatofalltheSouthernchurchesofthesameageisverysimpleinternally.Thisisthefirst fine example we have met with of the second period of Provençalarchitecture—inwhichtheplainandrigidCistertianstylesupersededtheearlierand richer architecture of which we have observed so many remarkablespecimens.Thus thepiers (Fig.74)aremerelysquareblocksofmasonry,withflat projections or pilasters on each face, carried up to receive the smallmouldingsorimpostsfromwhichspringthewallarchesoneachsideofthenave(betweenitandthesideaisles),andthetransversearches,whichstrengthenthe

pointedbarrelvaultofthecentralnave.Thelatterconsistoftworings,theinnerarch springing from the main pier, and the side orders from fluted classic-lookingcolumnsintroducedintheanglesofthemainpierstoreceivethem.Thesideaislesareverynarrowandlofty,andareroofedwithonehalfofapointedvault thrownasanabutmentagainst theupperpartof thenavewall.Thenavewindows are flanked by twisted columnswithRomanesque caps.The pointedarches,restingonfourstrongpiers,whichcarrythecentraltower,areseenatthecrossing of the church, with a lofty plain wall forming the lower part of thetower,restinguponthem.Thispartiallycutsofftheviewofthechoirfromthenave, and indicates that the vault of the original churchwasmuch lower thanthat of the existing nave, the roof of which is nearly twice the height of thearchesofthecrossing.Thelatter,formingthesupportofthetower,couldnotberemovedwhenthenavewasrebuiltandenlarged.Thetower(Fig.11)riseshighabovetheroof

[Imageunavailable.]FIG.74.STTROPHIME,ARLES.

ofthechurch.Itextendstothreefullstorysandanatticcrownedwithapointedroof having a very flat slope. The two lower storys have the arcadedRomanesqueornamentsocommoninLombardyandGermany,whiletheupperstory shews three Corinthian pilasters on each side. The tower is heavy, butrecallsthegeneraleffectoftheItaliancampanile,andcorrespondsinstylewiththeearlierworkoftheportalandcloisters.

[Imageunavailable.]FIG.75.WESTPORTALOFSTTROPHIME,ARLES.

The elaborate and beautiful western portal (Fig. 75) is fortunately wellpreserved.Ithastheappearanceofhavingbeenaddedinfrontoftheplainerwallof thenave,andis thusgenerallystatedtobeofmorerecentconstructionthanthenave,butwebelievethattheportalismuchmorelikelytobepartofanolderbuilding,which has been preserved in the re-construction of the nave. Portalsbeing generally highly ornamental features, were frequently so preserved.WehavemetwithgoodexamplesofthisatNotreDamedesDomsandatTarascon,and others will occur as we proceed. The central arch is almost insensiblypointed; but whether intentionally or accidentally it is difficult to say,—mostlikelythelatter,fromitsbeingsoindistinct.Thisporchisprobablyanimitationon a small scale of the much grander one of St Gilles (to be referred toimmediately).Theengagedpillars,withtheircarvedcapsandbasessostronglyakinbothtoclassicandRomanesquework,standonahighstylobateapproachedbyawideflightofsteps.Thespacebetweenthepillarsisformedintoaseriesofniches,borderedoneachsidewithanenrichedpilasterandfilledwiththefigureofanapostleoranearlysaint.Thesculptureofthesefigures,althoughRomaningeneral character, shews a leaning towardsByzantinedesign, especially in therichcarvingofthejewelsandornamentsonthedresses.Thetympanumoverthecentral doorway, which is divided into two openings with a central shaft,contains thefigureofChrist inglorysurroundedwith theemblemsof thefourevangelists, and in the soffit of the arch are two tiers of half length adoringangels.On the lintelaresculptured the twelveapostlesseated;while thefriezeontherighthandofChristcontainsthejust,clothedandreceivedbyAbraham,and that on the left the unjust, represented as naked and being dragged by ademon with a chain backwards through flames. The leaf, egg, and otherenrichmentsarequiteclassic,whilethemodillionssupportingthecorniceofthegabletover theporchhave theusualRomanesquecharacter.Thisporchstrikesoneataglanceasbeingofatotallydifferentstylefromthebodyofthechurch.Thelatterbelongs,asalreadymentioned,tothereformedCistertianstyleofthetwelfthcentury,whiletheformerisintheolderandmorefloridProvençalstyleofRomanesque,althoughprobablyearlierinthesamecentury.

Butthemostdelightfulstructureconnectedwiththisveryinterestingchurchisthecloisters.Theoldestportionsofthesebelongtothecommencementofthetwelfthcentury.Thefourarcadesenclosingthecloistergartharecomplete.Thatadjoining the churchwall (the north side) is the oldest,while the eastern side(representedinthesketchFig.76)isnotmuchlaterindate.TheothertwosidesareGothicrestorationsofthethirteenthcentury.

ThetwofirstgalleriesaresplendidspecimensofthefloridstyleofProvençal

art. They are constructed with piers of considerable size and solidity, whichoccurattheanglesandatregularintervals,theintermediatespacesbeingfilledwithroundarchesrestingoncoupledcolumns.

The roof is covered with a barrel vault, built with carefully wrought archstones, and strengthenedwith boldlymoulded transverse ribs thrown betweenthe solidpiers andconsoleson the innerwall.The latter and the stringcoursebetweenthemareabouttwofeethigherthanthecorniceonthesideofthearcadefromwhich the vault springs, thus giving an awkward shape to the transverseribs.Thisarrangementprobablyarosefromtheoriginalconstructionoftheroof,whichwascomposedoftileslaidontheoutsideofthevault,andformeda“lean-to”againstthechurch,likethatofthecloisters

[Imageunavailable.]FIG.76.CLOISTERS,STTROPHIME,ARLES.(EasternArcade.)

ofMont-Majour, tobe treatedofpresently. In the thirteenthcentury,when thetwoothersidesof thecloisterwererestored, theouterwallwasraisedsoas toconverttheslopingroofintoalevelpromenade,furnishedwithstoneseatsalongtheparapet.

Theanglepiersaresodesignedastoreceivethespringingofthreetransverseribs—one at right angles across each of the adjoining galleries, and onediagonally under the line of the junction of the two barrel vaults. Theintermediate piers are strengthenedwith an external buttress in the shape of asquareclassic-lookingpilaster,flutedandprovidedwithacapitalimitatedfromtheCorinthian.Thepiers are all adornedwith sculptured figuresof large size.Thoseintheoriginalworkarewellpreserved,havingbeencutinthesolid,whilethe statues in the twoGothicarcades,whichwereexecuted in separate stones,have been removed and destroyed. The coupled columns and caps are allexecuted ingreymarble, and the latter are amongst the finest examplesof the“storied” carving of the period, every cap containing a subject from sacredhistory. The wall of the church next the north cloister contains a beautifulRomanesquearcade,withflutedpilasters(Fig.76.))

TheGothicpartsofthecloisterhavepiersalternatingwithcoupledcolumns,and the details have evidently (as sometimes occurs) been executed so as tocorrespondindesignwiththeolderwork.Ofthebas-reliefsonthepiersthebestarethemostancient.Thesamegeneralremarksonthestyleapplyhereasinthecase of the porch; there being a great mixture of classic and Romanesqueinfluenceinboth.

InthisgreatstructurewethusfindanepitomeofProvençalart.Thecloistersandporch,representingtherichlydecoratedProvençalformofRomanesque;thenave, the plain reformed style of the Cistertians; while the choir exhibits theweaksortofNorthernGothicimportedinthefifteenthcentury,whichisentirelywithout interest beside the more impressive examples of genuine Provençalarchitecture. Itwillbeobserved that in themainstructural features thepointedarch is employed,while in theportal, cloisters andwindows the roundarch isused.

[Imageunavailable.]FIG.77.“CLOCHER”OFTHECHURCHOFSTHONORAT,ARLES.(FromRévoil.)

At the “Alyscamps,” the famous cemetery ofArles (described in Part IV.),severalremainsofthenumerouschurchesandchapelsformerlyconnectedwithitmaystillbeseen.ThechurchofStHonoratisthemostimportant.Itisofveryancient foundation, but has been frequently repaired and restored. The westdoorway, with its zigzag and other enrichments, is evidently of the twelfthcentury. The tower or “clocher” (Fig.77) also appears to be of that date, andbears theusualcharacterofProvençalRomanesque.Thedomewhichcovers itis,however,asomewhatunusualfeature.

Afewotherancientchurchesare tobeseenatArles,but theyareallmuchdecayedoraltered.

The churches of Notre Dame la Majeure and Ste Magdeleine, are veryancient foundations, but there is little of the old work left. St Césaire is alsoancient, but is converted into private houses, and there are only scraps of theoriginalstructureremaining.

AfterbeingunitedtoFrance,andthusdeliveredfromtheincessantstrugglesmaintainedinearliertimesbetweentheBishops,thePodestàsandthecountsofProvence,Arlesexhibitednumeroussignsofgrowingprosperity.Theunionwithan established power seems to have imparted a considerable impulse to theprosperityofProvence,whichbegantoreviveunderasettledgovernment;andArles, as the chief town, naturally benefited greatly from the improvement.Indicationsofthisameliorationaremetwithateveryturninthenarrowstreets,whichaboundinfineexamplesofRenaissancework.TheearlypicturesquestyleofFrenchRenaissance, sousual inAnjouandon thebanksof theLoire, isoffrequent occurrence here. Of the above tendency Fig. 78 may be taken as anexample,shewingbythestrikingarrangementofthestaircaseinthecourtyard,howpicturesquethisstylemaybemadewhensuitablyandnaturallytreated.Wemay also observe in the midst of the abundant ruins of the ancient Romanarchitecture of this city, numerous palaces in the classic style of the sixteenthcentury; the revival of which the ancient works had lived to witness, andprobablyhadalsohelpedtoforwardwithsuggestionsfortheirdesign.

[Imageunavailable.]FIG.78.RENAISSANCEHOUSEINARLES.

The buildings of this period inArles are particularly rich in tabernacles ornichesatthecornersofthestreets,filledwiththeimageofasaint,beforewhichhangs a lamp. These are not uncommon in most continental towns, but heresomeofthemareveryfinelydesignedandaddmuchtothegenerallyquaintandstrikingcharacterofthehouses.

Of the Renaissance buildings of Arles the Hôtel de Ville is worthy ofobservation.TheTourdel’Horloge(1550),isagoodspecimen,andthevaultingandgeneraleffectofthepillaredhallandstaircasearefine(1675).

About three miles from Arles stand the ruins of the great monasticestablishment ofMONT-MAJOUR, which comprise a most interesting series ofstructures, illustrative of Provençal architecture in all its stages, from theprimitiverock-hewnhermitageofStTrophimetothefullydevelopedchurchoftheCistertianstyle,concludingwitharichandluxuriousedificeofthetimeoftheRenaissance.

[Imageunavailable.]FIG.79.PLANOFHERMITAGEOFSTCESAIRE,MONT-MAJOUR.

ThismonasteryissituatedonarockyhillwhichrisesoutoftheflatplainoftheRhone,andwhich, inRomantimes,wasundoubtedlyan islandsurroundedbythewatersoftheriver.Nearthebaseofthesouth-eastsideoftherock,acaveissaid tohave formed thehermitageofStTrophime, thepatronsaintofArles(Fig. 79). To preserve and consecrate this hermitage it was converted into achapel,andenclosedwithanarcade(theinnerone)cutintherock.Tothisagainatalatertimeanouterwallhasbeenaddedsoastoformachapel,dedicatedtoStPeter,ontheexteriorofthecave.Beyondtheeastendofthechapeltherearethree additional rude chambers hollowed out of rock. One of these, which isnearlyfilledwithagreatstoneseat,iscalledtheconfessionalofStTrophime.Atthewestendthereisaspaceformingakindofentranceporchornarthex.

Theancientchapelorhermitageisentirelyexcavatedintherock,andhasaseatleftalongtheinnerside,whichbeingcontinuedroundtheeastendformsastepuptothechoir.Thischapelmaybeofaveryearlydate,butitisimpossibletofixitsagefromthetotalabsenceofarchitecturalfeatures.

[Imageunavailable.]FIG.80.HERMITAGEOFSTTROPHIME,MONT-MAJOUR—CHAPELOFSTPETER.

Theouterchapel(Fig.80)isnotofsogreatantiquity,buttheornamentofthecapsandformofthetunnelvaultbelongtotheearliestperiodoftheProvençalstyle—probablytheninthortenthcentury.TheexteriorisseenatthebottomofFig.85.

Themonasterywaserectedontheupperpartoftherock,andwassurroundedlikeafeudalcastlewithafortifiedwallofenceinte. Itwasalsoprotectedbyakeep or citadel, such as frequently occurs in these Southern monasteries,exposedastheyweretoattackonallhands.

The church of themonastery ofMont-Majour is an example of the severestyleof the twelfthcentury,and likewiseof theaisle-lessplanof theSouthernprovinces.Thischurchwasfoundedin1016,andwasconceivedonaverylargescale,butlittleseemstohavebeendoneduringthefollowinghundredyears,themostoftheworkbeinginthestyleofthetwelfthcentury.Itconsistsofanupperchurchandalowerchurchorverylargecrypt.Thelatterextendsunderalargepartofthespaceoccupiedbytheupperchurch,and,likeit, is intheformofaLatin cross. The nave of the church is very short, owing to theworks havingbeenstoppedforwantoffundstocompleteitontheextensivescaleonwhichitwas originally projected. The crypt is all vaulted with circular arches, and isextremelydark,theonlylightadmittedbeingwhatcanpenetrateintoitfromthesmallwindowsintheapse.

Thearrangementofthechoirofthecryptispeculiar.Thealtarstandsinthecentre,androunditrunsawallwithfivewidearchesopeningonagallerywhichfollowsroundtheapse,andfromwhichchapelsradiate in thevariousfacesoftheoctagon.Thechiefaltaristhusvisiblefromalmostanypartofthechoir.

Theupperchurchformsonegreathallwithatranseptandapse,andisroofedwith pointed tunnel vaults strengthened with transverse ribs, but is entirelywithoutornament.

[Imageunavailable.]FIG.81.THECHURCHANDKEEPMONT-MAJOUR.

Ithas,however,aneffectofsimplegrandeurandspaciousnessowing to itssize;butfromtheshortnessofthenave,thereisawantofdueproportioninthevariousparts.Thechoir, as isusual inCistertianchurchesof thisdate, isveryshort,theapsebeginningalmostatthetransept.

[Imageunavailable.]FIG.82.CLOISTERS,MONT-MAJOUR.

Thewholebuilding is solidlyconstructedwithgoodashlarwork.Thewestdoorwayisroundarched,andissurmountedwithalargepointedwindowfromwhich the principal light in the church is obtained. The exterior is asunornamentalastheinterior.Theeastend(Fig.81)isfinishedwithapolygonalapse, the windows of which in the upper church are simple round archesspringingfromshaftsrecessedinthejambs.Theexterioroftheapseofthecryptispeculiar,owingtotheformofthesegmentaldepressedarches,enclosingdeeprecesses, at the inner end of which are the small windows of the crypt. Thedepressedformofarchwasprobablyadoptedowing to thewantofheightandthedesiretoadmitasmuchlightaspossible.Thesamesegmentalformisalsoemployedinthecloisterarcades.Theapsehasbeenheightenedatalateperiodandtheinteriormadecircular.AnenrichedGothicchapelhasbeenaddedtothenorthtranseptinthefourteenthcentury,andextensiveGothicbuildings,nowinastate of total ruin (see Figs. 81, 82) have been extended to the south of thechurch.

TheAbbeyofMont-Majourcontainsacloister(Fig.82)withthesamestyleofornamentandsculpture,butmuchsimplerindesignthanthatofStTrophime.Thecloisterwalkiscoveredwithaplainbarrelvaultconstructedwithcarefullywroughtstones, strengthenedwith transverse ribs restingon“storied”consolesbuilt intothewall.Thearcadeisformedwithsegmentalarchesspringingfromsolidpiers,andflutedpillars,withthesimplestcornice.Eachlargearchisfilledin with three small round ones, springing from light shafts with elaboratelycarved caps. The buttresses are fluted like those of St Trophime.The originallean-to roof, coveredwith stone flags and providedwith large rude gargoylesandcorbels,isherepreserved,andshewswhatthatatArleswaslikewhenfirstconstructed. The cloister here, as at St Trophime, is in the original Provençalstyle,andisprobablyarelicofanolderseriesofstructureswhichexistedbeforethe present church was erected in the second Provençal style of the twelfthcentury.

A remarkable specimen of a planmore common in theEast than theWestoccurs in the chapel ofSTECROIX (Fig. 83), which seems to have been themortuarychapelofthemonks.ThemainbuildingconsistsoffourapsesarrangedintheformofaGreekcross,andcrownedoverthe

[Imageunavailable.]CHAPELLEDESAINTECROIXMONTMAJOUR

FIG.83.

crossingwith a square dome.This is preceded by a square porchwith simplebarrelvault,separatedbyadoorfromthechapel.Thewholeaspect(Fig.84)andarrangementsoftheedificehaveastrangeandforeignappearance,andrecallthearchitectureof theEast.At thesame time thehigh triangularpedimentsof theexterior, and the cornices, eggmouldings,modillions, and the simple circulararchofthedoorway,areallfeaturescharacteristicofthelateEmpire;whiletheornamental cresting and other details are illustrative of the Eastern characterimpressedonRomanwork atByzantium, and thence transported intoWesternEurope.IntheporchisaninscriptionattributingthefoundationtoCharlemagne,butMériméeclearlyprovesthatthisisaforgery,andthatthedateofthebuildingis1019.Thechapelisonlylightedwiththreesmallwindows,whichopenuponalittleenclosurewherenumerousshallowgraveshavebeenexcavatedintherock.Adoorinthesouthapsealsoopensintothisgraveyard,sothatthebodiesmightbecarriedintoitfromthechapelaftertheservicehadbeenperformed.Severalsimilargravesarecutintherockinfrontoftheporch.Theseexcavationsareallvery

[Imageunavailable.]FIG.84.MORTUARYCHAPEL,MONT-MAJOUR.

small, some no more than 3 feet long, and do not appear ever to have beenoccupied. Mérimée is of opinion that in order to give their shrine as muchappearanceof antiquity and sanctity as possible, and especially to enable it tocompetewiththeverysuccessfulcemeteryoftheAlyscampsatArles,themonkshad not only put up the fabricated inscription above referred to, but had alsocausedthesetrenchestobecutintherocktorepresentthegravesofmartyrs.

[Imageunavailable.]FIG.85.MONT-MAJOUR—THEKEEP,HERMITAGE,ETC.

[Imageunavailable.]FIG.86.MONT-MAJOUR—PLANSANDSECTIONOFKEEP.

Wehavealreadyseenthatthismonasterywasfortifiedandsurroundedwithwalls.But itwaschiefly strengthenedwithagreatdonjon, suchas theabbots,whowerealsogreatfeudallords,frequentlyconstructedfortheirownsecurity,andthatof themonksandtheir treasures, incaseofextremity.Thiskeep(Fig.85)was erected in1369byPonsde l’Orme. It is very substantiallybuiltwithsquare-dressedstones,thesurfacebeingleftroughorbossy,aswasthecustomatthat time.Thebuilding(Fig.86) isa simpleparallelogram,48 feetby32 feet,withaslightprojectionatoneangletocontainthestaircase.Thedoorwaygivesdirectaccess to theground floor,which isvaultedwithapointed tunnelvault,ornamentedwithribsspringingfromcorbels(seesection).Acellaroccupiespartofalowerstory,whichalsocontainsawell.Thevaultoverthegroundfloormaypossiblyhaveformedaseparatedarkloftorstore,forstorageofprovisions,&c.The lowerportionof this floorhasonewindowonly.Thehall,or chief livingroom,wasonthefirstfloor.Itisprovidedwithfire-placesandcupboards,andislightedby twowindowsononeside, furnishedwithstoneseats.Theheightofthetowerfromthebasementtotheparapetisabout80feet,andthetopformsaplatformsupportedonapointedarch.The spacebetween the loweranduppervaults was divided into three floors, with wooden beams and joisting. Thecorbelsforthesestillremain,butallthewoodworkisdestroyed.Theplatformonthetopissurroundedwithaparapetsupportedonboldcorbels.Attheanglestheparapetisroundedoff,soastogivetheeffectofprojectinganglebartizans.

From thecorbels seenon theexteriorof the south sideof the tower, at thefirst floor level, it seems probable that some kind of wooden platform wasconstructed between the keep and the outer wall, from which the passagebetween them, which formed a principal access to the abbey, might bevigorouslydefended.Onecannothelpbeingstruckwiththepeculiarlymilitaryaspectofthetower,anditsstrangeproximitytothemoresacredstructuresoftheabbey.

TheruinsofsomeGothicerectionsandof thesumptuousedifice,begunbytheBenedictinemonksoftheeighteenthcentury,butinterruptedbythebreakingoutoftheRevolution,arevisibleinFig.81.

AshortrunbyrailwestwardfromArlestakestotheancienttownandabbeychurch of ST GILLES. This church, which is unfortunately but a fragment,possessesthefinestportalinProvence,inthesamestyleasthatofStTrophimeatArles. The town stands on the branch of theRhone called Le Petit-Rhône,which bounds the delta on the west. It bore originally the name of VallisFlaviana, and is supposed to standnear the site of an ancientRoman city.AnabbeywasfoundedherebyStÆgidius(orStGilles)inthesixthcentury,around

whichthetowngraduallyclustered.StGilleswas the chief priory of theKnights of St John of Jerusalem, and

becameaplaceofsuch importance that theCountofToulouse tookoneofhistitlesfromit,beingalsocalledtheCountofStGilles.ItwasherethatRaymondVI.,CountofToulouse,in1209,didpenanceforthemurderofthePapallegate,PierredeCastelnau,andfortheparthetookonthesideoftheAlbigenses.

ThechurchofStGilleswasdesignedonagrandscale,befittingtheconditionof the place at the time, but seems never to have been completed, the workshaving been interrupted and destroyed during the crusades of the NorthernFranksagainsttheAlbigensesoftheSouth.Thesewarsformedasortofsequelto,orcontinuationoftheinvasionsofthebarbarians.TheSouthofGaul,havingpreservedmuchofitsRomancivilisationandmunicipalinstitutions,hadbecomesoonersettled,andhadmorequicklyrevivedfromanarchythantheNorth.Thisled to an independent intellectual and religious development, which did notconform to the ideas of religious unity then prevalent. Crusades against theInfidels inSyriaandAfricahadnowbecomesomewhatstaleandunprofitable;butacrusadeagainst therichprovincesof theSouthhadgreatattractions,andwasheartilysupportedbytherestlessandunsettledpeopleoftheNorth.Hencearose (as already pointed out) the long and cruel war in Aquitaine andLanguedoc—theCrusadersbeing ledbySimondeMontfort,and thepeopleoftheSouthbytheCountofToulouse.

Inthesedisastrousandbloodycampaignsthewholecountrysufferedterribly.The towns were besieged and sacked, and the buildings destroyed. Amongstothers,StGillesdates itsdecline from thedevastation then inflictedon it, andfromwhichitneverrecovered.

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,1116,HOCTEMPLUMSANCTIEGIDIIÆDIFICARECEPITMENSEAPRILIFERIA2AINOCTAVAPASCHAE.”

ThechurchofStGilleswasthusbegunin1116byAlphonseJourdain,sonofRaymondIV.ofToulouse.Therestillremainsaportionofasubterraneanchurch,whichformedthesubstructureoftheintendedgreatbuildingabove,andwhichdatesfromthefirsthalfofthetwelfthcentury.Itiswelllighted,anddividedintotwowith a rowof columns supporting two lowcross vaults, ornamentedwithdog-toothenrichments.

Inthemidstoftheoutlineofthegreaterworks,whichcanstillbetraced,risestheexistingsmallchurch,whichhasalltheappearanceofatemporaryerection.

It is in a late style and of small importance architecturally, but it marks thedeclineofthewealthandprosperityofthetownfromitsstateatthetimewhenthegreatchurchwasfounded.

Thereallygreatandvaluablework,however,atStGillesisthesplendidtripleportal (Fig. 87), which is by far the largest and richest example of Provençaldecoration.Everypartofthesurfaceiscoveredwithwork,eithersculpturedwithfiguresorenrichedwithornament,andalthoughtheremainderofthebuilding

[Imageunavailable.]FIG.87.PORTALOFSTGILLES.

[Imageunavailable.]FIG.88.SOUTHDOORWAYOFSTGILLES.(Enlarged).

isincomplete,everydetailoftheportalisfinishedintheminutestmanner.Atthetopofawideflightofstepsrisesanelevationconsistingofsixpillars(fiveplainand one fluted)with capitals closely imitated from theCorinthianmodel. Thebasesareofunequalheight,shewingthattheshaftshavebeenpossiblyborrowedfromanancientsource.Thecolumnssustainanarchitrave, frieze,andcornice,which,however,areinterruptedbytheroundarchesofthethreedoorways.Thearches of the two side entrances rest on the two end pillars,while that of thecentral doorway,which iswide and is divided into two openings by a centralpilaster,springsfromtwosmallercolumnssetuponpedestals,andalsoprovidedwithCorinthiancaps.Onthebasesofthecolumnsofthelateraldoors(Fig.88)bas-reliefs represent David as shepherd and conqueror of Goliath. The shaftssupportingthelintelsofthedoorsrest,aswasgenerallythecaseinRomanesquedesigns, on lions. The abbot, sitting in the gate to render justice, was placedbetween these lions; hence Charters given by him are sometimes dated “interleones.”

A stylobate of the height of the pedestals is continued along behind theprincipalcolumns,onwhichrestsaseriesofpilastersdividing thebackgroundinto recessesornichescontaining largestatuesof theapostles.The figuresareexecuted with some freedom after the Roman manner, and have not such amediæval aspect as those of Arles. There is, however, evidence of Byzantineinfluence in the thin folds of the drapery, and the jewels and embroideredornamentscarveduponthedresses.Thepedestals,architrave,cornice,andarchmouldings are enrichedwithRoman leaf and egg and bead ornaments,mixedwithfancifulRomanesquecarvingsofheadsofanimals&c., in themodillions.The frieze is covered with sculptures in bas-relief of Scripture subjects. Thecentral tympanum contains the figure of Christ in glory surrounded by theemblems of the four Evangelists—that of the north doorway the Virgin andChild in the centre, with the adoration of the Magi on one side, and theannunciation of the birth ofChrist to the shepherds on the other. In the southdoorway is represented the crucifixion. This portal was probably completedbeforethebreakingoutoftheAlbigensianconflict,about1150.

The portals of St Gilles and Arles are the most splendid productions ofProvençalart.TheystandalmostaloneasportalsamongsttheRomanesqueworkoftheperiod,whichhasgivenrisetotheimpressionthattheyareimportationsfromadistanceratherthananaturalsequencefromsimplerprecedingformsoutofwhichtheymighthavegrown.

Ithasbeenabovepointedout that inSyriamanychurcheswerebuilt intheearly centuries of the Christian era in which the Greco-Roman style was

perpetuated and received new developments. Many of these churches existbetween Antioch and Aleppo, in which the general design and details ofmouldingsareverysimilartothoseoftheProvençalportals,theonlydifferencebeingthat intheSyrianexamplestherearenostatues,asallsuchimageswereforbidden in the East. That country was taken by the Crusaders in 1098, andremained,asthekingdomofAntioch,underWesterngovernmenttill1268.Theseaports of Provence being the natural centres of communication between theFrank kingdoms of the East andWest, it seemed natural that some new andforeign ideas should be imported there. Hence it is maintained by some thatSyrianmodelshadconsiderable influenceon thearchitectureofProvence,andthat it is to that connection thatmuchof the art expressed in theportals ofStGillesandArlesisdue.Thereis,however,reallynonecessitytogosofarafieldforthemodelsonwhichProvençalartingeneral,andtheseportalsinparticular,werebased.Wehavehadseveralstrikingopportunitiesofobservinghowcloselythe Roman examples were followed in Provençal architecture; whileinnumerable instances of theRomanesque spiritwhich pervaded it before andduringthetwelfthcentury,mightbeadducedfromthemanybeautifulcloisters(similar in style to those of St Trophime andMont-majour)which abound allovertheSouthofFrance.Thesehavebeenpreserved,whilethechurcheshaveinmanycasesbeenenlargedand reconstructed in the later andplainerProvençalstyle. One of the most prominent elements in the older style is the figuresculpture, and there can be no question but that the idea of the statues wasderived from the remains of ancient art so plentifully scattered throughout thecountry. Statues being entirely prohibited by the Eastern iconoclasts, thatelementcanhavehadnoconnectionwiththeEast,althoughthetreatmentoftheornamentmaybetosomeextentinfluencedbyByzantinefeeling.

The trade between the Levant and the West of the Mediterranean wasconsiderable, and included all kinds of artistic articles, such as furniture,ornamentalboxes,dypticks,woodencasesformanuscripts,andcarvedivoryandgoldsmith’s work. These were all covered with exquisite carvings, which, nodoubt,servedasmodelstotheWesternnations,andfromwhichtheyacquiredatasteforthespecialkindofsculptureknownasByzantine.

It is from the above sources that the complete and elaborate Provençal artdisplayed in the portals of St Trophime and St Gilles sprang. Viollet-le-Ducremarksofitthatitisrichandstriking,butgivestheideaofanarteitherfixedby traditional maxims or in its decadence. He states further, that it onlysucceeded inproducingacuriousmixtureofdiverse imitationsofotherstyles.TheoriginalityandvigouroftheNorthernartwasentirelyawanting.Theformer

style was satisfied with the imitation of works already done, while the latterborrowedfrom anterior art only the general idea, and created for itself a newdevelopment.Asalreadypointedout,thepresenceoftheRomanremainsactedonProvençalarchitecturebothfavourablyandprejudicially;inthefirstplace,bystimulatingitintoakindofearlyclassicrevival,andinthesecondplace,bythuspreventingthefreeandhealthydevelopmentofanaturalanduntramelledstyle,such as took place in the North. But, so far as the Romanesque style isconcerned, that of Provence is probably quite as interesting and instructive asanyother.Theconnectionwith the art ofRome is continuedalmostwithout abreak,whiletheconversionof“Roman”into“Romanesque”iscarriedoutwitharefinementandcompletenesswhichisnottobefoundelsewhere,andtowhichthe laterNorthern styles are considerably indebted, especially in thematter ofsculpture.

StGilles is themost convenient point fromwhich to visit the solitary andnow desolate town ofLES SAINTESMARIES. Situated near the mouth of thePetit-Rhôneitwasformerlyaplaceofsomedistinction.Herelanded,accordingtotradition,corroboratedbytheinvestigationsofLenthéric,MaryJacobi,sisteroftheBlessedVirgin,MarySalome,MotheroftheApostlesJames(theGreater)and John, their servant Sarah, Lazarus, Martha, Mary Magdalene, and StMaximin (who had received his sight by theword ofChrist), having all beendrivenfromJerusalembypersecution.MaryJacobiandMarySalomeremainedhere, and were here buried, whence the name and fame of the town and thecrowdsofpilgrimswhoatonetimefrequentedit.

The church (Fig. 89) is a very remarkable one. It was built in the twelfthcenturyon thesiteofonedestroyedby theSaracens,andconsistsof theusualsinglenave,havingsevenbaysinitslength,roofedwithapointedbarrelvault,andfinishedwithaneasternapse.Externally thewholebuildingissurmountedwith a crenellated andmachicolated parapet, and presents the appearance of astrong fortification,with a keep tower rising above the eastern end.The latterincludestheapse,whichcomprisesthreechapels,oneovertheother.Thelowest,or crypt, contains the tomb of Sarah; the middle apse forms the choir of thechurch;whileabove this thererisesa thirdchapel in the towerabove theroof,containingtherelicsofthe“SaintesMaries.”Rudelysculpturedlionsadornthesouth entrance door, and in the nave there is a well, to supply water to thecongregation, who would likewise form the garrison in case of siege. ThisremarkablestructuremayberegardedasatypicalexampleofthedefensivestylesomuchpractisedintheSouth-WestofFrance.

[Imageunavailable.]FIG.89.

CHURCHOFLESSAINTESMARIES.(FromRévoil.)

MARSEILLES.—FewrelicsarepreservedinthisancientcityofitsRomanormediæval structures; of the latter the most remarkable is the church of STVICTOR.WehavehereaninstanceofthepartialadoptionoftheGothicstyleinthe South, and an attempt to combine Gothic details with Southern structuralfeatures. This curious church, which stands near the ancient port, is all thatremainsoftheonceextensivebuildingsofthefamousmonasteryfoundedinthefifthcenturybyStCassien.Someportionsoftheprimitivemasonryarestill tobeseenin

[Imageunavailable.]FIG.90.STVICTOR,MARSEILLES.

thecrypt.ThebuildingswereseveraltimesdestroyedbytheSaracens,buttheywerefinallyrebuiltintheirexistingformabouttheyear1350byPopeUrbanV.(formerly abbot of this monastery), who also caused to be erected the greatsquare towers and crenellated parapets which give the building externally theappearanceofafortress(Fig.90).SomerelicsoftheearlyRomanesqueworkarestillvisibleintheentranceporch.Thegeneraldesignoftheinterior(Fig.91) isthat of a basilica, with central nave and side aisles, the former roofedwith apointed tunnelvaultstrengthenedwith transverseribs,andoriginallywithoutaclerestory, although openings havemore recently been cut in the vault. ThesegeneraldispositionsarecommoninProvençalarchitecture.Butthedetailsofthenavepiers,withtheirnumeroussmallshaftsandfoliatedcapsandbasesareallborrowedfromtheGothicoftheNorth;whilethetomberectedinthewest-mostbayofthesouthaisle(Fig.92)isacompletelyNortherndesign.

[Imageunavailable.]FIG.91.STVICTOR,MARSEILLES.

ThefortificationoftheexteriorisafeatureofalmostuniversaloccurrenceinthechurchesoftheSouth,ashasbeenalreadynoticed,andweshallmeetwithotherinstances.ThispeculiarcharacteristicprobablydatesfromthetimeofthecrusadesagainsttheAlbigensesinthetwelfthandthirteenthcenturies,whentheinhabitantsweregladtoadopteverymeansintheirpowertoobtainprotection,andhadtoturneventheirchurches,whichwerenotsacredintheeyesoftheirassailants,intofortressesfortheirdefence.

[Imageunavailable.]FIG.92.MONUMENTINSTVICTOR’S,MARSEILLES.

The frequent attacks of the Saracensmay also have had some influence inproducingthisstyleofexteriorinthechurchesnearthesea-coast.

[Imageunavailable.]FIG.93.STSAUVEUR,AIX-EN-PROVENCE.

AIX-EN-PROVENCE,whichiseasilyreachedfromMarseillesbyadelightfulrailwayroutethroughthemountains,retainsfewmarksofitsdistinctionasthefirstsettlementoftheRomansinGaul.AfewRomanwallsandpillarsfromthetempleofApollo,togetherwithsomefragmentsintheMuseum,areallthatAixcanshewoftheoriginalAquæSextiæ.ButtheancientchurchofStSauveurandits octagonal baptistery exhibit the Roman influence, extending down to acomparatively late date. The baptistery is of the sixth century, but the upperportion has been restored in the style of the eighteenth century, and has thuscompletely lost its proper character. It is octagonal on plan, with eightmonolithicgranitecolumns taken from theancient templeofApollo set in theangles.

[Imageunavailable.]FIG.94.STSAUVEUR,AIX.

ThechurchofStSauveurwaserectedin1103,andissupposedtohavebeenbuiltonpartofthecellaofthetempleofApollo.Itnowformsthesouthaisleoftheenlargedcathedralerectedinthefifteenthcentury.But

[Imageunavailable.]FIG.95.CLOISTERS,STSAUVEUR,AIX-EN-PROVENCE.

this old church (according to Mérimée) is itself a restoration of a still moreancientbuilding,ofwhichsomeremainsareyetpreservedinthewesternportal(Fig. 93), the architecture of which strongly recalls that of Notre Dame desDomsatAvignon.HerewehavethesameflutedCorinthiancolumnsandcornicewith Roman enrichments, and arched opening between. The small engagedcolumnswith twistedand fluted shafts and straight arched lintel are, however,restorations of the twelfth century. To that date also belongs the interior (Fig.94),withitspointedtunnelvaultstrengthenedatintervalswithtransversearches.The arches which carry the dome over the original central compartment areround. The dome itself is octagonal, the angles being filled with archedpendentives. The piers are simple pilasters, with small classic-like pillarsintroduced in the angles near the top, to carry the springing of the transversearches.ThiswasacommonarrangementinProvençalchurches,as,forinstance,atStTrophime,Arles.ThecloisterofStSauveur(Fig.95)isafinespecimenofthe twelfth century erections of that description, so numerous in this part ofFrance. It is built in white marble, and enriched with a great variety of theRomanesque or Lombardic sculpture which distinguished the work of theNorthernraces.Theshaftsareparticularlyremarkablefromthegreatvarietyoftheir forms and ornament. Some are octagonal, while others are twisted andfluted, and someareactuallyknotted together, andnearlyall arecoveredwithcarved ornamentation. In these and similar works we have very palpableexamplesoftheinnovationsontheoldertraditionalformsforwhichthetwelfthcentury is so much noted. Of the later church, the carved Gothic west doors(executed 1503), containing figures of theological virtues, prophets, &c.,mingledwithGothiccanopiesandtraceries,areworthyofcarefulinspection.

Inhisexhaustivework,entitled“LesVillesMortesduGolfedeLyon,”Mons.C.LenthéricgivesafullandinterestingaccountoftheancienttownsofSouthernGaulbetweentheRhoneandthePyrenees.Theiroriginandfallareshewntobeboth attributable to causes arising from the natural configuration of the coast.The land in this locality is flat, and thebeach shallowand sandy,while at thesametimeitisexposedtothefullforceoftheviolentstormsraisedbytheeastwindswhich sweep over it from theMediterranean. The rivers emptying intothis shallow sea bring down large quantities of sand and mud, which, beingdrivenbackbythetidesandstorms,haveinthecourseofagesformedbarsorlong lines of sandy dunes at some distance from the land.Within these sandbanksarethusenclosedlonglagunes,similartotheshallowsea,boundedbythewellknownLido,inthemidstofwhichVenicestands.

TheselagunesformedconvenientandsafeharboursfortheearlyPhœniciansandothernavigators,andweresuitableindepthforthesizeofthecrafttheninuse.Butgraduallythefloodsoftheriversbroughtdownmoredeposits,andeveninRomantimesthreatenedtoblockupthepassagesthroughthelagunestotheopen sea. Itwasonlybybuilding a strongwall for thepurposeof forcing theriverAudetokeepinacertainchannel,sothatwheninflooditmightscouroutthepassage,andbytheerectionofbeaconsinthelagunetomarkthenavigablecourse, that theRomanport ofNarbonne couldbekept open. In 1320 a greatflood destroyed the retaining wall and changed the course of the river, afterwhichtheruinofNarbonneasaseaportwascomplete.Thetownisnow8milesfrom the sea, and isconnectedwith“laRobine”branchof theCanalduMidi,whichunitestheMediterraneanwiththeBayofBiscay.AsimilarprocesstothatatNarbonne has contributed to the ruin of several other ancient towns in thisprovince,—adistrictwhichhasalsosufferedmoreseverelythananyotheratthehands of the Saracens. Forming as it does the easiest access from Spain intoProvence, it necessarily lay open to constant attack. Besides, the Moors,althoughdrivenacrossthePyrenees,werestillmastersofthesea,andascorsairsorpiratestheyscouredtheMediterraneanformanycenturiesafterthetimeofC.Martel, attacking andplundering the smaller towns all round the coast, and insomeinstancesfortifyingthemselvesonlandinstrongplaceswhencetheycouldissue to plunder themore inland country. Suchwas their establishment at theGrandFraxinet,inthemountainousdistrictlyingtotheeastofToulon,whichisstillknownasthe“chainedesMaures.”

Weshallhaveoccasion toobservesomearchitecturaleffects resultingfromtheir invasions, particularlyhow the inhabitantswere forced to seek refugeonthe rocky heights, and to build their towns on the top of almost inaccessiblemountains.TheMoorshavealsolefttracesoftheirpresencebothinthegeneraldesignanddetailsofseveraloftheedificesoftheWesternRiviera.

ProceedingwestwardsfromMarseillesbyrailandpassingStGilles,wereachMontpellier,thearchitectureofwhichischieflymodern.TheancientchurchofMaguelonne, situated on the outer boundary of the lagunes,may however, bevisited from here. It was fortified and not unlike that of the Stes. Maries.Omitting for the present the wonderful town of Aigues-Mortes, to which weshall again return, we continue our journey amongst the lagunes, past thecrowdedmodernseaportofCette,and theancient townofAgde,with itsdarkchurchcrownedwith frowning fortifications,andat last reachBéziers, aplacewhosearchitectureclaimsourattention.

BÉZIERSisanancientRomantown,whichhasstillafewrelicsintheshape

ofRomanwalls, but no classic buildings of any importance. It stands upon asteephillwithalmostperpendicular faces towards the riverOrbe,which flowsrounditsbase.Thetownwasstronglyfortified,andheldaprominentplaceasafortress in the Middle Ages. Large masses of these fortifications are stillobservabletotherightoftheterraceatthewest

[Imageunavailable.]FIG.96.BÉZIERS,FROMTHEORBE.

end of the cathedral (Fig. 96), now crowned with a large block of buildingoccupiedasaHouseofDetention.

Thespaciousmainstreetofthetownascendsthehillfromthesouth-east,andpresents on either hand indications of the chief industry of the place in theimmense and cavernous-looking cellars filled with innumerable barrels ofalcohol, which, being in many cases too numerous for the cellars to contain,encumberthestreetingreatpiles.Theeffectofastreetcomposedofthesegreatvaultedcavesisuniqueandremarkable.

The Cathedral of St Nazaire stands on the summit of the hill. It wassurroundedwithafortifiedenceinte,and,formingthechiefcitadelofthetown,itwasstronglybuiltanddesignedfordefence.The transept is theoldestportion,datingfromthetwelfthcentury.Thesouthernanglebuttressesarecrownedwitha parapet, pierced with flanking loop-holes, angled so as to send missiles ineverydirection.Thecorniceoftheseparapetsisremarkable,andpresentsagoodillustrationoftheOrientalorSaracenicinfluenceabovereferredto(Fig.97).Thesouthtranseptcommandsthecloister,thewallsofwhichwerecrenellated.

[Imageunavailable.]FIG.97.

TOWERSOUTHSIDEOFSTNAZAIRE,BÉZIERS.

Bézierssufferedmore,perhaps,thananyotherplaceduringtheAlbigensianCrusades.Ononeoccasion,whenthetownwastaken,everyhumanbeingwasput to the sword, to thenumber, it is said, of60,000 souls.Thebuildings anddefenceswere ingreatmeasuredestroyed,and thecathedralwaspartly rebuiltandre-fortifiedinthefourteenthcentury.

Thewestendcommands thewallswhichcrown theescarpmentsabove theOrbe, and is strongly defended with two crenellated towers, and by a widearchedmachicolationsurmountingthewestdoorwayandRosewindowaboveit(Fig. 96). An embrasured parapet is placed above this, and three ornamentalcorbelsjutoutfromthefaceofthewall,toenablethedefenderstoapproachtheparapet and man it. These corbels are, however, not joined to the parapet,althoughtheydividethelongarchedmachicolationintofoursmallerones.Theembrasures and machicolations are all provided (as usual in fourteenth andfifteenth century work) with bold beads or mouldings, to prevent arrows andboltsfromricochetingwithintheparapet.

[Imageunavailable.]FIG.98.APSE,STNAZAIRE,BÉZIERS.

Theeasternapsewasalsorebuiltinthebeginningofthefourteenthcentury.Here also (Fig. 98) wide machicolations are formed by arches thrown acrossbetweenthebuttresses,whiletheparapetaboveisfinishedwithanopenarcadedbalustrade, which, in an ecclesiastical building, is more appropriate than anordinarycrenellation,andservesthesamepurposeequallywell.Thesedefencesprotect the largewindowsbelow frombeing takenbyescalade,while, for stillfurther security, the windows themselves are completely covered with strongornamentalirongrilles.

[Imageunavailable.]FIG.99.CATHEDRALOFSTNAZAIRE,BÉZIERS.

Theinterior(Fig.99)exhibitsafine instanceofGothicdesignengraftedontheSoutherngroundplan.

Thechoirisasimplewidehall,terminatedwithanapseofthefullwidth,andcontainingninebays;whilethegroinedandribbedvaulting,andallthedetailsofthe windows, arches, and shafts, with their ornamentation, is entirely Gothic.The lower part has been finished at a much later period with Renaissancewoodwork. In themanner inwhich the apse vaulting is carried out there is astrong reminiscence of the domical form; while the upright wall above thevaulting,withitscirculareyeatthejunctionofapseandchoir,isafeaturewhichrecallsmanyProvençalexamples.

[Imageunavailable.]FIG.100.FOUNTAININCLOISTERS,BÉZIERS.

The cloisters are situated to the south of the church, and are in goodpreservation.TheirdesigniscompletelyNorthern,ofthesomewhatcoldstyleofthe fifteenth century. The arcade is open, and without tracery, with largebuttressesbetween,carriedupwithpinnaclesabovethebalustrade.Thefountaininthecentreofthecloister-garthissimplebuteffective(Fig.100).

Theviewofthetownandcathedralfromtheriver(Fig.98)isveryfine.Thegreat mass of the cathedral is seen towering above the huge remains of theancientfortifications;whileintheforegroundtheOrbeisdammedup,andformsthemotive power of a number of picturesquemills in the formof towers.Anancientbridgespanstheriverlowerdown.

[Imageunavailable.]FIG.101.HOUSEINBÉZIERS.

Near the cathedral is a house of the fifteenth or sixteenth century, with aquaint bowwindow (Fig.101).The great corbels over thewindow to the lefthave no doubt been for the purpose of supporting some kind of balcony inconnectionwiththedefenceoftheentrancedoorwaybelow.

InthedistrictwearenowtraversingmanyinterestingexamplesstillexistoftheancientProvençalstylesimilartothosealreadyillustrated.

At Puisalicon, near Béziers, there occurs a remarkable specimen of acampanile, with three tiers of arched openings, like those of Italy (seeFergusson’sHandbook).

AtStPierredeReddes,nearBedarieux,theancientchurchconsistsofalongnavewith barrel vault, strengthenedwith transverse ribs,which spring from aseriesofdoublecolumns,ofwhichthearrangementisevidentlyborrowedfromtheAntique(Fig.102).

[Imageunavailable.]FIG.102.STPIERREDEREDDES.(FromRévoil).

StMartindeLondres(Herault)mayalsobementionedashavingatri-apsaleastend,whiletheexteriorisornamentedwiththearcadedpatternsocommonontheRhineandinLombardy.

NARBONNE.—WhentheRomans,B.C.118,becamemastersofSouthernGaul,theyestablished,under the leadershipofanenthusiasticyoungpatriciancalledLiciniusCrassus,acolonyintheancientPhœnicianport,dedicatingittoMars,andgivingitthenameofNarboMartius.AprincipalobjectofthiscolonywastosecuretheroadintoSpain.Afteratimethefirstfoundationbecameweak,and,B.C.45,anewcolonywasledoutfromRomebyTiberiusClaudiusNero.NarboMartiuswas thencapitalof theRomanprovinceofGalliaNarbonensis,whichextendedfromtheAlpstothePyrenees.

Under theEmpire, there arose in this favoured colony, on thebanksof theAtax orAude, a complete image on a small scale of Imperial Rome,with itscuria, duumvirs, consuls, pretors, questors, etc., and it was adorned with aForum,Temples,Markets,Baths,andAmphitheatre.

OfthesefineRomanedificesnotoneremains.Suchofthemasescapedthedevastations of the Goths and Saracens are said to have been demolished byRichelieu, that the materials might be used in the construction of the newfortificationsofthetownerectedbyhim.Theengineeroftheseworksseemstohavehadmorereverenceforancientartthanhisprincelymaster,forhecollectedall the sculptured fragments, and built them into the walls where they couldeasily be seen. The fortifications thus formed a kind of open air museum ofancient sculptures and inscriptions; but they have now, in their turn, beenremovedtomakeroomfortheexpansionofthetown.TheRomanmonuments,however,havebeenpreserved,andareplacedinthemediævalEpiscopalPalace,whichhasbeenpartlyconvertedintoamuseum.

TheimportantarchitecturalworkswhichstillexistareallconcentratedroundtheCathedralofStJust(Fig.103).AsatBéziers, theCathedralformedpartofthe fortifications of the Archbishop’s Palace. It is one of those designs inNorthern Gothic which look as if transplanted into Southern soil. The wholecharacter of the buildings isNorthern.Whetherwe regard the steep roofs andgables,thesub-dividedformsofthevaulting,thesectionsofthemouldings,thecharacterofthecloisters,theshapeofthewindows,thedispositionsoftheplan,or the defensive arrangements, thewhole design appertains to the style of theRoyalDomain.

[Imageunavailable.]FIG.103.CATHEDRALOFSTJUST,NARBONNE.

M.Viollet-le-DucshewstheverycloseresemblancebetweentheplansofStJustandthoseoftheCathedralsofLimogesandClermont,inAuvergne.Thesehe regards as the threemost splendid and remarkably similar examples of theGothicofthefourteenthcentury,andhethinksthattheyhaveprobablyallbeendesignedby thesameman.TheCathedralofNarbonne isdistinguishedby thebeauty and skill of its construction. In the fourteenth century the Gothicarchitects had arrived at great perfection in the art of building. The variousforces in connection with the vaulting had become perfectly understood, andhere the architect has endeavoured to shew how accurately he could calculatethem. All the mouldings are carefully profiled, and the penetrations andjunctions admirablymanaged; but sculpture is almost entirely dispensedwith,eventhecapsofthecolumnshavingnofoliage.

Asapieceofarchitecturalengineeringthebuildingisperfect,andhasstoodwithout a flaw; but it rather wants interest owing to the absence ofornamentation.Itwasbegunonagreatscale,but,owingtowantoffunds,onlythechoirhasbeenerected.ThevaultisnearlyashighasthoseofBeauvaisandCologne. The absence of decoration in the building itself is, to some extent,compensatedby the richnessandbeautyof the tombsandmonuments insertedbetweenthepiersofthechoir.ThatofArchbishopPierredelaJugéeisspeciallyrichinsculpture,andstillretainssomefinepainting.

Likemostof thechurches in theSouth,St Just is fortified,and,alongwiththeArchbishop’sPalace,formedthecitadelofthecity,andoccupiedthesiteofthe Roman Forum. The fortifications consist in a double tier of crenellations,whichtaketheplaceoftheusualbalustradesoverthechapels,andarecontinuedround the apse,with archedpassageswhich rest onpiers brought up from thechapelsofthe“rondpoint,”andarecrownedwithturretswhich,aswellastheconnecting bridges, are all provided with crenellated parapets. These airyprovisions for defence give an unusual and very singular appearance to theexterioroftheapse(seeview,Fig.103).

InthetwelfthcenturyNarbonnewasaplaceofgreatimportance,but,owingto the silting up of the harbour in the fourteenth century, its commerce andrevenuesweregreatlydiminished.

TheArchbishop’sPalacewasanimmensecastle,somewhatafterthetypeofthePope’sPalaceatAvignon.Theancient cityofNarbonnepreserved, till thetwelfth century, much of its Roman municipal administration—the Communehavingcouncillorswiththetitleofprobihomines,afterwardschangedtothatofconsuls,whonotonlycarriedon the internalaffairsof thecity,butnegotiatedtreatieswithGenoa,Pisa,andotherpowers.As invariablyhappened,however,

these rights were encroached upon by the feudal superiors. At Narbonne theArchbishopclaimedthesuperiority,andin1212hedeclaredhimselfDuke,andreceived the homage of the Count, whowas the lay superior. These differentpowers in the town were naturally in a state of constant warfare, and, inaccordance with the usage of the times, the Archbishop resolved to fortifyhimself within a castle of strength and dignity commensurate with hisimportanceasPrimateofGaul—atitleassumedbytheprelatewhowasinofficein1096.Afewportionsof thepalaceof the twelfthcentury remain,but ithasnearly all given way to works erected at later periods. The building is nowconverted into theHôtel deVille andMuseum; and, in order to carry out thealterations required, togetherwith the newworks (whichwere executed underthesuperintendenceofViollet-le-Duc)someoftheoldbuildingsandfoundationshadtobeclearedout.Thisnewworkoccupiesthecentralspacebetweenthetwoold towers (see Fig. 103). The architect had thus an excellent opportunity ofascertaining the exact form and arrangement of the ancient palace, and ofpreparingtheplanofitgiveninhis“Dictionnaire.”

Atthesouth-eastanglestandsthegreattowerorkeep(totheleftintheview),commandingthecanalandthe“place,”andovertoppingthetoweroftheCount,whichstoodoppositetoit.ThistowerwasbuiltbyArchbishopGillesAscelinin1318, and forms an independent redoubt. It is four storys in height. Thebasement is circular internally, and, as usual, has no openings to the exterior,beingonly reached from the floor aboveby an aperture in thevault.The firstfloor is octagonal internally and vaulted. It is intended for defence, and isprovided with passages in the thickness of the walls, from which divergingloopholes command the exterior in all directions. The third floor is squareinternally,andhasbeenthelivingroom,beingfurnishedwithwindowsonthreesidesandafireplace,andhadawoodenceiling.Thetopstoryisalsosquare,andiscoveredwithapointedvault.Ithasthreewindows,andchambersinthewallprovidedwithloopsfordefence.Theconstructionoftheroofandangleturretsissomewhatremarkable.Thecentralplatformoftheroofissomefeetlowerthantheparapetwalk,andisconnectedwithitbyaseriesofstepsrisingalongeachside.Theangle turrets are three storys inheight, andaccess isobtained to thedifferentstages,1st,fromtheplatformroof;2nd,fromtheparapetwalk;and3rd,bystepsupfromthelattertotheparapetonthetopoftheturrets.Thetowerwasfortifiedonits threeanglesnexttheoutside,withtheaboveformidableturrets,whichwereprobablyfurtherarmedwithsomekindofwoodenmachicolationsintime of danger. The fourth angle, next the inner courtyard, contained thestaircasewithawatchturretcarriedupaboveit.

The other portions of the palace comprised an immense hall, and thenumerous living apartments of the archbishop and his retainers. The entrancewasbyalongopenpassagewelldefendedfromhighwallsoneitherside.Withinthefortifiedenclosurewerealsothecloistersandchapterhouse.Theseareofasomewhat late and cold design, dating from 1375. The roof, which is flat,formedanagreeablepromenadewithinthewalls.

TheChurchofStPaul,beyondthecanal,isanexampleofthemixtureoftheGothicandSouthern styles.Thepiers are light and lofty, andexhibit aGothiccharactermixedwithsouvenirsoftheheavierprecedingstyle, inthesmallandfewwindows,the“historied”caps,&c.

OnthewaybetweenNarbonneandPerpignanampleopportunityisafforded,as the railway runs alongbetween the lengthy lagunes and through the drearysalt marshes, of observing the process of silting up which has here been inprogressforcenturies,andwhichhashadsuchamarkedinfluenceinchangingthe character of the country, and in affecting the fortunes of the various citieswhichformerlyflourishedontheprosperousbanksoftheseinlandseas,nowsodesolateandpestiferous.

AfterpassingthelaguneswereachthewideandfertileplainofRoussillon,where the process of silting up has long been completed, and where fruitfulgardens now take the place of marshy wastes. Here too the snow-cappedPyrenees, surmounted by the lofty peak of Mont Canigou, come into view,bounding theprospect to thesouth,andpointing to thevicinityof theSpanishfrontier. The language and architecture of the province also emphasise itsSpanishcharacter.

PERPIGNAN, which stands near the rapid river Tet, hasmany pointswhichdistinguish it from the towns we have just passed further north. A prominentfeatureofthearchitecture,doubtlessMoorishinorigin,istheenormoussizeofthevoussoirsofthearches.Inoneoldbuilding,calledtheBourse,thevoussoirsof the circular arch of the doorway are quite 6 feet in length. Numerousfragmentsof thispeculiar style, andofwallsbuiltwith theherring-boneworkcharacteristic of the country, are to bemetwith in the town, but there are noreallygoodandcompletespecimens.Someoftheinteriorcourtyards,withtheirwooden balconies, are very foreign looking and picturesque examples of theSpanishinfluence.

Thecastellet(Fig.104)whichdefendsthegateofthecityclosetotheriver,has quite a different aspect from that ofFrench castellatedwork. It is entirelybuilt inbrickwork,eventhegreatcorbelsof theparapetbeingof thatmaterial.ThissmallcastlewaserectedbyCharlesV.,andformedtheoriginalgatewayof

thetown.Itconsistsoftwonearlyroundtowers,withprojectingcircularturretson their faces, and a double curtain wall between, through which the doublegatesnodoubtformerlypassed.Thestructureissurmountedwithanoctagonaltower, having a boldly overhanging parapet, which recalls the militaryarchitectureoftheNorthofItaly,asexhibitedinbuildingssuchastheBadiaatFlorence and the Castle of Ferrara. The inner archway with its enormousvoussoirs still exists.Thegatewaynow inuse adjoins the castellet on the eastside (on the left in the sketch), and is provided with a drawbridge. This wasprobably erected when the system of fortification was altered, and the outerworksshewninthesketchandcontainingembrasuresforcannonswereerected.

IntheCathedralofStJean(Fig.105)wehaveaverycharacteristicexampleoftheSouthernstyle.Itconsists,asusual,ofonegreathallornave,withoutsideaisles,andwithaseriesofloftychapels,betweenthebuttresses,whicharethusenclosedwithinthebuilding.

Thechurchhasavaultoffully60feetinwidth,and

[Imageunavailable.]FIG.104.THECASTELLET,PERPIGNAN.

[Imageunavailable.]FIG.105.CATHEDRALOFSTJEAN,PERPIGNAN.

islightlyandboldlyspannedwithpointedandgroinedvaulting.Theapse is similar incharacter to thatatBéziers.Thevaultingof thispart

wascompletedunderCharlesV.,andindicatesitslatedatebyitsinterpenetratingribs.Thereisalmostnoornament,thearchitectsofthetimegivingtheirattentionchiefly to the scientific construction of their edifices. St Jeanwas founded bySancho II., King ofMajorca, in 1324. This was long before Roussillon cameunderthedirectinfluenceofFrance,whichonlytookplaceunderLouisXI.Thestyleof thebuilding is thusnot affectedby the importationof the styleof theNorth,asatNarbonne,exceptasregardsthevaulting,whichisofamuchlaterperiod.Some relicsof amoreancientChurchofSt Jean (leVieux) adjoin thecathedral,andcontainsomeinterestingRomanesquework.StJacques(thirteenthcentury) has a remarkable tower, and the ruins of theDominican convent andchurch contain good cloisters, two sides being Romanesque, and the othersfourteenthcenturywork,withcapsbearingshields,etc.

Thecitadel,whichoccupiesthesiteofthecastleofthekingsofMinorcaisnowapowerfulfortress,alaVauban.Itcontainstheruinsofanancientchurchwithadoorway,thevoussoirsofwhicharelarge,andcomposedofalternateredandwhitestoneinthestyleofCatalonia.

AveryinterestingandagreeableexcursionmaybemadefromPerpignantoElne,afewmilesfurthersouth.

ELNE, IN ROUSSILLON, stands on a height in the midst of the great plainwhich extends to the base of thePyrenees near the frontier ofSpain, and is atownofgreatantiquity. Itwas inancient timesaseaport,but isnowseparatedfromtheseabyawideandlevelexpanseofcountry.

Elne,oras itwasancientlycalled,Illiberris,wasaCelticcitybefore itwasfrequentedbythePhœniciansasoneof theirports.ThefirstPhœniciancolonywasdestroyedbeforewehaveanydetailedhistoryofthecountry.Itwasrebuiltby the Illiberians, and again ruined. Once more restored by Constantine theGreat,itcontinued,solongasitsconnectionwiththesealasted,anopulentandpopulousplace.Butwhen,throughthesiltingupofthewater-way,itceasedtobeaseaport,itsprosperitydeparted,andthetownhasgraduallydeclined,tillitisnowreducedtoamerevillageperchedonthetopofarock.ConstantinegaveitthetitleofCastrumHelenæ,whenceitspresentnameisderived.

In 1285 and 1474 Elne was again besieged and destroyed. These eventshelpedtohastenitsdecay,andfinallyitsBishop’sSee,whichhadexistedfromthe fifth century, was removed to Perpignan in 1602. Some portions of theancientwalls,builtwiththeherring-boneworksocommoninthisdistrict,have

notyetentirelycrumbledaway,and the townisstillentered throughapointedgateway (Fig. 106) built with white marble, the passage through which isprovidedwithaportcullisgroove.

Theancientchurchoccupiesthehighestpartoftherockysite.Itisveryplainexternally and shews the marks of many alterations. The cathedral had beentwicebuiltintheplain,butwasdestroyedbytheSaracens.ThisledtheBishopBérangerin1019totransferittoitspresentsecurersitewithinthewallsofthecastle.Theexistingstructure isof the twelfthcentury.Themasonry is roughlybuilt, partly with herring-bone work, and in some cases the arches of thewindows are distinguished with dark-coloured stones. The interior is dividedinto a nave and two aisles, the tunnel vault of the nave being pointed andstrengthenedwithroundtransverseribs.Thesideaislesarevaultedwithahalfarchthrownagainstthewallsofthenavelikeacontinuousflyingbuttress.Thevaults next thewest end have, however, been reconstructedwith cross ribs, arestorationprobablyof thefourteenthcentury.Thewholeof thework isof thesimplestcharacterandalmostwithoutornament.

[Imageunavailable.]FIG.106.MARBLEGATEWAY,ELNE.

Attheeastend(Fig.107)theancientapsewithitscirculararcadeisvisible,risingabovethefoundationsofalargerchoirwhichwasbeguninthesixteenthcentury,butstillstandsunfinished,theworkshavingevidentlybeeninterruptedbeforetheyhadreachedtheheightof10feetfromtheground.ThenewchoirisdesignedontheplanofaNorthern“chevet”orapsidaleastend,withradiatingchapels.ThecampanileisnoteworthyasadesignofthatclassofedificescloselyimitatedfromthoseofItaly.

[Imageunavailable.]FIG.107.ELNECATHEDRAL

ButthemosttrulyattractiveandremarkablepartoftheantiquitiesofElneisthebeautifulcloister(Fig.108),which,fortunately,isstillcompleteandinfinepreservation. Each side of the enclosure has, besides the angle piers, threeintermediate square piers, the spaces between them being each divided into atriplearcade,supportedoncoupledcolumns,theshaftsofwhichareornamentedwithallkindsoftwistsandfoliateddecoration.Thewholeisexecutedinwhitemarble,andfinishedwithgreatdelicacy,formingtherichestexampleremainingofthisclassofcloister,ofwhichsomanyfinespecimensoccurintheSouth.Theworkisofvariousperiods,fromthetwelfthtothefourteenthcentury.Theoldestportionsexhibit,intheirornament,astrongByzantinefeeling,whichtheartistsof the laterperiodshaveendeavoured to imitate in theportionsof thecloisterssubsequentlybuilt.Theshaftsandcapsofthelatercolumnsareasrichlycarvedas the older ones, but they are covered with ornament of a much lessconventional character, andmore in the styleof thenatural foliageuniversallyemployedintheNorthinthefourteenthcentury.Toalaterperiodalsobelongthegroinedandribbedvaultswithwhichthecloisterisroofed,andthecorbelsinthewalls from which the ribs spring and which are formed as panels containingfiguresubjectsfinelyexecuted.Thedoorwayfromthecloisterintothechurchispointed, and has voussoirs of white and red marble alternating—a style ofdecorationveryusualintheSouth,andwhichmayperhapsbetheresultoftheproximitytotheMoorsinSpain.

Several interesting bas-reliefs and other ancient fragments have beenpreservedbybeingbuiltintothewalls.

CARCASSONNE.—AnarchitecturaldescriptionoftheedificesofProvenceandtheRivierawouldbeincompletewithoutsomeaccountofthetwomostperfectexamplesof

[Imageunavailable.]FIG.108.CLOISTERSATELNE.

Mediæval castellated architecture which still exist in the towns ofCarcassonne and Aigues Mortes. These are, from their excellent state ofpreservation,quiteunique,andfarsurpassinextentandinteresttheremainsofthefortificationsofanyoftheothercitiesofWesternEurope.

ThetownofCarcassonneissituatedontheriverAude,whichisspannedbytwobridges,oneofthemdatingfrom1184.Theportionontheleftornorthbankwasa“bastide,”ordetached town, laidout in the timeofStLouis; thestreetsbeingalldrawnat rightangles,aswasusual in the towns thenerectedonnewsites. Suchwere the numerousvilles-neuves constructed byEdward III. in theSouth-westofFrance,andwhichheendowedwithcertainprivileges,inordertoinducementosettleinthem,andthusincreasethepopulationandstrengthofthecountry.

[Imageunavailable.]FIG.109.CARCASSONNE.

TheancientcitéofCarcassonnestandson thesummitofahillon the rightbankof the river. It is still surroundedby its doublewall of enceinte, studdedwith round and square towers, and dominated by the masses of the ancientcastle,whichriseboldlyabovethesteepandrockyhillside,andpresentasightasnovelandpicturesqueascanwellbeimagined(Fig.109).Thesiteisnaturallyastrongone,andwasdoubtlessoccupiedfromaveryearlyperiodasaprimitivefortress. It afterwards became a Roman town, and was surrounded by theRomanswithwalls.

TheVisigoths,whowereabsorbedinto thenativepopulationandcontinuedtheRomancivilisation,rebuiltthewalls,someofwhichstillsurvive,apparentlyontheRomanfoundationsandaftertheRomanmanner.TheRomansystemoffortificationconsistedinerectingtwowallstoformanouterandinnerface,thespace between which was filled up with earth and stones. The level of theground on the inside of the fortress was kept much higher than that on theexterior,andabroadparapetwalk,easilyaccessiblefromtheinteriorlevel,ranroundthetopofthewall,andwasprotectedtowardstheoutsidewithaparapet.

AtCarcassonne themoreancientpartsof thecurtainsarecomposedof twowallsbuiltwithsmallcubicmasonry,alternatingwithcoursesofthinbricks(Fig.110), the central space being, however, filled, not with earth, but with rubblemasonryandmortar.Thelevelofthegroundismuchhighernextthetownthantowardstheexterior.

SomeofthetowersoftheVisigothsstillremain,andriseconsiderablyabovethe curtains.These, like the towersof theRomans, are circular to the exteriorandsquarenextthecity,onwhichsidetheyarealsoopen,bothforthepurposeofadmittingofmunitionsbeingeasilyhoisteduptothemfrombelow,andalsotorenderthemuselessinthehandsofanenemyasagainstthetown.Externallythey are furnished with embrasures at the top, which were provided with aswingingwoodenshutterfordefence,tosupportthepivotsofwhichstonehooksareinsertedattheeaves.Thetopiscoveredwithapointedroof(seeFig.110).

Thetowersweredetachedfromthecurtainsby

[Imageunavailable.]FIG.110.CARCASSONNE—TOWERSANDCASTLE.

apitorgapintheparapetwalkwhereitadjoinedthem,sothateachtowermightform a separate post, and be defended independently. The lower part of thewalls,beingbelow the interior levelof theground,waspeculiarly liable tobeattacked bymining and battering, againstwhich the defenders couldmake nodirectresistance.Thebesiegers,astheyknockedoutpartsofthewall,supportedthesuperstructureinatemporarymannerwithwoodenprops,andwhentheyhadcompletedtheirminingoperations,theysetfiretotheprops,andthewallabovefellandformedabreach.

Like the Roman permanent camps, these fortified cities had a castle orcitadel,whichwasalmostinvariablyplacedonthehighestpointofthesite,andadjoinedtheenceintesoastocommandanddefendthetown,and,at thesametime, be in a position to receive supplies and reinforcements 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 anenclosing wall, or chemise, of its own, and could be held after all the otherdefences had succumbed.Suchwalls as those of theVisigoths atCarcassonnewere sufficient to resist the means of attack employed from the fifth to theeleventh century.At that period of revival a great improvement took place allround,and therecanbenodoubt that theearlyCrusaders learnedmuch in theEast with regard to the science of attack and defence of strongholds. In theeleventhand twelfthcenturies, towers like thoseof theNormanswereerected,which depended for their security on the natural strength of the site, and thegreat height and thickness of the walls—their height protecting them againstassault by scaling, and theirmass and position against themine and batteringram.Theywerefurtherstrengthenedwithouterwallsandditches.

[Imageunavailable.]FIG.111.CARCASSONNE—OUTERANDINNERWALLS,N.SIDE.

Avery interestingdescription, illustrativeof themannerofcarryingonandresistingsiegeoperations,isquotedbyViollet-le-DucfromareportrenderedbyGuillaume des Ormes, Seneschal of Carcassonne, to Queen Blanche, on theraisingofthesiegeofthattownbyTrencevalin1240.Thereportdetailshowthebesiegers and defenders battered one another with mongonneaux; how theyminedandcountermined;howpartofthewallwassapped,andabreachformed,insideofwhich thedefenders raisedawoodenbretêche,crownedwithhoards,andarmedwitharchers.

OnStLouis’returnfromhisfirstcrusade,hewasdesiroustostrengthenhisposition in the newly-acquired dominions of the Count of Toulouse. He,therefore,resolvedtomakeastrongcitadelofCarcassonne.Forthispurposethehouses in the suburbs were cleared away, and a new town, or bastide, wasestablished,asabovementioned,fortheejectedinhabitantsontheoppositesideoftheriver,wherethenewtownnowstands.

UnderKingLouis theouterenceinteofCarcassonnewasrebuilt (Fig.111).Betweenthisandtheinnerwallofenceinteaspaceisleft,calledthe“lices,”inwhichtroopscancirculate,andpatrolsandsentriesmoveinsafety.Thegroundofthe“lices”isnearlyonthesamelevelasthepresentparapetoftheouterwall,while thewall is about thirty feet above the soil outside.The towers are builtwithanopensidenextthe“lices,”sothat,eveniftakenbytheenemy,theycouldnot be held by him against the innerwalls. StLouis also erected an immensebarbican,orroundredoubt,atthebaseofthehill,betweenCarcassonneandtheAude,soastocommandtheriver,andallowofsortiesbeingmadeonthelevelgroundadjoiningit.

PhilippeleHardicontinuedtheworksofthefortifications

[Imageunavailable.]FIG.112.CARCASSONNE—PORTENARBONNAISE.

tillhisdeathin1285,hisoperationsbeingchieflyontheeastandsouthsides.There are twoprincipalgateways in thewalls, thePortede l’Audeand the

PORTENARBONNAISE(Fig.112),bothstronglydefendedwithtowersandotherworks.Therearealsosixposterns,allplacedinanglessoastobemaskedbythetowers, and generally several feet above the level of the ground. These wereuseful for relieving sentries, and for the movement of troops in the “lices.”Oppositesomeoftheposternstheouterwallsareprovidedwithlargebarbicans(Fig. 113), in which soldiers might be concentrated for sorties. As abovementioned,thegreatcircularbarbicanatthebaseofthehillwasalsoemployedfor this purpose. Nothing could give a better idea of the multiplicity andcomplication of the means of defence then employed than the mode ofconnectionbetweenthisbarbicanandthecastle.Therampartorpassagewhichledtothecastleabovewasespeciallywellfortified.Itwassteep,andtheascentwasinterruptedwithseveralcrosswallswithdoors,approachedbystepswhichwereallcommandedfromthewallsandcurtainsabove,andfromagreattoweratthetop,allarmedwithbretêchesorhoards.Towardstheupperendthepassageturned to the right, andwas flanked by the defences above.A small gatewasthenreached,withinwhichthepassagedoubledbackagaintotheleft,andwasstoppedbyanothergate,beyondwhichitenteredanarrowcoveredwayofthreestorysinheight,eachcommandingtheonebelowbymeansofmachicolationsorapertures in the floor, so that, if the first floorwasgained, the assailant foundhimself in a trap, and was battered from above. If all these defences weresurmounted,thebesiegerwasonlythelengthofthe“lices,”andhadstillabovehimtheloftywallsandtowersofthecastle,andthestrongly-fortified

[Imageunavailable.]FIG.113.CARCASSONNE—WESTERNWALLSANDBARBICAN.

postern,with itsmovablebridge,doublemachicolations, loop-holes,portcullis,andgates.Evenwithinthis,theentrancetothecastlewasimpededbyaslopingandturningpassage,furnishedwithnumerousdoors,andrisingfortwenty-threefeetbeforethelevelofthecourtyardwasreached.

Such defenceswere almost impregnable, and are a good illustration of theintricacy of the fortifications adopted at that period. At a later time suchcontrivanceswerefoundtobeamistake,astheyimpededthemovementsofthegarrison.Theyprovedaweaknessratherthanastrengthbypreventingmenfrombeingmovedrapidlytoacriticalpointattherequiredtime.Theleadingidea,atthis period,was to render everypoint of the defences independent of the rest.Eachtoweris,therefore,aseparatefort;thecastleandbarbicanareindependentofthecitywalls,andcouldholdoutalthoughthetownwasinthehandsoftheenemy;andwithinthecastletherearetwoindependenttowersordonjons,whichmight still form a refuge for the garrison for some time after the castle wastaken.

The loftysquare tower(seeFig.110),whichwascrownedwithabretêche,was carried up to a sufficient height to dominate the town and the wholesurroundingcountry.This structure and someof the adjoiningwallsdate fromthetwelfthcentury.TheotherbuildingsonthenorthsideofthecastleareofthetimeofStLouis.Theinnerenceinteofthecastlewithitstowersandgatesbuiltby Philippe le Hardi (the latter part of the thirteenth century) are splendidexamplesofthemilitaryworksoftheperiod.

Thewallsofthetowerssurroundingthetownarebuiltwithsolidmasonryinregularcourses,withthefaceleftrough.Thelowerpartofthecurtainsispiercedwiththelongloops,sometimes11or12feetinlength,theninuse,andthetopwas fortifiedwith hoardings or projectingwooden galleries, from the floor ofwhichthedefenderscoulddropstonesandothermissilesontheassailants,soasto keep them off from the base and preventmining.All thewalls and towerswerefurnishedwiththesehoardings.Thesquareholesinwhichthebeamswereinserted for carrying the galleries are still visible both in the outer and innerwalls(Figs.110-113).

The towers are placed at suitable intervals to enable the curtains to bedefended from themby lateral fire, and someof themare strengthenedwith aprojectingbeak toprevent thesappers fromapproachingwhen theanglecouldnotbewellcommandedfromtheadjoiningparapets,asisthecaseinthetowerattheN.W.angleofthewallsseeninFig.111.Onelargesquaretower(showninFig. 111) called the “Tour de l’Evêque” joins the outer and inner enceintestogetherbybridgingoverthespacebetweenthem.Ithasthuscompletecontrol

over the lices both from apertures in the vault, and from the hoardingswhichwereprojectedontheflanks.Thistowerderivesadditionalinterestfromhavingbeen used by Viollet-le-Duc as his studio while superintending the work ofrestoration,anditcontainsanumberoffineplastercastspreparedbyhim.

Theparapetwalkof the innerwall runs all round thebattlements. In somecasesitisinterruptedbythetowers(Fig.114),andpassesthroughthem;inothercasesitiscarriedroundtheexteriorofthetowersonthesidenextthetown,—theformertowersbeingpostsforguardsandsentinels,andthelatterbeingintendedto serve as independent posts for defence.Access to thewalls is provided bygood open stairs on the side next the town, as shewn in Fig. 114, whichrepresents the interior of the walls at the same place, as Fig. 113 shews theexterior.

[Imageunavailable.]FIG.114.CARCASSONNE—INTERIOROFWALLS.

The ramparts of Carcassonne have been to a large extent restored withinrecentyears;butstillremainuntouchedontheeasternside(seeFig.112),wherehouseshavebeenerectedagainsttheinneranduponthetopoftheouterwalls,soastoconvert the“lices”intoastreet.Onthissidethewallsof thetownareseparated from the surrounding land,whichhere is ratherhigh,byawideanddeep ditch. The high ground beyond the ditch was originally fortified with alarge round tower (now destroyed) which is supposed to have communicatedwiththetownbyasubterraneanpassage.

Above the old houses on the walls are seen rising the great towers of thePorteNarbonnaise,eachstrengthenedwithasalientbeak.Betweenthesetowersisthegateway.Ithadnodrawbridge,butwasdefendedinfrontbyagreatchain,awidemachicolation,aportcullis,andfoldinggates. In thecentreof thevaultover the archway there was a large opening, and the inner gateway wasstrengthenedwithawidemachicolation,asecondportcullis,andasecondgate.Besides these the towers were of course provided with their hoardings and abretêcheprojectedoverthegateway.Thegreatangletower,calledthe“Trésau,”andalargeanglebartizanfurtherprotectedtheapproachofthegateway,asseeninthesketch.

SuchwerethefortificationsofCarcassonne,thechieffrontierfortressonthesideofAragon,andtherecanbelittledoubtthatagainstthemeansofattackthenemployed,theywerepracticallyimpregnable.

TheancientChurchofStNazaireatCarcassonnemaybetakenasanexampleof the ruder form which the Romanesque style assumed in a district not farremoved from Provence. It occupies the highest point of the height onwhichstandstheancientfortifiedcitéofCarcassonne.

[Imageunavailable.]FIG.115.STNAZAIRE,CARCASSONNE.

Thechurchisplacednearthewallsofthecity,andthewestendiselevatedandfortifiedsoastoformpartofthedefences.Theentrancetothenaveisbyatwelfthcenturydoorwayinthenorthaisle.Thebuildingconsistsoftwoportions,which form a striking contrast with one another (Fig. 115); the nave of theeleventhcentury, and theRomanesquechoirof the fourteenth, the formerof amassiveandgloomydesign,thelatterofthelightestandmostelegantGothic.

Theolderportionconsistsofacentralnaveandtwosideaisles,separatedbyenormous piers, which are alternately plain cylinders and squares with anengagedcolumnoneachface.Thebasesofthepiersvarygreatlyinform—noneofthembeingofRomandesign,butallsetuponagreatsquareblock.Thecapsofthecylindricalpiersdifferconsiderably,butconsistoflargemouldings,withcorbels and billet ornaments.The pier arches are circular, and the aisles lofty,andvaultedwithroundarches.Risingfromthecapsofthecylindricalpiersareshortcolumns,thecapsofwhichcarrythepointedtransverseribsofthetunnelvault of the nave, which is also pointed, and probably belongs to the twelfthcentury.Thecapsoftheseshortcolumns,andoftheattachedshaftsofthesquarepiers,areallverylargeandbold,andseemtobefoundedonRomandesigns.

The light Gothic work of the choir, with its tall slender shafts, and wallscomposed almost entirely of mullions and stained glass, forms a brilliantterminationtothevistaoftheponderousnave.Itbelongstoamuchlaterperiodthanthelatter,havingbeenerectedbyBishopPierredeRochefort,1320-30.Itisa palpable instance of the extension of theGothic style of theRoyalDomainalong with that of the Royal Power, having been erected shortly afterCarcassonnewasunitedtoFrance.

Viollet-le-Ducconsidersthischoironeofthemostinstructiveinstancesofthescientific method of construction adopted by the Gothic architects of thefourteenthcentury;andhepointsoutthatthearchitecthasendeavouredtokeepupthe ideaof theancientnave in thenewworkbypreserving in thechoir theplan of the nave piers—those of the central compartments being square, withattachedshafts,whiletheothersareroundonplan.

We shall now return toAiguesMortes,which, itwill be remembered,wasreservedforconsiderationalongwithCarcassonne.

AIGUESMORTESisanothertownoftheageofStLouisandhissonPhiliptheBold, the fortifications of which have, by great good fortune, been preservedalmostuntouchedsincethedateoftheirerection.ThisprobablyarisesfromthefactthatAiguesMortespresentsoneofthemoststrikinginstancesofthe“villesmortes,”whosehistoryissofeelinglydepictedbyM.Lenthéric.Itstandsinthe

midst of the lagunes andmarsheswhich here cover a large extent of countryconnectedwith the delta of theRhone.The origin of the towndates from thetimeofStLouis.AtthatperiodtheKingdomofFrancehadnotasyetextendedto the Mediterranean, but King Louis, being a devoted Crusader, was verydesirous that his country should possess a port on that sea, from which hisarmies might embark in their expeditions against the Infidels. This there wassome difficulty in obtaining, the harbours on the coast being almost whollysubjecttotheCountofBéziersortheCountofProvence.Ithappened,however,thatasmallportionof thesea-coast, includinga laguneandanavigablecanal,which belonged to the ancient andwealthyAbbey of Psalmodiwas available,andthisKingLouissecuredfromthemonksintheyear1248, inexchangeforotherlandsnearSommière.At

[Imageunavailable.]FIG.116.AIGUESMORTES—“TOURDECONSTANCE.”

thisplacethereexistedanancienttower,calledthe“TourdeMatafère,”saidtobeofthetimeofCharlemagne,whohadbestoweditontheabbey.

TheTowerofMatafèrewas rebuiltbyStLouis, and renamed the“TourdeConstance”(Fig.116).Itisofgreatsize,andwasdesignedtoformthecitadeloftheprojectedtownofAiguesMortes.Ithasfrequentlybeensupposedthat,inthetimeofStLouis,thistowerwaswashedbythewatersoftheMediterranean,andthat the sea,which isnowsomemilesdistant, has receded since then.ButM.Lenthéricshewsmostdistinctlythatthisisacompletemistake,andthatthecoastline was, in the thirteenth century, precisely where it now is. At that time,however,thetownwassurroundedwiththewatersofaninlandlagune,throughtheshallowsandmarshesconnectedwithwhichacanalhadtobekeptopenforaccesstothesea,aswasformerlythecaseatNarbonne,andstillisinthelaguneofVenice.ThecanalbywhichStLouisembarkedonhiscrusadeswascalledtheCanalViel.Itwasaboutfivemilesinlengthfromthetowntotheopeninginthesanddunes,calledthe“GrauLouis,”whereitdebouchedintothesea.Sincethattimethecanalfromthetowntotheseahasthreetimeschangeditscourse.Forabout a century after the time of StLouis this portwas greatly frequented bymerchantsfromGenoa,butithaslongbeenlittleused,andallthecommerceofAiguesMorteshasnowdiedaway.

The walls of Aigues Mortes were traced out by St Louis, but thesuperstructurewasexecutedbyhisson,PhiliptheBold.Thelatterin1272tookpossessionofthecountryofToulouseandarrangedwiththeGenoeseBoccaneratoconstruct thewallsofAiguesMortes fora sumequal to88,500 francs.Thetownislaidoutasaregularparallelogramwithstreetsatrightangles,

[Imageunavailable.]FIG.117.AIGUESMORTES—WALLSONEASTANDNORTHSIDES.

likethebastideofCarcassonneonthenorthsideoftheAude.Thewallsarebuiltwithsolidmasonry,havingthenaturalsurfaceleftroughorbossy.Fifteentowerssurround the city and strengthen the curtains at the angles and on the flanks.Thereareninegates,twoprincipalones,andtheotherssmaller.

BeingonlyafortificationofthesecondorderthedefencesofAiguesMortesare not nearly of so complete a type as those of the important fortress ofCarcassonne.The towersaregenerally round, thoughsomeof them, followingthe Southern fashion, are square and project only slightly (Fig. 117). Thegateways pass directly through the square towers, which, as we have seen atAvignon,wasadecidedlySoutherncustom;andnoneofthecirculartowershavestrengtheningbeaks.The towers are soplacedwith reference to thewalls thatsomeofthem,asatCarcassonne,interrupttheparapetwalk,whileinothersitiscarriedroundtheoutsideoftheinnerfaceofthetower,andissupportedonlargemouldingswhichformacontinuouscorbelling.Thisisshewnintheviewofoneofthetowersaboveagatewaytakenfromwithinthewalls(Fig.118).Thestairsgivingaccesstothewallsandtheinterioroftheloopholesarealsoseeninthisview.

Thewallsofthetown,whichareabout30feethigh,areallprovidedwithacrenellatedparapet,having long loops in themerlonsbetween theembrasures.Thewallheadshavealsobeendefendedwithwoodenhoardings, theholes forthebeamswhichcarriedthembeingverydistinctlyvisibleallroundthefortress.Thelowerpartofthewallisperforatedwithverylongnarrowslits.Theinteriorrecesses connectedwith these are formedwithwide splays likewindowbays,andareprovidedwithstoneseatsforthedefenders(seeFig.118).Probably thegreat

[Imageunavailable.]FIG.118.INTERIOROFSOUTHSIDEOFWALLS.

lengthoftheloopswastoenablebowmentooperatebothwhilestandingonthefloor and on the seats, or even on temporary wooden platforms at differentheights, and also to aim their arrows either high or low. The open staircasesleadingtothewallsarecarrieduponthesidenextthetowninthesamewayasthoseofCarcassonne.

Inapproaching the town from thenorth thePORTEDENIMES (Fig. 119) isfirstseeninfront,whilealongvistaofthenorthernwallwithitstowersstretchesto the left, and the Tour de Constance terminates the view to the right. Thisgatewayhasasusualalargestrengtheningroundtoweroneachside,containingguardrooms,&c.,andissoarrangedastoformanindependentpost.

Till thefourteenthcentury,gatewaysof thisdescriptionweredefendedwithfolding gates, portcullis, machicolations (or apertures in the vault over theentrancepassages),andwithbretêchesorhoardingsprojectingovertheentrance,piercedwithsingle,double,oreventripletiersofloopholesfromwhichtoattackthe assailants. But there were as yet no drawbridges. At the Porte de Nimesevidencesmaybeobservedofadrawbridge,wroughtwithlongbalancedbeamsor leverspassingthroughthewall,havingbeenused;but ithasevidentlybeenintroducedatalatertime.

ThewallsofAiguesMorteswereentirelysurroundedwithawetditch(afewindicationsofwhichstillremain),butithasforthemostpartbeenfilledupandconvertedintoapromenade.Theditchwouldbecrossedwithmoveablewoodenbridgeswhichcouldbeeasilyremovedordestroyed.

AprojectingstonebalconyiscorbelledoutfromoneoftheroundtowersofthePortedeNimes.Thiswasnodoubtastationfromwhichaudiencecouldbegiventoheraldsorotherswishingtocommunicatewiththe

[Imageunavailable.]FIG.119.PORTEDENIMES,AIGUESMORTES.

townwithout thenecessityofopeninganyof thegatesorotherdefences.Thefortificationspresentonplanarightangledparallelogramabout600yardsfromeasttowest,by150yardsfromnorthtosouth,withacurvedportioncutoutofthenorth-westangle.Atthispointstandsthedonjon,orTourdeConstance(seeFig.116),builtbyStLouis,asabovementioned,onthesiteoftheancientTourdeMatafèreinordertoformthecitadelofthetown.Thistowerisofthesimplestpossibledesign,beingaplaincylinderabout70feetindiameter,withatalusorslope near the base. It is about 100 feet high, and was no doubt originallycrownedwithoverhanginghoardings,andwhenfullyequippedwouldpresentanappearancenotunlikethewellknowngreatKeepofCouciCastle.

The Tour de Constance was surrounded with a special ditch, and wasconnectedwith the townwalls bymeans of narrowwooden gangways,whichcouldbeeasilyremoved.Thetophasbeenalteredinthesixteenthcentury,andmadeintoaplatform,andprovidedwithaparapetsuitableforguns.Abovethecircular staircase in the thickness of the wall the watch turret rises to aconsiderableheight,andiscrownedwiththeirongrillewhichforlongcontainedthefirewhichilluminedthecanal,andservedasabeacontotheships.

Simpleasistheexteriorofthiskeep,itsinteriorisfullofinterestandbeauty.The walls, as high as the first floor, are 20 feet in thickness. The basementcontainsthestorageandhasawellinthecentre,overwhichaneyeinthevaultsaboveallowswatertoberaisedtoeveryfloor.

Theentrancedoorisonthefirstflooronthesidenextthetown,andthereisalsoaposternonthisflooronthesidenextthecountry.Fromthelandingattheformer,astaircase leads to thesecondfloor,and issocontrived that the lowerpart is completely overlooked and commanded from the upper part. At thelanding where the staircase gives access to the great apartment on the upperfloor, a beautifully arched and groined lobby is constructed, and is decoratedwithGothicshaftsandenrichedcaps.

Thegreathallonthefirstfloorisvaultedinonespan,withlargepointedribsspringingfromfinely-carvedcaps.Onthelevelofthefloortherearerecessesinthethickwalls,givingaccesstolongloopswhichdescendfarbelowthefloor,soastoenablethedefenderstoshootdownascloseaspossibletothebaseofthetower. The postern is also seen from the inside (although now built upexternally),withitsportcullis(orratheramodernimitation)insitu.Theinteriorislitonlybythenarrowloop-holes,andis,therefore,verydark.Agalleryrunsroundin the thicknessof theupperpartof thewallsof thehall,withwindowslooking into the apartment fromwhich it might bewatched and commanded.Betweentherecessofoneoftheloopsandtheposternafireplaceisintroduced,

withanoveninthewallbehindit.Thehearthiscoveredwithaboldlyprojectinghood, supported on two brackets carvedwith foliage. The angles of the hoodhaveornamentalcrockets,andthehooditselfiscarvedinimitationoftiles.Thewholework ismassiveandyet fine,andspecially recalls,both inconstructionandornament, thestyleofCouci.IthasevidentlybeentheworkofaNorthernarchitectbroughtwithhimbyKingLouis.

About two miles to the north of Aigues Mortes stands the “TourCarbonnière,”whichformedanoutpostofthetown.Itwaserectedatthesametimeasthefortifications,andwasplacedsoastocommandtheapproach,whichwasonlypracticablebyonecoursethroughthemarshesandcanals.Itisagoodexampleofadetachedthirteenthcenturytower,andinstylestronglyresemblesthatofVilleneuve,atthewestendofthebridgeofStBénezet,atAvignon.

WeshallnowreturntoMarseilles,andstrikeeastwardsbytheMediterraneanRailway,alongtheRiviera.

For a considerable distance no architectural remains of importance aremetwith. The line passes through a rocky and mountainous country, the baresummits of the lofty peaks contrasting strongly with the rich verdure andluxuriantgrowthofthevalleysbelowthem,inwhichthesubtropicalvegetationoftheRivieranowbeginstoshewitself.

After penetrating amountain range by tunnel, the seacoast is reached, andsome lovelybays are passedbefore sighting the lofty peaksof themountains,eachcrownedwithitsfort,whichsurroundandprotectToulon,thegreatarsenalofFranceon theMediterranean.Architecturally there is littleof interest in thetown,but theharbourwith itsnarrowantiquequay, linedwithhouses frontingthe basin, which is crowded with the peculiarly rigged trading vessels of thedistrict, is well worthy of a visit. It recalls in some respects the Riva de’SchiavoniatVenice,withitsbustleandvariedinterest.

TherailwaytoHyèresbranchesoffthemainlineatLaPaulineStation.Justbeforereachingthis,theancientandpicturesquetownofLaGardeispassed.Itshouses are clustered on the slope of a basaltic rock, the summit of which iscrownedwiththeruinsofanancientcastle,andachurch.TheaspectofthisoldplaceformsagoodintroductiontothepicturesqueanddecayedcharacterofthenumerousancienttownstobemetwithallalongtheRiviera.

HYÈRESisthefirstreachedintravellingeastwardsofthegreathealthresortsoftheRiviera.Itstandsonthesouthernslopeofahillfacingthesea,whichisvisible at a distance of about threemiles off. The rocky summit of the hill iscrownedwith the ruins of an ancient castle, fromwhich the steep andnarrow

streetsof theold townradiatedownwards.The townwas formerlysurroundedwithwalls,whichhavenowbeenremoved,andthespaceconvertedintoawidepromenade,onwhich flourish thepalms,oranges,andother tropicalplants forwhichHyèresisfamous.Themodernhousesandhotelsarealsosituatedonthisfairterrace,whilesomeremainsofthegatewaysconnectedwiththeoldrampartsarestillpreserved.Hyèresstandshighabove the levelof theseaand theplainwhichextendsbetweenitandthefootofthehill.Itthuscommandsanextensiveview to the south and south-west over the peninsula of Giens, and theMediterranean dotted with the groups of Islands named after it, “les Ilesd’Hyères.”

There is nothing remarkable in the history of Hyères. In Roman times afortressexistedherecalledCastrumAræarum.

In the thirteenth century theplacewasheldby theCountofFos,whowasdispossessedbyCharlesofAnjou.Thereafterthecastleandtownpassedthroughthe usual assaults and changes, and during the sixteenth century was inpossessionoftheCatholicsandProtestantsinturn.

Theenceinteof thecastle (Fig.120) iswell preserved,manyof the towerswhichstrengthenitbeingalmostentire.Theseareforthemostpartsquareandlofty,andhavethusquiteaSouthernaspect.Theoriginalcrenellationsstillexist,togetherwiththeholesfortheshortbeamswhichcarriedthewoodenhoardingsfordefenceat thesummit.Theopeningsaregenerallylongnarrowslits,but intheeasternangletowerthreesmallpointedwindowsoccur.Thekeepisalmostentirely demolished. It occupied the summit of the rock, and from its ruins acommanding and extensive prospect is obtained. The walls are probably notolderthanthethirteenthcentury.Withintheenceintethegroundislaidoutasaprivatevineyard.

[Imageunavailable.]FIG.120.HYÈRESCASTLE.

In the middle of the old town stands the picturesque church of St Paul,approached from a terrace commanding a beautiful view seawards, by awidestaircasecrownedwithacorbelledtower.Itisoriginallyofthetwelfthcentury,buthasbeenaltered.Thewallsoftheeastendhavehadtobebroughtupfromaconsiderabledepth,owingtothegreatslopeoftheground,andthelowerpartofthebuttressesshewworklikethatofthethirteenthcentury,buttheupperpartislater.Internallythechurchhasfourbaysandanapse—alllate—thecapsofthepiersbeingofRenaissancework.Thecentralnaveandaislesareallgroined.Awidechapelcrossesthebuildingatthewestend,andissurmountedwithaplainsquaretower(Fig.121)ofthetypeoftheItaliancampanile,ofwhichnumerousspecimens are to bemetwith atGrasse and elsewhere along theRiviera. Theupper round arched doorway,with its immense voussoirs, indicates a style ofworkofwhich several examples are tobemetwith in the town, andwhich isdoubtlessofMoorishorSpanishorigin.

[Imageunavailable.]FIG.121.STPAUL,HYÈRES.

The Hôtel de Ville, on the place Massillon in the old town, occupies thechapel of a Commandery of the Templars. It has been much altered andrenovated,butwithitspicturesqueroundtoweratonesideithasagooddealofcharacter. A few portions of old houses present some good fragments ofMediævalArchitecturehereandthere.

Themain line of railway between Toulon and Fréjus makes a great curveinland, so as to pass through the level and fertile valley lying between thedetachedandruggeddistrictof“LesMaures”onthesouth,andtheAlpinesonthenorth.HalfwayalongthisvalleyisthestationofLeLuc,aboutsixmilestothe northward of which stands a structure of great interest to the student ofArchitecture.

We have already explained the ascetic sentimentswhich actuated the earlyCistertiansintheconstructionoftheirbuildings.Withoutsomeknowledgeoftheprinciples of these primitive reformers it would be difficult to understand theoriginandmeaningofmuchofthearchitectureofProvence.Inthemidstoftheusually ornate structures of the country, we come occasionally on someimportantandremarkablechurches,which,fromtheplainnessandsimplicityoftheir style, present a complete contrast to the former. Such are the three earlydaughtersofCiteauxerectedduringthetwelfthcenturyatSenanque,Silvacanne,andThoronet.Thechurchesof thesemonasteries are all remarkably similar indesign, and carry out to the letter the plainness and absence of decorationrequiredbyStBernard.

OfthisThoronetisastrikingexample.Thisabbeyissituatedinaretiredruralvalley, about sixmiles north fromLeLuc Station.On leaving the station, theroad,afterpassingalargemonasterywithitschapelandcypresses,ascendsbyasteepfootpaththehillonwhichstandstheancient townofCANNET (Fig.122)stillpartlysurroundedwithitsmediævalwalls.AdelightfulwalkoftwoorthreemilesthroughanarrowandrockyvalleycladwitholivesleadstothevillageofThoronet,twomilesbeyondwhichthemonasteryisreached.Itstandsconcealedbyolivegrovesonthewesternslopeofanarrowvalley,throughwhichflowsasmallstream,atributaryoftheArgens.Thechurch,withitsplainapseandlittlespire, first meets the view, followed, on near approach, by the ruinous butextensivebuildingsofthemonasterywhichdisappearamongstfoliagedowntheslope of the hillside. The public road now runs through the upper part of theenclosureoftheabbey,andclosealongthesouthsideofthechurch;whilepartofthemonasticbuildingstothewestareoccupiedasatavernorfarmhouse.

[Imageunavailable.]FIG.122.CANNET.

[Imageunavailable.]FIG.123.THORONET—CHURCHFROMS.W.

THEMONASTERYOFTHORONETwasfoundedinthebeginningofthetwelfthcentury,ongroundgrantedbyRaymonddeBéranger,CountofProvence,tothemonksofCiteaux,andcontinuedtobeoccupiedbythatordertilltheirpropertywassecularisedandsoldat theRevolution.Theplan is thatusual inCistertianbuildings of the period. The church has a nave, with central and side aisles,crossed at the east end by a large transept, fromwhich, in the centre, a shortchoirhavingacircularapse,andtwosmallerchapelswithaltarsineachtransept,extend towards the east. At Thoronet the choir and chapels have apsidalterminations, but in some Cistertian churches the east end is square. Nothingcouldexceedtheunadornednatureofthedesign,bothexternallyandinternally.Thewest end (Fig.123) shews the principal entrance,which is a plain round-headeddoorway,withoutevenamoulding.Thetallwindowsandtheroundoneinthisgablearetreatedequallysimply.These,andaround

[Imageunavailable.]FIG.124.ABBEYCHURCHOFTHORONET.

window over the apse, give the principal light in the church, which, like theotherSouthernchurchesvaultedonthesameprinciple,hasnoclerestory.Thereisanalcoveforatombintheexteriorofthewallofthesouthaisle,butitisnowempty.Theinterior(Fig.124)presents,asitwere,thebareskeletonoftheotherchurches of Provencewhichwe have already considered,without any of theirornamentation.Thepiersof thenaveare simplyportionsof a sidewall setonsquareslabsasabase,withaplainbreaktosustaintheinnermemberofthenavearch.Above these rises the perfectly plain, pointed, barrel vault, strengthenedwith simple square-cut transverse arches, which spring from round attachedvaulting shafts, resting on the plainest possible corbels, and having caps of averysimpleform.

Thevault of the central nave is buttressedbyhalf vaults in the side aisles,whichareofthesamedesign.

Thetilesoftheroof,bothofthecentralnaveandthesideaisles,restdirectlyontheoutsideofthevaultswithoutanywoodenconstruction.This,aswehaveseen,istheusualarrangementinthechurchesofProvence,suchasNotreDamedesDoms,Avignon,andStTrophime,Arles.

The cloister, and some of the monastic buildings adjoining, are wellpreserved.Asimilarsimplicityreignsthroughoutthese.Thecloisterconsists,asusual, of four arcades enclosing a garth on the north side of the church. Thearcadenextthenaveisonahigherlevelthantheotherthree,owingtotheslopeofthehill,andisonlyonestoryhigh,therebeingnoroomsonthissideforanupper gallery to give access to. The other three sides of the cloister hadoriginallyanupper floor,withopenarchesnext thegarth, andanopen timberroof.Thesegalleriesgaveaccess to thedormitoryandotherapartmentson theupperfloor.Thearcadesofthecloisters(Fig.125)areofavery

[Imageunavailable.]FIG.125.THORONET—CLOISTER.

[Imageunavailable.]FIG.126.THORONET—CAPSINCLOISTER.

simpleform,consistingofplainroundarchesinthewall,filledinwithasinglesolidshaftsupporting twosmaller roundarches,andacirculareyeabove.Thearchesareabsolutelywithoutmouldings.Thecapsandbasesofthecentralshafts(Fig.126)areofverysimpledesign—asmallleaforuncarvedset-offbeingallthat is allowed to cover the passage from round to square, and any suchenrichmentsaremostelementary,bothindesignandexecution.Itwill,however,beobservedthattheseprimitiveornaments,althoughsimple,areoriginal.TheyshownotraceofRomantraditions,which,asformerlypointedout,wereentirelyrenounced by the Cistertians in their reformed Provençal art. These veryelementary forms are thus the prototypes of the new and natural style ofornamentation above referred to in PartV. as having been introduced by theCistertianOrder. The small arches rest on an impost formed of a plain stringcourse,which,togetherwiththeplainsplayofthebase,arecutoffattheouterfaceofthewall,anddonotreturnroundit.Thismodeofcuttingoffstrings,etc.,isoffrequentoccurrenceinbuildingsofthistype.

The cloister walks are covered with plain, pointed, tunnel vaults,strengthened at intervals with square transverse ribs resting on plain corbels,whichareinsertedinastringcourse,formedofasimpleovolo.

At the intersection of the cloister walks the pointed vaults meet, and thejunctioniscoveredwithapairofsquarediagonalribsintersectingoneanotherintheangle.

Opening from the north side of the cloister is a hexagonal chamber,whichserved as the lavatoryof themonks. It projects into thegarth from the arcade(see Fig. 125), and has five windows, three of which are plain round-headedopenings, and the two others are each finished with two small arches and acirculareyelikethoseofthecloisters.Adoubledoorwaygivesaccessfromthecloisterwalk.Thebasinorvaseforwashing,whichformerlystoodinthecentre,nowliesbrokeninthegarden.

Thechapter-houseopens into theeasternsideof thecloistersbyadoorwaywithapointedarch,andtwosidewindows,withthreeopeningsineach.Theseopeningswereforthepurposeofenablingthemonksinthecloistertohearwhatpassedinthechapter-house.Thelatterisvaultedwithgroined-pointedvaults—the ribsbeing squarewithbeadonangles, supportedby two short anddumpypillars,withspurredbasesandremarkablecaps,somewhatmoreornamentalthanthe others. In the eastwing, over the chapter-house, the dormitory still exists,roofedwithawidebarrelvault,strengthenedwithtransverseribs.

From the simple design of the cloister it is apparent how completely theCistertiansrenouncedthefineshaftsanddelicatecarvingofthecloistersofthe

earlyProvençaltypelikethoseofAix,withtheirlightwoodenroofs,andgavepreference to vaults, as being more enduring, while at the same time theyrejectedallsculptureandornament.Althoughsimpleandplaintoadegree,thereis a unity of purpose and an originality of character in this new and vigorousstylewhichcommandsrespectifnotadmiration.

Senanque,Silvacanne,andThoronetwereallbuilt intheseverestyleofthefirst fervour of the Cistertians early in the twelfth century. By the end of thecentury this first enthusiasm became an affectation of simplicity and wasgraduallytemperedbythepreponderatinginfluenceoftheClunisiens,whoweremore in harmony with the spirit of the times than the rigid Cistertians,—thegeneraltendencyoftheagebeingtogreatrichnessinarchitecture.

AtalaterperiodthemonasteryofThoronetseemstohavebeenenclosedwithwalls, within which the grounds were laid out with taste and elegance. Fewexamples of this refinement have escaped destruction; but a fountain,with itsbasinset inanalcove in theouterwall, still survives (Fig.127), and serves torefresh the traveller on the dusty highway which now passes through thepleasuregardensofthemonks.

AtSTMAXIMIN,whichliesconsiderablytothewestofThoronetandismostconveniently approached by the railway between Aix and Carnoulles byBrignoles,thereexistsachurchofatotallydifferentcharacter.Itissaidtobethemostperfect specimen inProvenceofabuilding in thepureGothic style.Thedesignhasevidentlybeenimporteddirectlyfromthe

[Imageunavailable.]FIG.127.THORONET—FOUNTAININGROUNDS.

North,andispreciselysuchanedificeasonewouldexpecttomeetwithintheIledeFrance.Itspresenceherethereforestrikesonewithsurprise,andwithasenseof incongruitywith itssurroundings.Thischurchwasbeguntowards theendof the thirteenthcenturybyCharlesofAnjou,butwasnot finished till thecloseofthefifteenth

[Imageunavailable.]FIG.128.CHURCHOFSTMAXIMIN.

century.Theplanshewsacentralnavewithsideaisles,each terminated to theeast with an apse. There is no transept. The vaults are pointed and simple inform.Thecentralvault(Fig.128)islofty,beingabout90feettotheapex.Whencompletetheaspectofthechurchmusthavebeenextremelylightandfairy-like.Theloftywindowsoftheclerestoryandapse,whichareallpointed,fillupwiththeir traceriesnearly thewholevisiblespace, themasonrybeingreduced to itssmallest limits. The same idea was carried out in the side aisles, where thewindows were originally brought down almost to the pavement. When thesewindowswere all filledwith stained glass, as they are believed to have been(althoughitisnowcompletelygone),theeffectmusthavebeenveryfine,andallthemoresplendidfromtheremarkablecontrast itwouldpresent to theusuallysomewhatdarkandgloomycharacterofSouthernchurches.Sidechapelshavenowbeenadded,andtheaislewindowsshutupbythem;anditisstatedthatthestructure is generally verymuch destroyed.Unfortunately thewest façade hasneverbeencompleted.

FromLeLuctherailwayfollowsthecourseofthewideandfertilevalleyoftheRiverArgenstoFréjus,theancientRomanForumJulii,sorich,aswehavealreadyseen,inRomanremains;anditsMediævalbuildingswillbefoundtobenotlessinteresting.

[Imageunavailable.]FIG.129.PLANOFFRÉJUSCATHEDRAL.

The Cathedral of Fréjus, erected probably in the twelfth century, is aprominent example of the adoption in Provence of the “single-hall” style ofchurch,which(asexplainedinPartV.)wassouniversalinthesouthandwestofFrance.Theoriginalchurch(Fig.129)consistsof

[Imageunavailable.]FIG.130.FRÉJUSCATHEDRAL.

[Imageunavailable.]FIG.131.FRÉJUS—WESTERNENCLOSUREANDCATHEDRALBUILDINGS.

anaveof threedivisionsorbays, eachcoveredwith round intersectingvaults,strengthened with large square groins, and terminated at the east end with acircularapse,thewholeextendingto120feetinlengthby28feetinwidth.Thevaultsspringfrompiers,whicharereallylargeinternalbuttresses,withrecessesbetweenthem7feetdeep(Fig.130).Thenorthsidewallhas,however,beencutout, and a side aisle added at a later date,with still later chapels beyond.Thestringcourses,caps,etc.,areallofthesamesimpleformsemployedinsomanybuildingsof theperiod.Nothing couldbeplainerormoredevoidofornamentthan

[Imageunavailable.]FIG.132.FRÉJUSCATHEDRAL,EASTERNTOWERANDBISHOP’SPALACE.

thismassiveandimpressiveedifice.Theexteriorofthecathedralhasundergonemanychanges.TheBishop’sPalaceadjoins iton thesouth,andcoversa largepart of the south wall. The whole series of buildings connected with thecathedral, have at one time been enclosedwith a strongwall, built in regularcourses,leftroughonthesurface.Someportionsofthisworkarevisibleintheouterwallnextthestreetatthewestend.There,intermingledwithagreatdealof modern addition and alteration, may still be traced the remains of twowindows(Fig.131)ofthetwelfthorearlythirteenthcentury,withcirculararchesspringingfromcarvedcaps.Inthejambsofoneofthesewindowsthecapsstillsurmountprojectingshaftsstandingoncorbels,buttheyhavedisappearedfromthe other. The details are given in Fig. 133. Several of the original smallwindows of the basement, however, remain unaltered. They have the circularheadsandthedeeplysplayedexternalingoingoftheperiod.

Theeastendofthecathedral(Fig.132)isveryremarkable.Theapse,whichis circular within, is only slightly rounded externally, and is carried up to aconsiderableheightasatowerofdefence,andarmedwithanembattledparapetatthetop,supportedonboldcorbelswithmachicolationsbetweenthem.

FréjusCathedralisthusanotherinstanceofthenumerousfortifiedchurchessocharacteristicoftheSouth,andformedpartofthegeneralfortifiedenclosurewhich protected the Bishop’s Palace and the other ecclesiastical buildingsconnectedwiththesee.AdjoiningtheapseconsiderableremainsoftheancientBishop’sPalacemaystillbe traced, shewing (amidstmodernalterations)worksimilar to that of the west end, and containing coupled pointed windows anddoorswithroundarches.Theenclosingandfortifyingof theprecinctsseemtohavebeencarriedoutatatimesubsequenttotheerectionofthecathedral.Thisexplainsthepeculiarformofthetowerovertheapse,andlikewisethemannerinwhichtheancientbaptisteryisenclosedinasimilarmuralenvelope.Theworkwasprobablyexecuted,tojudgefromthestyle,earlyinthethirteenthcentury.Inthat

[Imageunavailable.]FIG.133.FRÉJUSCATHEDRAL—SOUTHORENTRANCEFRONT.

centurytoothetoweratthewestendofthechurchseemstohavebeenerectedoverwhatwasprobablytheoriginalnarthexoranti-church.InternallythelowerportionsareexecutedinthestyleoftheGothicoftheNorth,andtheheavytowerabove(Fig.133)may possibly be of the samedate.The coloured tiles,whichgivethespireaspecialcharacter,arenodoubtmuchmoremodern.Wealsofindhereotherexamplesofworkofdifferentkindsandvariousperiods.Ofthesetheancientbaptistery(Fig.134)isastructureofgreatinterest.Itstandsatthewestend ofwhat seems to have been originally, although now covered in, a smallopen court, such as generally existed in front of the western entrances to theearlychurches.Theplanof thebaptistery isoctagonal,being the sameas thatadoptedfortheprimitivebaptisteriesinItaly.Octagonalorcircularedificessuchas this are frequently called Roman temples; but, although they very closelyresembleRomanwork, theyare found,onanexaminationof thedetails, tobeonlyimitatedfromclassicdesign,andareclearlyofChristianorigin.

AtFréjus, thebaptistery isornamentedwithagranitemonolithiccolumnineachofitseightangles,providedwithcapsofwhitemarble.Thecapsandbases(Fig.134)arevariedindesign,andareallcloselyimitatedfromtheCorinthian,althoughnone of themare exactly after that pattern.Themassive fragment ofstone,mouldedonthefront,whichisplacedovereach,isprobablyasurvivalorreminiscenceof theentablaturewhichwasalways thoughtnecessary inclassictimes. The upper portion, which was most likely an octagonal dome in theoriginal building, is nowmodernised. The plan shews an attempt tomake thefloorassquareaspossible,bymeansoffourdeepnichesintroducedinthefourangles. The central font is peculiar in form, and stands on a fragment of anancientcolumn.

Inconnectionwiththisbaptisteryitmaybeinterestingheretocallattentionto the fact thatamonument in the samestyle,but superior in sizeanddesign,stillexistsat

[Imageunavailable.]FIG.134.FRÉJUSCATHEDRAL,BAPTISTERY.

RIEZ,anancientRomancolonyinstitutedunder thepatronageofAugustus,somedistance to thenorth-westofDraguinon.Theoriginal townwasbuilt onthe plain watered by the river Colastre (a tributary of the Verdon), but theinhabitantshave longabandonedthe lowground,and thehousesnowstandantheslopeoftheMontSaint-Maximinabove.InthedesertedplainaretobefoundfourCorinthiancolumnsofgreygranitefromtheEsterelwithcaps,bases,andarchitravesofmarble.These,accordingtoTexierandPullan,formedthefaçadeofaprostyletemple.

[Imageunavailable.]FIG.135.THE“PANTHEON,”RIEZ(FromTexierandPullan).

Thenumerousfragmentsofpotteryandmosaicswhichareconstantlydugup,andalargequantityofportionsofcolumnsandarchitravesbuiltintothemodernwalls,shewthattheRomanworksherewereatonetimeconsiderable.

[Imageunavailable.]FIG.136.THE“PANTHEON,”RIEZ(FromTexierandPullan).

InthechapelofStMaximesixRomancolumnshavebeenutilized.Butthemost remarkable monument of the place is the so-called “Temple” or“Pantheon.” This consists externally of a plain square structure, 37 feet eachway,butinternallyitisoctagonalinplan(Fig.135),withfourdeepnichesinthesides opposite the angles of the square.Within the octagon are eight columnsstanding detached, so as to form an aisle all round, while they support anoctagonaldrum(Fig.136), roofedoverwithadome.Theaisle isvaulted,withan irregular form, composed of about three-fourths of a pointed arch. Thecolumnsareancient,but theyhaveevidentlybeenremovedfromtheiroriginalposition,beingunequalinthelengthoftheshafts,andthesizeanddesignofthecapitals,andhavenodoubtbeencollectedfromvarioussources.Texier

[Imageunavailable.]FIG.137.FRÉJUSCATHEDRAL,CLOISTERS.

and Pullan believe that this was an ancient Roman structure converted toChristianusesinthesixthcentury;butexcavationsinthefloorhaverevealedtheremains of a large baptismal basin, similar to the original Italian ones, thusleavingnodoubtastotheprimitivedestinationofthestructure.Thepointedarchovertheaisleisalsoasignofitsbelongingtopost-Romantimes.ItiscertainlyoneofthemostinterestingoftheearlyChristianedificesinProvence.

ReturningtoFréjus,weobservethatthecloisters,whichareonthenorthsideofthesmallcourtorlobbyadjoiningthebaptistery,wereerectedatasomewhatlater date than the tower, in a style strongly recalling the Italian-Gothic ofFlorenceandGenoa,whichweheremeetwithforthefirsttimeinoureastwardprogress (Fig.137).Thearcadesof thecloistersareplain,and restoncoupledcolumns, with caps carved in the style of the Italian-Gothic of the fifteenthcentury,thewholebeingcarefullyandelegantlyexecutedinwhitemarble;and,though now sadly built up and mutilated, they still possess a wonderfullypicturesque and charming effect. The coupled columns were evidently notintendedtosupportvaulting,buttocarrytheuniqueandeffectivewoodenroof(Fig.138),partofwhichstillexists,but is sogreatlydecayed that ithas tobesupportedwithroughpropsandwedges.Atastilllaterperiodtheentrancefrontofthecathedralhasbeenalteredandfinishedinitspresentungainlyform(Fig.133).Thefloorofthecathedral,owingtotheslopeoftheground,isseveralfeetbelowthepresentleveloutside,andhastobeapproachedbydescendingsteps.Originallytheentrancetothenarthexwasnodoubtonthelevelofthecathedralfloor. The outside level has apparently, however, been heightened before thepresententrancedoorwaywasbuilt,asit

[Imageunavailable.]FIG.138.FRÉJUSCATHEDRAL,CLOISTERS.

conformstothelevelofthe“place”onthesouthofthechurch.ThelateGothicstyleofthisdoorway,inwhichRenaissancedetailsaremixedwithGothicforms,belongs to the sixteenth century. The wall adjoining has been rebuilt andheightenedat thesamedate,andanattempthasbeenmade tobring thewholefaçade into a symmetrically balanced design, in accordance with one of theleadingprinciplesoftheclassicstylethenbeginningtoberevived.ThewoodendoorsarebeautifullycarvedwithScripturesubjectsmingledwithGothicdetails.

This building is a specimen of the imperfect and fragmentary manner inwhichtheNorthernGothicstylewasemployedinProvence.Wehaveherealsoan example (and we shall meet with more frequent instances as we proceedeastwards) of the spread of the Italian-Gothic style beyond its ordinarilyunderstoodboundary.ButasallthecountrybetweenGenoaandToulonwasforlong either under the swayofGenoaor of theGrimaldi ofMonaco, it is onlynaturaltofindtracesofItaliantasteintheRiviera,whichindeedisinallrespectsfarmoreItalianthanFrench.

Fig.139shewsanancientlampofbrassworksuspendedinthecentreofthecathedral.

[Imageunavailable.]FIG.139.

BRASSLAMPINFRÉJUSCATHEDRAL(FromaDrawingbyMrR.BurnsBegg).

The houses in the townof Fréjus possessmany quaint bits of architecturaldetail, amongst which the woodwork of the old doorways may be speciallymentioned(Fig.140).Similar tellingandoriginal specimensofwoodand ironwork,itmayberemarked,arenotuncommonthroughouttheRiviera.

[Imageunavailable.]FIG.140.DOORWAYSINFRÉJUS

StRaphaël,asmalltownafewmilestotheeastward,nowformstheportofFréjus. Themountainous district of “LesMaures,” which lies along the coastbetweenToulonandFréjus,mayeitherbevisitedfromHyèresonthewest(bydiligence),orfromStRaphaëlontheeast(bysteamer).Thelattermodeformsalong but very pleasant day’s excursion. A small trading steamer leaves StRaphaël on certain days (mentioned in the “Indicateur”) at 8.30 a.m., andreaches St Tropez about 10.15, after a pleasant voyage round the headlandsbetweentheGulfofFréjusandthatofGrimaud.StTropezoccupiesthesiteoftheancientHeracleaCaccabaria,animportantnavalstationinRomantimes.ThetownhasseveraltimesbeendestroyedbytheSaracensandCorsairs,whointheninthcenturytookpossessionof thewholeof thedetachedchainofmountainsstill called after them by the name of “Les Maures.” The sheltered gulf ofGrimaudformedafineharbourfortheirships,andtheportStTropezwasthenaplacefromwhichaconsiderabletradewascarriedonwiththeAfricancoast.InthelatercenturiesitsufferedtheusualdisturbancesunderCharlesofAnjou,andinthewarsofReligion.

[Imageunavailable.]FIG.141.STTROPEZ.

The town still possesses some trade, and there is a fair numberof coastingvesselsintheharbour,towhich,withtheirlargebrownsails,theygiveapeculiarandpleasingeffect (Fig.141). Some of the houses shew signs of having seenbetter days, but the whole place has a somewhat decayed and crumblingappearance.Thetownissurmountedbyacastle,whichwasconstructedin1793,onthetopofthehilltothesouth.Itissurroundedwithhighwallsloopholedformusketry and strengthened with bastions. The traffic in fish seems to beconsiderable,andiscarriedoninadarkvaultedmarketplace,wherethefishareexposed for sale, and where they are kept cooler than in the open air. Theentrancetothisfishycaveissomewhatpicturesque(Fig.142).

[Imageunavailable.]FIG.142.ENTRANCETOFISHMARKET,STTROPEZ.

[Imageunavailable.]FIG.143.GRIMAUDFROMTHEPLAIN.

AdailyomnibusrunsfromStTropeztoCogolinattheupperendoftheGulfofGrimaud,formingaveryprettydriveofanhourandaquarter.AtCogolintheroadtoHyèresbranchesofftotheleft,andthattoLeLuctotheright.Adailydiligence runseachwaybetweenCogolinandLeLuc.There is time,after thearrivaloftheomnibusfromStTropez,towalkontoGrimaudandwaitforthediligencethere.Incrossingtheplainthetoweringruinsofthecastle,crowningaloftypyramidalhill,areseenrisingabout twomilesoff,andgivepromiseofasplendid subject. From the base of the hill (Fig.143) thewhite houses of thetown clustering round the grey walls of the castle have a commandingappearance, and even when seen close they form some fine and picturesquecombinations.Butfromanarchitecturalpointofviewthecastleisdisappointing,beingreducedtoamereskeletonoftwotowers,connectedbyaruinedwallofenceinte(Fig.144).ItwasbuiltinthefifteenthcenturybyItalianarchitectsfortheGrimaldi, towhomthiscountry thenbelonged,and itwasoccupied till themiddleoflastcentury.

[Imageunavailable.]FIG.144.CASTLEOFGRIMAUD.

Manyofthehousesofthetownarenew,buttherearealsosomeveryoldandpicturesquestreets,borderedwithrudearcades.Thechurch,thoughmodernised,has retained its old tunnel vault, with transverse ribs, and simple Provençalmouldings.Ithasalsoasemi-circularapse,andaroundarcheddoor,withverydeepvoussoirs,likethatofHyères—possiblyasurvivaloftheartoftheMoors.

Thediligencepasses here at 2P.M., and reachesLeLuc about 4.30, after avery fine drive through amountainous country, coveredwith noble old foresttrees.Theseconsistchieflyofchestnutsandcorkoaks,whichhavegrowntoagreatsize,thelatterfurnishingthematerialsforthechiefindustryofthecountry.The road consists of a long hill up to the Col or pass, on which standsLAGARDEFREINET,and thena longdescentdownto theplainof theArgens.LaGardeFreinetisasmalltownoccupyingthesiteofthefamousFraxinet,orchiefcitadel of the Moors, which gave its name to all their other settlements inProvence.TheMoors tookpossessionof this loftydistrict in theninthcentury,and from it, as a secure centre, they made their predatory descents on thesurroundingfertileplains.But in973,afteraseverestruggle, theyweredrivenoutbyacombinationoftheChristianinhabitantsofProvence.

TheancientFraxinetstoodonthesummitofaperpendicularrocktothenorthofthevillage;buttherearealmostnovestigesleftofthefortress,saveasquarecisternforwater.Thetown,asseenfromthedescentonthenorthside,withitsbackgroundofprecipitous rocksand thedeepwoodedvalley in front,presentsone of themost striking and remarkable pictures in this singular locality. ThedrivedowntoLeLucisdelightful;thepinewoodsandrockyglensrecallingthepeculiarscenerycharacteristicofourScottishHighlands.

After passingStRaphaël, the railway has to cut itsway through the rockypromontorieswhichhereterminatetheEsterelrange,andjutboldlyoutintotheMediterranean.InalternatetunnelsandviaductsitsweepsroundtheCapRoux,passing,onitsway,thelovelybayofAgay,andthewonderfullycolouredrockmassesof the redporphyriticmountains,whichcontrast soadmirablywith therich green pine woods filling the ravines which furrow the hillsides. Thesemountainswere quarried by theRomans, and furnished themwith supplies ofredandblueporphyryfortheadornmentoftheirbuildings.Theyare

[Imageunavailable.]FIG.145.CASTLEOFNAPOULE.

stillworked,andyieldaconsiderablequantityofhardmaterialsusedforstreetpaving.Onrounding thepointof theCapRoux, thewideandbeautifulbayofCannes opens to view,with its long rangeofwhite villas, backedby the darkpine-covered hills, beyond which the snowy peaks of the Basses Alpes arevisibleinthedistance.TheprominentmassoftheMontduChevaliermarksthecentre,whilethepictureisboundedontheleftbythevalleyoftheSiagne,andon the right by the Iles deLérins,with theCastle ofStHonorat rising boldlyfromtheseaonthefurthestpoint.Inthehollowofthebay,nearthemouthoftheSiagne, and commanding a fine view of Cannes, stands the ancient Castle ofNapoule(Fig.145),wheresomefragmentsofoldworkstillsurvive;butanewchâteauoccupiestheprincipalportionoftheoldsite.Twooftheoriginalsquaretowers are in fair preservation, and, together with the chapel and crenellatedwalls,formaninterestinggroup(Fig.146).Thestyleseemstohavebeenpartlythat of the castellated buildings of Italy, with V-shaped merlons between theembrasures,whilethevoussoirsof thearchesareof thedeepformobservedatGrimaudandHyères.

[Imageunavailable.]FIG.146.CASTLEOFNAPOULE.

Napoule is supposed to have been aRoman port, having a depôt for grainconnected with it. The castle was built by the Counts of Villeneuve in thefourteenth century. It belonged to that branch of the family called VilleneuveFranc,andafterwardstothefamilyofMontgrand.

ClosetoNapoulerisestheconicalhillofStPeyré,onthetopofwhicharethescanty ruinsofacastleandachapelwithanapse.At thebaseof thehill, andclose to the public road, may be seen the remains of another apsidal chapel.Beyond this variousbranchesof theSiagne are crossed,when a small conicalhillcrownedwith

[Imageunavailable.]FIG.147.MONTSTCASSIEN.

wood rises abruptly on the left, to which the distant towers of Grasse andMougin,withthemountainsbeyond,formabackground.ThishillistheMontStCassien,whereafamoushermitageexisted,andwhereagreatpopularfestivalisstill held annually on the 23rd of July. An entrenched post was formed hereunder theRomans, for thedefenceof theAurelianWay.On thisspotwasalsoerectedaTempleofVenussurroundedwithasacredgrovecalledtheAraLuci(hence themodernArluc,a small town in thevicinity). In theseventhcenturythisheathentemplewasdemolishedbythereligiousoftheLérins,andaconventerectedinstead,which,initsturn,wasdestroyedbytheSaracens.Achapelwithanopenarcadedporchnowmarksthespot(Fig.147),which,surroundedasitiswith ancient cypresses andpines, is one of the best designed structures of thekind in the district. Small open-air chapels or shrines of this description,witharcaded porches, are very common all over the Riviera, and often form verypleasingobjects in the landscape, occupying, as they frequently do, somewhatprominent sites. They are almost invariably in a late Renaissance style ofarchitecture.

CANNESistheoneofthehealthresortswhichhasperhapsmadethegreatestprogress within the last fifty years, having developed from the small fishingvillagewhichLordBroughamfounditin1831,whenheerectedthefirstEnglishvilla,intoatownoffineresidencesandsplendidhotelsextendingforaboutfourmilesalongthecoast,andrisingonthewoodedhills,ornestlingintheshelteredravineswhichseamtheirflanks.

Likemostof the townson theRiviera,Cannesowed its firstexistence toarocky eminence in themiddle of a bay, forming at once a naturally shelteredharbour and a suitable site for a fortification for its defence (Fig. 148). It isthereforeprobablyaplaceofveryancientorigin,andwas inall likelihood theprimitive Ligurian settlement of Ægitna, where the Roman Consul QuintusOpimiusobtainedavictoryovertheLiguriantribesB.C.155.ThetownwasthenhandedovertotheMassiliotes,thealliesoftheRomans,andwentbythenameofCastrum

[Imageunavailable.]FIG.148.BAYOFCANNESANDTHEESTERELLEMOUNTAINS.

Massiliorumduring theMiddleAges.Sometimebefore the tenth century itbecamea fiefof thepowerfulAbbeyof theLérins, towhich thewholeof theadjacentcountryhadgraduallybecomesubject.Theecclesiasticalsuzerainwasrepresented on the mainland by a “chevalier,” who occupied the castle ofCannes, which crowned the rock above referred to, and was surrounded withwalls.On the slopes of the castle hill and round the harbour at its basewereerected thehousesof theancient town,and in thesamepositionstill stand thedwellingsofthenativepopulation,approachedbysteepandnarrowalleys(Fig.149).

ThesummitofthehilliscrownedwiththeonlybuildingsinCanneshavingany claim to antiquity. These consist of the “Tour du Chevalier,” the ancientChurch of St Anne (formerly the chapel of the castle), and themoremodernparishchurchof the seventeenthcentury, thewholebeing surroundedwith theremainsofwalls,towers,andbastionsofvariousperiods,enclosingopenspacesandcourtyards,andpresentingaveryvariedandpicturesqueensemble.

The“TourduChevalier”(Fig.150) isastructureofpeculiar interest,beingthefirstwehavemetwithofaseriesofsimilartowerswhich,weshallfindasweproceed,wereerectedintheeleventhandtwelfthcenturiesforthedefenceofthe townsandchurchesof thisdistrict.These towersaregenerally, like thatatCannes,squareonplan(Fig.151),andhavewallsbuiltwithcoursesofsquaredressedstones,having thefaces left rough.Thegroundfloor isvaulted,and isentered only from the first floor by an aperture in the vault. The entrancedoorway to the tower is on the first floor, at a considerable height above theground;beingsoplacedforsecurityandbeingonlyapproachablebyamoveableladder.Theprojectingstep

[Imageunavailable.]FIG.149.THEOLDTOWNOFCANNES.

[Imageunavailable.]FIG.150.TOURDUCHEVALIER,CANNES.

[Imageunavailable.]FIG.151.PLANANDSECTIONOFTHE“TOURDUCHEVALIER,”CANNES.

toreceivethe topof the ladder isvisible in theTourduChevalier,beneath theentrancedoor.Thelatterhasastraightlintelrecessedwithinaplainroundarchedopening.Fromthefirstfloorlevelastonestaircorbelledoutfromtheinteriorofthewallandrunninground thesidesof theapartments led to theupper floors,whichwereoriginallyformedoftimber,althoughnowvaultedwithflatarchesofmore recent construction, probably of the sixteenth century. The roof was nodoubtflatandwasprovidedwithacrenellatedparapet,projectedoncorbelswithmachicolationsbetweenthem.Thisparapetwasonlydestroyedsomeyearsago,whenthetowerwasstruckbylightning.Theopeningsforlightaresmallsquareaperturesinthemasonrywithoutsplayorornament.Theyhavenointernalbay,butaremereoblongholespassingthroughthewalls.Theseholesmightalmostbesupposed tohavebeenused forprojectingbeams through,onwhich to restwoodenhoardingsfordefence,buttherearenodoorsforaccesstosuchworks.AccordingtotheAbbéAllier, inhisHistoryof the“IlesdeLérins,”thistowerwasbegunin1073bytheAbbéAldebertII.,partlyonRomansubstructures.Theparapetwas,however,notcompletedtill1395bytheAbbéJeandeThornafort.Thistowerandtheothersimilartowersofthisdistrict(ofwhichmorehereafter)occupiedintheirdesignanintermediatepositionbetweenthekeepsoftheNorth,suchas thatofMontmajour,andthe lofty towersof theItaliancities,ofwhichthose of Sienna and Verona are well known examples. The courtyard of thecastlewasenclosedwithwallsfortifiedwithtowers,ofwhichsomeportionsstillremain, but the enceinte has been greatly altered in later times, and convertedintobastionswithplatformsforguns,andparapetsloopholedformusketry.ThiswasprobablydoneduringtheSpanishwarsofthesixteenthcentury.Withinthewalls therewerenodoubtbuildings for the residenceof theChevalierand thegarrison,thetowerbeingonlyusedforwatching,andasakeeporlastresortincase of siege. Of the original structures the only one besides the tower nowremaining is the churchofStAnne,which, according to theAbbéAllier,waserectedtowardstheendofthetwelfthcentury.Thischurchformsanexampleofthe simple style of Cistertian architecture, which, as already remarked, waslargelyadoptedinProvence—especially,asweshallsee,inmanyofthesmallerchurches.InthesewefindtheCistertianplainnesscombinedwiththeplanofasimplenavewithoutaisles,terminatedwithanapseattheeastend.

TheChurchofStAnne (Fig.152),althougherected inconnectionwith thecastle,alsoservedoriginallyastheTownChurch.ItisofthesamesimpletypeasThoronet,butonamuchsmallerscale.Theplan(Fig.153)consistsofonelongnave,87feetinlengthby20feetwide,witharoundapseattheeastend;andithasnoaisles

[Imageunavailable.]FIG.152.CHURCHOFSTANNE.

ortransept.Thewallsareperfectlyplain,bothinternallyandexternally,andtheroofisconstructedwithapointedvault,strengthenedwithsquaretransverseribs,which spring from simple pilasters in thewall. The cornice between thewallheadandthearchconsistsofthesameplainovalomouldingasatThoronet,andthepartof it formingtheimpostof thetransverseribs is“cutoff”at thesides,like the impost of the cloister arches at that abbey. Some of these imposts,adjoiningthecentraldoor,haveafewrudeandscarcelyintelligiblecarvingsonthem—apparently

[Imageunavailable.]FIG.153.PLANOFSTANNE.

[Imageunavailable.]FIG.154.DOORWAYOFSTANNE.

of human heads. The apse is semi-circular,with a very short choir raised onestep, and covered with a semi-dome as at Thoronet, but there is no roundwindowabovethechoirarch.Theoriginaldoorway(Fig.154)enters fromthenorth side, where, probably, the outer bailey of the castle was situated. It iscomposedofasimpleouterandinnerroundarch,formingonenook.Theimpostis a plain cavetto, the portion supporting the inner arch being “cut off” at thesides.Thedoorwayis5feetwide;but,inlatertimes,thiswasfoundtoolarge,and it has been partly built up and reduced. It was probably placed near thecentre of the church, andmadeof the abovewidth for the convenienceof thetown’speople.There isadoor in thewestbayof thechapel,placedonahighlevel,whichmayhavebeenusedforaccessfromthecastletoagalleryorupperfloor,suchaswasfrequentlyintroducedinsimilarcastlechapels.

[Imageunavailable.]FIG.155.MONTDUCHEVALIER,CANNES.

Atacomparativelyrecentdatethewallsofthechapelhavebeenraised(Fig.155), and the top of its vault used to form a platform for guns, to aid in thedefenceofthetownandcastle.

TheexistingparishChurchofNotreDamed’Espéranceoccupiesaprominentposition on the Mont du Chevalier. It is a heavy building of the eighteenthcentury.Theonlyredeemingfeatureitpossessesisthewestdoorway(Fig.156),which is a good example of theRenaissancework of the seventeenth century.Thetoweratthenorth-eastangleofthechurch(seenintheaboveview)hasbeenraised in comparatively recent timeson the substructureofoneof theoriginaltowers of the castle. The lower portion with its round archway is certainlyancient. The upper part, which is now the clock tower of the town, forms aprominentandtellingfeatureinalltheviewsofCannes.

[Imageunavailable.]FIG.156.NOTREDAMED’ESPÉRENCE,CANNES.

Inthebay,oppositeCannes,liethetwoIlesdeLérins,dedicatedrespectivelytoSteMarguériteandStHonorat.

Architecturally speaking, the Island of St Honorat possesses the mostinteresting series of buildings in the Riviera, combining, as it does, somefeaturesof thearchitectureofeveryperiodandstyleofProvençalart,whetherEcclesiasticalorCivil.

This island, which is the outer and smaller of the two, held, for somecenturies, an important andhonourable position in theWest ofEurope. ItwasoriginallyoccupiedasapostbytheRomans,thematerialsofwhosebuildings,intheformofbrokenbricks,etc.,arescatteredoverthesoil.Weshallalsofindthatsome Roman columns have been preserved and utilised in the castle, whilenumerous Latin inscriptions may be seen built into the walls of the moderncloisters. In the fifth century the island seems to have been desertedwhen StHonorat retired to it, and there founded a monastery, which was destined tobecome famous. It constituted for long the chief repository of all the learningandeducationwhichremainedinSouthernGaul;and,likeIona,becameacentrefrom which missionaries issued to enlighten the surrounding countries, andspread religion amongst the Barbarians. Besides many other celebrities, StPatrick,thepatronsaintofIreland,issaidtohavebeeneducatedhere.

Amonasterywaserectedinthecentreofthelittleisland,whichisonlyabouthalf-a-mile in length. Some remains of a church of the eleventh centurywerestill extant in1836,whenMériméevisited the island. Itwasa simplebasilica,havinganaveof sixbays, coveredwithapointedbarrelvault, and sideaisleswithabuttingvaults,likeThoronet.

But,in1876,theseremainsweresweptaway,andanewchurcherectedintheProvençalstyle,butwithoutanyspecialfeatures.Theonlyancientportionnowremaining is the cloister (Fig.157), built in the simpleCistertian style,with acircularvault,strengthenedwithtransverseribs.Thesidenextthecloistergarthisenclosedwithawall,inwhichonlysmallopeningsorwindowsareperforated—nottheusualwidearcade.

[Imageunavailable.]FIG.157.CLOISTERS,STHONORAT.

OftheantiquestructuresoftheislandanextremelyinterestingexamplestillsurvivesinthechapeloftheSteTrinité(Fig.158),situatedattheeasternpointofthe island, opposite the islet of Ferreol. It is very peculiar in design, and isundoubtedlyoneoftheearliestbuildingsinProvence.

Theplan (Fig.159) shews a nave of two bays, having one transverse archsupportedonsimplecolumns,with rudecapsof thesamesectionas thestringcoursesorimpostsofthearches,beyondwhichisatriapsalchoir,crownedwithasmallandrudely-formeddome.Theapseshavetheirsemi-domedvaultsfairlywell constructed, but the central dome is not raised from any definitependentives,

[Imageunavailable.]FIG.158.STETRINITÉ,STHONORAT.

butasbest it couldbedoneby theworkmenof the timeoutof a lowerdomewhichfillsintheanglesbetweentheapses.

[Imageunavailable.]FIG.159.PLANOFSTETRINITÉ.

Theoriginalexterior(Figs.160and161) isextremelyplain, thequoinsanddoorway with its square lintel being constructed with large stones, probablyderived from a Roman building (Fig. 162). The upper part of the walls wasraised by the Spaniards, in the sixteenth century, to form a platform for guns.TheearlierformofthewesterngableisvisibleinFig.160.

Wehave evidently, in this primitive structure, a rude attempt to imitate thetriapsalanddomicalformsoriginallyusedintheearlyChristianarchitectureofthe cemeteries at Rome, and afterwards more fully developed in the East.Viollet-le-Ducattributesitserectiontotheseventhoreighthcentury.

[Imageunavailable.]FIG.160.WESTENDOFSTETRINITÉ.

Ofthesevenchapelswhichonceextendedroundtheisland,andformedtheobjectofmanypilgrimages,thoseofSteTrinité(justdescribed),andStSauveurnearthecentreofthenorthside,alonesurvive.Thelatter(Fig.163)isoctagonalonplan,withnichesoneachof thesides,anda largercentralone, forminganapseopposite thedoor.Thisapsealone isvisibleon theoutside.Thechapel isunfortunatelygreatlymodernised.

Incourseoftimethemonasterynaturallybecamerich,andformedatemptingbait to the Corsairs of theMediterranean, whether Saracen or Christian, whoattackedandplundereditseveraltimes.Itissaidthatontheoccasionofoneofthesedescents in725StPorchaireandfivehundredmonksweremassacred.Arestoredchapeltothesouthoftheconventstillbearsthenameofthatmartyr.

[Imageunavailable.]FIG.161.STETRINITÉ,EASTEND.

Toprovidea safeplaceof retreat incaseof similarattacks in future itwasresolvedtoerectakeeporcastleonapromontoryofrockwhichjutsoutintotheseaatthesouthsideoftheisland.Hereaperpetuallook-outcouldbekeptoverthe sea from the watch-tower on the summit, and notice of danger given byringingthebell(thebelfryforwhichstillexists)intimetoenablethemonkstotakerefugewiththeirvaluableswithinthekeep.Thecastleisstatedtohavebeenbegunabout1073bytheAbbéAldebertII.,partlyonRomansubstructionsandpartly on the rock, and the chapel was consecrated in 1088 (see “Les Iles deLérins,”bytheAbbéAllier.)Infifteenyearsthesecondfloorwascommenced,and in 1190 the tower was finished. Having been frequently sacked anddestroyed there is some difficulty in making out the original plan. Besides,containingasitdoes,anopencloister,itdifferssogreatlyotherwise

[Imageunavailable.]FIG.162.DOORWAY,STETRINITÉ.

[Imageunavailable.]FIG.163.STSAUVEUR,LÉRINS

(fromRévoil).

fromthefeudalcastlesofthetime,thattheirplansgivelittleaidindecipheringthatofthemonastickeep.Itseems,however,tohavebeenoriginally(Fig.164)anoblongbuildingmeasuring85feetfromeasttowest,and58feetfromnorthtosouth,withawingprojectingtothesouthwards.Thisblockwasdividedintotwo portions by a central wall running north and south, and contained in theeastern division an open cloister, formerly three, though now reduced to twostorysinheight,andin thewesterndivisiontherefectory,dormitory,andotherapartments.To theeastasmallprojectionor towercontainedon thefirst floorthelavatoryandlatrines,andat thetopwascarriedupasawatch-towerabovetheparapet,and

[Imageunavailable.]FIG.164.

surmountedby thebelfry for thealarmbell.Thespaceat thenorthendof thecloisteris(asweshallpresentlysee)a

[Imageunavailable.]FIG165.CASTLEOFSTHONORAT(fromN.-W.)

laterextensionoftheoriginalkeep.Theentrancedoorisinthenorthwall(Fig.165), several feet above the level of the ground. It has a square lintel,with aroundsavingarchover it,and thedoorwasstrengthenedwithaslidingbar.Anarrow passage at right angles, furnishedwith a second door, leads by a fewstepsuptotheleveloftheprincipalfloorandopensonthecloister.Thisisthemoststrikingandremarkablepartofthecastle.Itis40feetlongby27feetwide,andissurroundedwithavaultedgallery(Fig.166),supportedonsixcolumns—threeoneachside—leavingopentotheskyacentralspaceof19feetby10feet.Thefirstviewofthiscloisterismostimpressive.Theancientappearanceofthegranitecolumns,with theirquaintcapsandbases,surmountedbyboldpointedarches, above which rises an upper and lighter arcade; the rich colour of thewalls; the sombreeffectof thedarkarcadescontrastedwith thebright lightoftheopencentralcourt;andtheunusualcharacterofthestructure,allcombinetoproduceapowerfulandlastingeffectonthemind.Nordoesacloserinspectiondiminishtheinterest.SomeofthepillarsarefoundtobegenuineRomanones,brought from some ancient building, and here utilised in a verymatter-of-factthough tellingmanner. The columns being generally too short, some of themhavebeenpiecedupwiththeyellowlimestoneofthedistrict,whileothershavebeenelevatedonbasesofextraheight.Threeoftheancientshaftsareofgranite,oneof redmarble, and the remaining twoof limestone.Ononeof the former(that at the south-west angle) can be read part of an inscription in honour ofConstantine.Thisshafthas theappearanceofhavingbeen longexposed in theopen air, and many of the letters are worn away, so that some parts of theinscriptionaredifficulttodecipher.Thefollowingistherenderingofthe

[Imageunavailable.]FIG.166.LOWERCLOISTER,STHONORAT.

AbbéAllier;theletterswithinbracketsbeing,however,illegible:—

I M P [ C Æ S ]F L VA LC O N S TA NT I N O P FA U G[ D I V I M A XI M I A N IA U G ] N E P O T ID I V I C O NS TA N T A U G[ P I I F I L I O ]

[Imageunavailable.]FIG.167.CAPITALSANDBASES,CASTLEOFSTHONORAT.

[Imageunavailable.]FIG.167a.CAPITALSANDBASE,CASTLEOFSTHONORAT.

Another interesting point connected with these pillars is the form anddecorationoftheircapitalsandbases(Figs.167and167^a).Atfirstsighttheylookveryrudeandprimitive,butoncarefulexaminationtheyareseentopossesscertaincharacteristicswhichbelongtoacomparativelylateperiod,thusraisingasuspicionas to their antiquity,which theevidently latevaultingof thecloistertends toconfirm.One is therefore somewhatpuzzledhow to regard them,andwhat date to assign to them. But a comparison of the caps and bases of StHonorat with those of the cloister of Thoronet at once removes all difficulty.Originalandquaintasbothare,theyareevidently(withtheexceptionofsomewhicharelater,andwillbeafterwardsreferredto)theproductofthesamestyleand period. TheAbbéAllier informs us that in 1295 theAbbotGancelme deMayreris did much work in the interior of the tower, and in 1315 a generalchaptergrantedcertain fines inorder to raise funds for its completion.To thisperiod probably belongs the first construction of the cloister. But in 1400 themonasterywasattackedbyGenoesepirates,commandedbyoneSalageri,whotook the castle by assault, imprisoned themonks, and pillaged themonastery.TheseCorsairskeptpossessionofthecastleforaboutayear,andwereonlygotridofbyageneralmusterofthenobilityofProvence,withtheirretainers.Theinvadersprobablygreatlydestroyedthebuilding;forwelearnthatafter1400thecloisters,“L’Escalier tournant,”andotherworkswerecommenced,andcarriedon by one Gastolius de Grasse, who died in 1422. These facts indicate twoperiods of considerable operations at the castle, one in the beginning of thefourteenthandtheotherofthefifteenthcentury.Someofthecaps(suchasA,D,andE),whichsostrikinglyresemblethoseofthecloistersofThoronet,probablybelongtothefirstoftheseperiods;whileothers(likeB)havebeenexecutedinimitationofthem,butcontaindetailswhichareundoubtedlyoftheperiodofthelater work. The capital (B) andmost of the bases are clearly of the fifteenthcentury;thestyleoftheogeeandothermouldings,andthefoliageofthegriffesorclawsattheanglesandonthecapB,beingofalatecharacter.Theformofthevaulting(Fig.168),withitsthingroinsalldyingawaytoonesharppointatthespringing,andwithoutcapsorcorbelstoreston,alsocorrespondswiththatdate.Thecloisterarchesarepointed,buthavenomouldings.Itwasin1394,shortlybeforethesecondoftheaboveperiods,thatthebodyofStHonoratwas

[Imageunavailable.]FIG.168.LOWERCLOISTERINCASTLE,STHONORAT.

brought to the island from Forcalquier.Altogether, at this time themonasteryseems tohavebeen ingreatactivity,andextensiveworksappear tohavebeenthencarriedoutatthecastle.Theportionadjoiningthenorthsideofthecloisterwasatthattimeextended,soastoformaprojectiontothenorthward,containingthe“Escalier tournant”abovementioned.Theellipticalarchof thedoorway tothiswheel-stair(seeFig.166)isevidentlyalatework,andawidejointorcrackin the masonry, shewing the point from which the extension northward tookplace,canbedistinctlyseenintheexterioroftheeastwall(Fig.169),whereitextendsfromtoptobottomofthecastle.Thestyleofthemasonryofthisportionis also smoother than theoriginalwork,which is left roughor “bossy”on thesurface.Theobjectof thisadditionhasprobablybeen toprovideaspaceforaguard-room near the entrance to the castlewith awide staircase, and a broadplatform on the roof for defensive purposes. Beneath the cloister is a largecisternortank,statedbytheAbbéAlliertohavebeenconstructedbyGastoliusdeGrasse early in the fifteenth century; it contains a supplyofgoodwater.Asteepstairoppositetheentrancedoorleadsdowntosomesmallcellars,arrangedintwostorys(Fig.170),underaportiononlyofthewesternpartofthetower.

Ascendingthe“Escaliertournant,”thestepsofwhicharefourfeetlong,wearriveat theuppercloister(Fig.171).Thiscontainsagalleryall round,withaparapet next the open court, on which stand twelve octagonal columnssupportingasmanypointedarches(Fig.172).Thewhole isbuilt in finewhitemarble,andthedesignisintheItalian-Gothicstyle,somewhatsimilartothatofthe cloister arches at Fréjus. Some of the shafts and caps are evidentlyrestorationsinimitationofolderones(Fig.173).

AllierstatesthatthearmsoftheGrimaldifamily

[Imageunavailable.]FIG.169.CASTLEOFSTHONORAT(fromN.-E.)

[Imageunavailable.]FIG.170.CASTLEOFSTHONORAT(sectionfromN.toS.)

couldbe tracedononesideof thiscloister, twomembersof thathousehavingbeenAbbotscommendatoryof theLérins.Thisprobablymarks thedateof therestoration—fifteenth century—but the original pillars seem to be at least acenturyolder.Someofthetilesofthefloor,whichareofaplainredcolourandsquare, still remain.Although thecloister isnowroofed inover the first floor,the section (see Fig. 170) indicates that therewas formerly a third story. Thecorbels in thewall to support thebeamsof the roof aredistinctlyvisible.Theroofmayhaveformedaplatformnearlyonthelevelofthebattlements.Thetwoupperfloorswerenotvaulted,butarcheswerethrownacrossatthefourangles(seeFig.172) against the outerwall so as to strengthen and steady thewholestructure. On the first floor (Fig. 171) the northern addition forms a recess,coveredwithaplaincircularvault,andlightedbyawidewindowprovidedwithstoneseats.Theeastprojectionalsoformsarecesswithasmallwindowandalockerinthewall.Thiswasprobablythesacristy,asitadjoinsthechapelinthesouthwing.

[Imageunavailable.]FIG.171.CASTLEOFSTHONORAT,LÉRINS.

Thesouthernwingorprojectionseemstobeofthesamedateastheoriginalcastle,andtohaveformedpart

[Imageunavailable.]FIG.172.UPPERCLOISTER,CASTLEOFSTHONORAT.

of it. On the ground floor it is coveredwith a plain semicircular tunnel vaultsimilar in construction to that of the northern projection, but there is noindication on the exterior of there having been any extension of themasonry,suchasaboveindicatedatthenorthernend.

Thefirstfloorofthesouthwingcontainsthechapel,25feetby26feetwithagroinedvaultabout28feethigh(seeFig.170).Theribsarelargeandofasquaresection, and rest on plain corbels in the angles, the construction of thewholebeingvery simple.Thewindowsare small andhave the same recessesdeeplysplayedtowardstheoutside,asoccurintheoldpartoftheeastwallintheuppercloister,andwhichindicateanearlydate.

[Imageunavailable.]FIG.173.UPPERCLOISTER,STHONORAT,DETAILS.

Thechapelwasprobablypartoftheoriginaldesign,andwasrestoredinthefourteenth century.We read that in 1342, theAbbotGeoffrey had the “choir”constructedinToulon.Thisnodoubtreferstoawoodengalleryorstalls,whichwerethenfittedup,buthavenowentirelydisappeared.

Thewesternportionofthecastlewasdividedinthecentrebyawallrunningeast andwest.Thenortherndivision seems tohavecontained thekitchen, andthe other half the original refectory. The stone sink still exists in the kitchenwindowtothenorth.Thewindowslookingtothewestaresmallandhigh, thesill being stepped up. The upper floors in this wing would contain thedormitories,beingprovidedwithfireplacesandgarderobesinthewalls.Butthispartofthebuildingwasmuchalteredintheseventeenthoreighteenthcenturies,andMériméementions thatwhenhevisited the Island in 1834, the placewasdividedupintosmallroomswithplasterpartitions,and,headds,“someof thechambers are still painted in the styleof the eighteenth century, severalof thepanelsover thedoors representingshepherdsandshepherdesses in the styleofVanLoo,decorationsonewouldscarcelylookforamongstthemonks.”

At a period subsequent to the original erection of the castle, the anglecontainedbetween thesouthernprojectionand themainbuildingwasenclosedwith a wall and added to the structure. The walls of this addition are muchthinner than the old ones, being only about 4 feet,while those of the originalcastlearefrom8to10feetthick.Thatthisportionisanadditionisevidentfromthestyleofthemasonryoftheoldsouthernwall,whichisvisibleintheinteriorof the extension, and corresponds with the rough ashlar of the exterior wallsgenerally(seeFig.174,rightside).

Theprincipalfloorofthisaddition,enteringoffthelowercloister,wasusedastherefectory(Fig.174).Itis47feetlongby16feetwide,andisroofedwitharoundtunnelvaultstrengthenedwithtransverseribs.Thisstructuremustbelongto a comparatively late period—probably the fifteenth century—but it isnoteworthy that the old Provençal style of tunnel vaulting, strengthened withtransverseribs,havingasimpleovalofor thestringcourseor impost,and“cutoff”corbels,isstillmaintained.

[Imageunavailable.]FIG.174.REFECTORY,CASTLEOFSTHONORAT.

Thecustomofreadingtothemonksduringmealsbyoneoftheirnumberwasevidently observed here, from the semi-circular recess or pulpit, raised a fewstepsabovethefloor,whichisformedinthewallatthenorth-eastangle.

Thebasementofthisadditionmayhavebeenusedascellarsandstores,andwasreachedbyawheelstairinthethicknessofthewall.Theupperfloor(nowdestroyed)was the library,which contained a largenumberof valuableMSS.,nowdispersedandlost.

At the restorationof the fifteenthcentury, the topof thecastleon thesidesnexttheland(Figs.165and169)wascrownedwithastoneparapetprojectedonboldcorbels,withwidemachicolationsoraperturesfordefencebetweenthem.

In 1524, and again in 1536, the castle was attacked and taken by theSpaniards,who,onthelatteroccasion,werecommandedbythefamousGenoeseCaptainAndreaDoria,onthepartofCharlesV.Someadditionalbuildingswereadded by the Spaniards to render the castle more defensible according to theideasofthesixteenthcentury.Anarrowgangwayonly4to5feetwidewasbuilt,bywhichaloneaccesscouldbeobtainedtotheentrancedoorway;andthiswasdefended by a double doorway at its outer end, where also it could only bereachedbyanarrowstairplacedatrightangles.Tothenorthofthiswasaditchand drawbridge. An outer wall seems also to have enclosed the castle on thewest side, and someadditionalbuildingswereerectedat the south-west angle,butthesehavenowalmostentirelycrumbledaway.

Thisancientruin,sointerestinghistoricallyandarchitecturally,isnotlesssoartistically.Whetherweregardthevenerableaspectoftheantiquecloisterortherichgoldencolouroftheexterior,contrastingsobeautifullywiththedark-greenof the pines and the deep blue of the southern sea and sky, nothing could bemorecharmingordelightful.

AftertheabovedatesthecastleseemstohavebeengarrisonedbytheCrownof France, and was frequently taken and retaken by the Spaniards and theFrench.ItwasatthisperiodthattheChapelofSteTrinitéwasheightened,andfortifiedwithtwocannons;while,atthesametime,otherbatterieswereerectedatdifferentpointsroundtheisland.

Meanwhile themonastery had dwindled away, but themonks still retainedtheir suzerainty over Cannes, Vallauris, Napoule, and other villages on themainland.Finally, in1788, thenumberofmonkshadbecomereduced to four,when, on the request of theBishop ofGrasse, themonasterywas secularised.Thereaftertheislandhasseveraltimeschangedhands,andnowitisoccupiedbyabodyofCistertianMonks,whocultivatethesoilandsuperintendanorphanage.

[Imageunavailable.]FIG.175.CASTLEOFSTEMARGUÉRITE.

The adjoining island of STE MARGUÉRITE has but little interestarchitecturally.Thefort,whichisbuiltontheprecipitousrockonthenorthsideof the island, facing theCroisette point at the eastern extremity of the bay ofCannes,waserectedbyRichelieu.Scarcelyfinished, itwasattackedandtakenby the Spaniards in 1635, who enlarged it, and after being recovered by theFrench,was repaired byVauban. The view of the castle from theCroisette ispicturesqueandpleasing(Fig.175);buttheonlypointworthinspectingcloseathandistheprisoninwhichthe“manwiththeironmask”wasconfinedbyLouisXIV.forseventeenyears.Theextremethicknessofthewalls(above12feet),thewindow defended by three successive gratings in the depth of the wall, thedoubledoorscoveredwithironstudsandsecuredwithironbars,givesomeideaoftheimportanceofthatmysteriousprisoner.

IntheenvironsofCannestherearenumerousdelightfulwalksandexcursionsamongst theolivesandvinesof thevalleys,orbyfootpathsover thepine-cladhills.Oneof themostfavouriteof these is to the townofVALLAURIS, famousfor its fine potteryware. Itmay be reached by a road through a rocky valley,whichbranchesoff themain road toAntibes, atGolfe Juan, or by a footpath,forming a pleasantwalk of some fourmiles across the hills, past thewaysidechapelofStAntoine,whichcrownsthe“col”betweenthetwovalleys.FromthispointasplendidviewisobtainedoverVallaurisanditssurroundinghills,abovewhich,inthedistance,risethesnowypeaksoftheMaritimeAlps.AtVallauristherestillexistsaninterestingarchitecturalrelic,beingtheoriginalchapelofthesummer palace of the Abbot of the Lérins. This residence, situated as it isamongst the hills some way inland from the sea, enjoys in summer a moretemperateclimatethantheIslandofStHonorat,whichissaidtobethehottestplaceinProvence.Thepropertywasacquiredbythemonasteryin1042,underacharterofAldebert,BishopofAntibes,andheretheabbotsbuilttheirseignorialcastle.Thechapelprobablydatesfromthethirteenthcentury.Theremainderofthe palace was demolished in the end of the fourteenth century by a famousbrigand,RaymonddeTurenne,whodevastatedthewholecoastofProvence.InthebeginningofthesixteenthcenturyoneofthemonksoftheLérins,RégnierdeLascaris,rebuiltthetownonaregularplan,withgoodstreetsplacedatrightangles,presentingaverystrikingcontrasttothenetworkof

[Imageunavailable.]FIG.176.ABBOT’SSUMMERPALACE,VALLAURIS.

[Imageunavailable.]FIG.177.CHAPELOFABBOT’SSUMMERPALACE,VALLAURIS.

narrow tortuous lanes which form the usual streets of Provençal towns. Thehouseswere constructed for the accommodation of theworkmen employed atthe celebrated potteries of the valley,whichwerewell known even inRomantimes,andarestillofworld-widefame.Thepalacewasprobablyrebuiltaboutthesametime,andpossessessomepicturesquefeatures(Fig.176).Thechapelis(Fig.177)likethatofCannes,asimplenave,

[Imageunavailable.]FIG.178.CHAPELOFABBOT’SSUMMERPALACE,VALLAURIS.

31feetlongby16feetwide,withroundapseabout10feetdeep.Itisroofedintwobays(Fig.178),withapointedbarrel-vault,havingonesquaretransverseribinthecentre,supportedbyasimplepilasteroneachside,withastringcourseatthewall-head,andimpost“cutoff,”allasattheMontduChevalier.Theapseis round,andhasapointedsemi-dome insteadofa roundone,asat the latter.The windows are small and pointed, and have the deep external splay socommoninallthesebuildings.Therearetwodoors,alsopointed,oneofwhichentersatthesouthsidefromthecastlecourt,andtheotheratthewestendfromtheoutside. The pointed arches in the doors andwindows probably indicate asomewhatlaterdatethantheroundonesofthe“MontduChevalier.”

Thechapelisnowoccupiedasanoilmill.

[Imageunavailable.]FIG.179.“MAISONDUBRIGAND,”LECANNET.

Awideboulevardhas recentlybeenconstructed, leading fromthecentreofCannesstraightnorthwardsforadistanceofabout twomiles, throughtheonlygroundnearthetownwhichisatalllevel,tothevillageofLECANNET.Hereanancient machicolated tower (Fig. 179), called the “Maison du brigand” (nowcrownedwitha

[Imageunavailable.]FIG.180.NOTREDAMEDESANGES,LECANNET.

peacefulphotographer’sstudio),contrastsstrangelywiththenewhousesrapidlyrisingaroundit,alongtherecentlyconstructedand improvedroads;buton thehigher ground some of the more antique houses and narrow lanes are stillpreservednear thequaintoldchurchofNotreDamedesAnges (Fig.180).LeCannetformsanagreeablepromenadefromCannes;anditiswellworthwhileto continue the walk or drive northwards for about two miles through themagnificentgrovesofoliveswhichhereclothethevalley,asfarasthebaseofthehill,onthesummitofwhichstandstheancienttownofMOUGINS.Whetherviewedfrombelow,orfromthehillaboveontherightclosebytheancientandpicturesquechurchofNotreDamedeVie(Fig.181),theeffectoftheoldtowncrowning its rocky and olive-clad height is always striking. The climb up thesteepandmany-steppedmulepathtothehabitationsonthesummitisnosmalltask,butthelabouriswellrepaidbythesplendid

[Imageunavailable.]FIG.181.NOTREDAMEDEVIEANDMOUGINS.

views thence obtained in all directions, especially towardsGrasse, and by thepicturesquevistaswhichmeettheeyeateveryturnintheancientnarrowstreets.Oneof theoriginalgatewaysof the town (Fig.182) is still preserved,with itsmachicolatedparapetandthegroovesfortheportcullisbehinditsplainpointedarch.ItissupposedthatMouginsistheMonsÆgitnatowhichthenativetribesretired,andwheretheyfortifiedthemselvesafterbeingdrivenfromCannes(orÆgitna)by theRomans. In returning toCannes, the routemaybedelightfullyvariedbyawalkoverthehills,pastNotreDamedeVie,andalongthefootpathbeside the aqueduct, which brings the water supply from the sources of theSiagne(sometwentymilesoffbyroad,butdoublethedistancemeasuredroundthewindingsofthecanal)toCannesandAntibes.

Castellaras,aboutacoupleofmilesnorthfromMougins,isanothersplendidpointofview.Anancientcastlehereoccupiesthesummitofahill,andispartlysurroundedwithitsoldwallofenceinte,butthemostofthebuildingsconnectedwithitaremodern.

[Imageunavailable.]FIG.182.MOUGINS,GATETOTOWN.

Themostimportantplace,however,lyingafewmilesinlandfromCannes,isGRASSE, an ancient town of some celebrity, and still a place of considerablebusinessandmovement.ItliesabouttenmilesnorthfromCannes,andmaybeapproachedbyseveral roadsorbyrailway.Oneroadgoes to thewestward,bytheplainofLavalandthevalleyoftheSiagne,passingthroughthelittletownofPégomas, andwithina shortdistanceofAURIBEAU (Fig.183), anancient cityperchedonthecrestofaloftyhill.Fromthispointtheroadsteadilyascends,till,aftera longclimb,Grasse,whichstandsabout1000feetabove thesea,comesintoview,itshousesclusteringroundtheoldcathedral,andrisingintheformofanamphitheatre(Fig.184),tierovertierupthehillsideonwhichitisbuilt.Fromtheheight atwhich the townstands, theviewover the luxuriant lowergroundbetween it and Cannes is very commanding and delightful, the whole of thevalleybeinglaidoutasgardensforthecultivationoftheroses,violets,andothersweetscentedflowers,fromwhichtheperfumesforwhichGrasseisfamousaredistilled.

[Imageunavailable.]FIG.183.AURIBEAU.

FromanearlytimeGrassewasanindustriousandcommercialtown.Itthusbecamerich,anditswealthbroughtuponit frequentattacksfromtheSaracenswhile they had their headquarters at the Great Fraxinet. Early in the twelfthcentury the inhabitants followed the example of the Italian townswith whichthey had commerce by constituting themselves a free republic. Their consulsformedtreatieswithPisaandGenoa,andunfortunately the towngotmixedupwithItalianpoliticsandthedisputesoftheGuelphsandGhibellines.Thisledtotheusualunhappyresultofdividingthepeopleintoviolentfactions,andenabledRaymond Béranger, Count of Provence, in 1226, under pretext of aiding theGuelph party, to render himself master of the town. In the sixteenth centuryGrassesharedtheunhappyfateoftherestofthispartofFrance,whenFrancisI.foundhimselfunabletodefenditagainstCharlesV.,andthereforelaidthewholecountrywaste.The townalso sufferedgreatlyduring the religiouswarsof theseventeenthcentury.

[Imageunavailable.]FIG.184.GRASSE.

[Imageunavailable.]FIG.185.PLANOFGRASSECATHEDRAL.

[Imageunavailable.]FIG.186.GRASSECATHEDRAL,WESTEND.

ThemostimportantbuildinginGrasseisthecathedral.It isthefirstchurchwe have seen, on our way eastwards, which represents a type essentiallydifferentfromthatofProvence,andmarkedlyakintothearchitectureofItaly—acharacteristic which we shall find more and more strongly developed in ourprogressalongtheRiviera.Theplan(Fig.185),likethatofmostofthechurchesofItaly,consistsofacentralnaveandsideaisles,alloriginallyterminatedwitheasternapses,the

[Imageunavailable.]FIG.187.GRASSECATHEDRAL(CampanileatN.E.angle).

existing choir, which is square, being a late addition. The character of theexteriorisessentiallyItalian(Fig.186),beingsimilarinitsformsandornamentto the churches of Pisa and Genoa, with which towns, as above-mentioned,Grasse had commercial relations. The arcaded ornament at the eaves is veryLombardic,andthedoorwaysofthewestfrontandnorthside(Fig.187)areoftheordinaryItaliandesignofthethirteenthcentury,withlowpitchedroof.ThetallandsimplesquarecampanileisalsoItalianinconception.Thedesignoftheinterior(Fig.188)issomewhatremarkable,themassivecircularpierswiththeircushion caps having more of the character of a Northern than of a Southernedifice.They remindone, however, of thoseofCarcassonne.The solid squaregroinsofthevault,springingfromverysimplecorbels,areofausualProvençalform—such, for instance, as those of Fréjus Cathedral. Close to the cathedralstands one of the square towers (Fig. 189), similar to that of the Mont duChevalieratCannes,whichwehavenoticedasbeingcommonin thetownsofthis

[Imageunavailable.]FIG.188.GRASSECATHEDRAL.

[Imageunavailable.]FIG.189.KEEPTOWER,GRASSE.

province. It is built with the usual rough-faced ashlar work, but its otherdistinctivefeaturesarenowlost,theinteriorbeingoccupiedasdwelling-rooms.This tower adjoins the ancientBishop’s Palace, now theMunicipalBuildings.Near this—and, indeed, scattered everywhere through the narrow and busystreetsofGrasse—are

[Imageunavailable.]FIG.190.STAIRCASE,GRASSE.

to be seenmany fragments of themassive architecture of its ancient palaces.Theseareeasilydistinguishedfromtheirbeingbuiltwiththesamerough-faced,solid masonry as the tower; and they often still retain a door or window ofpointed form, recalling the older palaces occasionally found in the similarcrowded lanesofGenoa.Therearealso someexamples inGrasseof thegreathousesof themerchantprincesof theRenaissanceperiod,sodistinctiveof theItalian cities. The picturesque staircase of one of these is still preserved (Fig.190).Thisbuildingstandsattheeastendofoneofthecharmingopen“places,”surrounded with arcades, planted with trees, and enlivened with fountains, inwhichGrasseabounds,andwhichformsuchattractivesubjectsfortheartist.Inone of the narrow streets stands theChurch of the “Oratoire,” (Fig. 191), thestrikingly Italian façade of which at once arrests attention. It is evidently abuildingofthefifteenthcentury,andisexactlysuchadesignasmaybefoundinanyofthecitiesofNorthernItaly.Theannexedsketch(Fig.192)ofoneofthecapsofthemainpiersissuggestive,andcorrespondswithsimilardetailsofthesameperiodinItaly.

[Imageunavailable.]FIG.191.CHURCHOFTHEORATOIRE,GRASSE.

FromGrasseseveralveryinterestingexcursionsmaybemade,andanumberofancientbuildingsinvestigated.Averyfine,althoughalongday’sexpedition,is the drive to St Césaire and Callian. The former is reached by a side road,whichbranchesoffthemainroadtoDraguignon,aboutsixmileswestofGrasse,andafteraclimbofthreemilesfurtherupamongstthemountainsfinallyarrivesatStCésaire,beyondwhichallprogresswestwardsisstoppedonthecrestofthegreatcliffswhichheminthegorgeoftheSiagne.

[Imageunavailable.]FIG.192.

FROML’ORATOIRE,GRASSE.

[Imageunavailable.]FIG.193.STCÉSAIRE,ANCIENTGATEWAY.

Itisthereforenecessarytoreturntothemainroad,itselfsufficientlywindingand romantic, alongwhich a further course of eight to ninemiles conducts toMontauroux and Callian. The whole journey there and back to Grasse thusextends toabout thirty-sevenmiles,butcaneasilybeaccomplishedinonedaywithapairofthehardyponiesofthecountry.

Themain road fromGrasse descends bynumerouswide loops towards thevalley, and skirts the lofty mountains on the right, where several picturesquelookingvillagesareseenclusteringonthehillsides.

AtTignettheruinsofanancientcommanderyofthetemplarsarepassed,butthere is nothingof architectural interest sufficient to detain the traveller till StCésaire,amongstitsremoteandsnow-cladhills,isreached.

[Imageunavailable.]FIG.194.ATSTCÉSAIRE.

ThetownofSTCÉSAIREischarminglysituatedaboutninemileswestfromGrasse. It standson theedgeofa loftyprecipiceoverlooking thevalleyof theSiagne, which is here full of remarkable scenery and interesting grottoes andfountains, forming a romantic region, from which starts the aqueduct whichsupplies fresh water to Cannes and Antibes. St Césaire possesses still someremainsofitsancientwallsandgates(Fig.193),somequaintpiecesofcarvingoverdoorwaysetc.(Fig.194).Butitsmostinterestingfeaturearchitecturally,isthe ancient church which stands in its quiet churchyard outside the town,relievedagainstabackgroundofsnowymountains(Fig.195).ItissimilarinitsCistertiansimplicitytothoseofCannesandVallauris,anddiffersonlyinhaving,instead of plain pilasters, rounded vaulting shafts,with simple caps and bases(Fig.196), theformerverysimilar to thoseofThoronet.Thechurch is45feetlongby20wide(Fig.197),dividedintothreebays,withapse9feetdeeptotheeastward.AsatVallauristherearetwodoors,oneatthewestendandoneinthesouthside,thelatterpointedexternallyandroundinternally.Thewindowshaveroundarches,withtheusualdeepexternalsplay,attheinneredgeofwhichtheopeningisnarrowedbytwohalfrollmouldings,probablywithaviewtopreventdraughts in this lofty and exposed region. For the same reason there are onlythreeverysmallwindows,twoonthesouthsideandoneintheapse.

[Imageunavailable.]FIG.195.CHURCHOFSTCÉSAIRE.

Thischurchprobablydatesfromtheearlypartofthethirteenthcentury.Boththeexteriorandtheinteriorarewellpreserved.Thewallshavebeenheightenedatalaterdate,butwhyisnotclear.Asthealterationdoesnotaffecttheinterior,ithasprobablybeendonetomaketheslopeoftheroofharmonisewiththewestfront,whichhasbeenalteredandabelfryadded.

[Imageunavailable.]FIG.196.CHURCHOFSTCÉSAIRE.

As in all the churchesof the style, the tiles of the roof rest directly on theoutsideofthearches.

Anancientcarvedfront(shewninFig.194)islyingoutsidethechurch.

[Imageunavailable.]FIG.197.PLANOFCHURCH,STCésaire.

[Imageunavailable.]FIG.198.CHÂTEAUDETOURNON,NEARSTCÉSAIRE.

The main road, from the point where the branch to St Césaire leaves it,continues westwards and descends with many wide and bold sweeps till itreachestheSiagne,whichitcrossesatLesVeyans,andagainascendsthesteepandwoodedvalleyontheoppositeside.Soontheruggedruinsof thecastleofTournon(Fig.198)areseenfrowningoverthepassfromtheirrockyeminence,whichcanonlybereachedafterahardclimbthroughthethickwoodandthornyheathwhichclothethehillside.Butthattroubleisrewardedbythediscoveryofa rude and remarkable edifice. This consists of a Keep of semi-circular formbuiltontheedgeofaprecipicewhichformsthediameterofthecircle,andhasapparentlybeenconsideredasufficientdefenceof thestructureonthatside.Asemi-circularloftywallofenceintesurroundsthekeeponthesidenextthehill.Theentrancegatewaywasdoubtless in thiswallwhere there isnowa ruinousgap. The building is reduced to bare and shattered walls, so that its interiorarrangementscannotbedetermined,but itmusthavebeenaverysingularanduniquestructure.

[Imageunavailable.]FIG.199.TOWNANDCASTLEOFCALLIAN.

Nearthehighestpointoftheroad,incontinuingwestwards,thevillageofLaColle-Noire stands across theway, and in olden times stopped all passage bymeansofgatesinitswalls.Beyondthis,anopencountryrichinvinesandolivesis traversed, fromwhichanother longascent leads to the townofMontauroux,standing on a promontory, crownedwith the ruins of the Fort St Barthélemy,destroyed in 1592. A wide curve of the road, round a fine amphitheatre ofterracedlands,leadsfromMontaurouxtoCallian,anotherlittletownperchedonthehillside,andcommandedby the immenseruinsofanoldcastle (Fig. 199),whichlikealltheothersintheprovince,wassackedin1792,andofwhichonlythe shattered shell remains. Itwould appear from themullionedwindows androundtower,tohavebeenbuiltinthefifteenthcentury,andhasevidentlybeenalteredintheseventeenth,bytheinsertionofnumerouslargeoblongopenings.InthesixteenthcenturythispilewasinhabitedbyJeandeGrasse.

[Imageunavailable.]FIG.200.LEBAR,S.DOORWAYOFCHURCH.

FromGrasseanotherexcursionofsurpassinginterest,notonlyonaccountofthemagnificentnaturalscenerypassedthrough,butalsofromthevarietyofthearchitecturalremains,maybemadetotheeastwardleadingbyLeBarandVencetoCagnes,wheretheParis,Lyons,andMediterraneanRailwayisreached.Thewholedistanceisabouttwenty-fivemiles.Thefirstplaceofnotearrivedatafterleaving Grasse is LE BAR, about six miles to the eastward. It stands on aplatformataconsiderableheightandenjoysafineviewtothesouthwards.Thechurch,notremarkableotherwise,hasaRomaninscriptionbuiltintothetower,and a fine ItalianGothic doorway (Fig.200) in the south side. This doorway,with its twisted nook shafts and arch mouldings, plain caps, and enclosingnotched weather table, might have been found in almost any part of Italy.Woodendoors covered, like this oneofLeBar,with elaborate carvings, are afeature of common occurrence in every part of the province, and are often ofmuch interest and beauty. The church contains two remarkable MediævalpaintingswhichwerethoughtworthyofnoticeatthegreatExhibitionofParis,towhich theyhadbeen sent.The town is still dominatedby the relicsof agreatcastleof theMiddleAges,ofwhichsome towers remain,but it isnowgreatlyruined and shorn of its grandeur. Some of the oldwalls of the town also stillsurvive,andgivethisquaintoldplace,perchedasitisonthesteepslopeofthehill,anunusualandstrikingaspect.

FromLeBarthemainroaddescendsinwidecurvestowardsthevalleyoftheriverLoup,butlongbeforereachingthebottomofthegorgetheeyeisattractedbytheunusualappearanceoftowersandpinnaclesrisingfromthesummitofaloftypyramidalmountaintothenorthwards(Fig.201).ThesedistantpeaksarefoundonnearerapproachtobetheedificesofthetownofGOURDON,aneyriebuilt for security from the assaults of the Corsairs on this inaccessible andnaturallyfortifiedeminence.

[Imageunavailable.]FIG.201.GOURDON.

A post road, branching off the main road at Le Bar, passes, after manywindingsandascentsroundtherockysidesoftheoppositecliffs,withinashortdistance of Gourdon; but for those who intend going on to Vence, the lattercourse is too great a deviation from the route. Their only way of reachingGourdon is by the steep and stony footpath which is seen rising to it ininnumerablezig-zagsfromnearthebridgeovertheLoup.

Itisasplendidascent,althoughasomewhatarduousone,andaffordsalovelyseriesofviews;butitmaybequestionedwhetheroneissufficientlyrewardedbythespecimensofarchitecturewhichhefindsinGourdon.Itisnowamelancholyand deserted village, occupied apparently only by a fewwomen and children.Someofthehousesarepicturesqueintheirgrouping,likethoseinFig.202,butthere isnothing fineabout theplaceexcept themagnificentview to the south,east,andwestfromtheterraceinfrontoftheoldchurch.Oneverylargebuildingseemstoswampalltherestofthelittletown.Thisisagreatchâteau(Fig.203),built by the family of Lombard in the style of the seventeenth century, andwhich,we believe, is still occupied in summer,when the cool breezes of thiselevatedpinnacleformagratefulchangefromtheheatoftheplains.

[Imageunavailable.]FIG.202.HOUSESINGOURDON.

FromthepointwherethemainroadcrossestheLoup,adelightfulexcursionmaybemadeupthegorgeamongstthemountains,asfarasafamouswaterfallcalledthe“SautduLoup.”

[Imageunavailable.]FIG.203.CHÂTEAU,GOURDON.

TheroadnowgraduallyascendsthenorthernsideofthevalleyoftheLoup,which is seen flowing at some distance below on the right through a richlycultivatedplain.Insomeofthecuttingsbywhichtheroadiscarriedroundtherocks,numerousoysterandotherfossilshellsmaybeobserved,characteristicofthe tertiary limestone which here occurs of great thickness, and forms theimmensecliffswhichatsomepartsofthecoastoverhangtheMediterranean.

OnapproachingTOURETTEStheroadsweepsroundtheabruptsideofagorgewhere the rock is hollowed out into caverns, some of which are occupied ashousesandstores.FromthispointafineviewisobtainedofthegreyoldtownofTourettes, with its crumbling walls and houses rising from the margin ofprecipitous rocks of the same sad dusty colour. There seems to be nothing ofspecialinterestinthetown,butoutsidethewallsonthenorthsidethereisawideopen“place,”onwhichstandtheHôteldeVilleandthechurchofthefourteenthcentury. The latter is a specimen built on the plan of the simple hall withoutaisles. In this instance it is vaulted with groined arches (Fig. 204), the ribshaving the unusual form of a plain bead, and springing from small primitivelookingcorbels,suchasarecommoninProvençalchurches.

[Imageunavailable.]FIG.204.CHURCH,TOURETTES.

Thefont(Fig.205)inthischurchisofaratherremarkabledesign.A fewmiles’ further drive through finemountain scenery brings us to the

ancient city of Vence (described further on), whence the railway station ofVence-Cagnesisaboutsixmilesdistant.

[Imageunavailable.]FIG.205.FONT,TOURETTES.

WeshallnowreturntoCannesandfollowtherouteeastwardsalongthecoastoftheMediterranean.ThistakesusfirstbythefineshelteredroadsteadofGolfeJouan to thecityofANTIBES,whichstandsupona rockypeninsula juttingoutintothesea,andenclosingashelteredbayandharbour,defendedontheoppositepoint by a great star-shaped fortification called the Fort Carré, erected byVauban.The town itself is surroundedwithwalls, and strongly fortified in thestyleoftheseventeenthcentury,ofwhichitisagoodandlittlealteredspecimen.Theviewsofthetownfromtheseacoastarecharming(Fig.206).Surroundedonthelandsidewithitsgreatstoneravelinsandbastions,andprotectedonthesouthbyitsrockyseaboard,withthesnowypeaksoftheMaritimeAlpsformingabackground,andthebrightblueoftheMediterraneanintheforeground,afinerpicturecanhardlybeimagined.

ThetownofAntibesisofveryancientorigin.AccordingtoM.Lenthéric,asacred stoneof thePhœnicianshasherebeen found,with aGreek inscription,givingproofoftheancientworshipoftheHelleneshavingbeenobservedinthislocality in the fifthcenturyB.C.This townwasalsoan important stationundertheRomans.InveryearlyChristiantimesitbecametheseeofabishop,

[Imageunavailable.]FIG.206.ANTIBES(fromW.)

butbeinggreatlyexposedtotheattacksoftheSaracenCorsairs,fromwhomitsuffered severely, the see was in 1243 removed for security to Grasse. Therewereoriginally fourbishoprics in thispartof theRiviera,viz.:—Nice,Antibes(afterwardsGrasse),Vence,andFréjus.ThewholearenowcomprisedinthetwodiocesesofNiceandFréjus.

Asa frontier townAntibeswasnecessarilymuchdamagedduring thewarsbetween Francis I. and CharlesV., being frequently attacked and pillaged. Itsancientbuildingshavethusbeenalmostentirelydemolished,eitherbythedirecteffectsofwarorintheconstructionofthefortifications,sothatscarcelyatraceofRomanoccupationremains,saveinsometombs,inscriptions,andurnswhichhavebeendugup.Theoldestexistingstructuresstandonthehighestpointoftherock facing the sea.Herewe find somepartsof thecathedralof the thirteenthcentury,andtwotowersinthestyleofthoseoftheMontduChevalieratCannes.Thechurchisverysimpleindesign,andseemstohavebeenoriginallysimilartothat of Vence, but it has been greatly altered and a new front added in theseventeenth century (Fig. 207). The two towers at Antibes are of peculiarinterest.AtCannes there isonlyone towerorkeep,whichwasattached to thecastleoftheChevalier.AtAntibesoneofthetowers(Fig.208)isinconnectionwith an old palace (now a barrack), which doubtless occupies the site of theancientcastle,beingonthesummitoftherock,andsuitablyplacedforkeepingalook-out seawards.Theother tower is close to the cathedral (Fig.207), and isstillconnectedwithitbyacoveredwayonthefirstfloor.Itseemsprobablethatthe first was the keep of the temporal Commandant and the other that of thespiritualLord.ThefrequentincursionsoftheCorsairswouldrendersuchaplaceofsecuritydesirablein

[Imageunavailable.]FIG.207.TOWERORKEEPATTACHEDTOCATHEDRAL,ANTIBES.

connection with the cathedral, and would also enable the bishop to beindependent of the temporal power. Both keeps are constructed in the samemannerasthatoftheMontduChevalierwithroughfacedashlarblocks,andinboth theentrancedoorway ison the first floor.Thatof thecastle (Fig.208) isrecessedunderaplainroundarch,andhasamouldedsteptoreceivetheladderormoveablestairbywhichitwasapproached.Therearealsotwocorbels,oneoneachsideofthedoorway,asifforthepurposeofcarryingapenthouseroof.ThestairiscarrieduproundtheinsideofthewallsandsupportedoncorbelsasatCannes.Thecastletowerhasinmoderntimesbeenloweredandcoveredwithaslopingroof.Thebishop’stowerisnowusedasthebelfryofthechurch,andhashadlargeroundheadedopeningscutinitnearthetoptoletoutthesoundofthebells.

[Imageunavailable.]FIG.208.TOWERORKEEPOFTHECASTLE,ANTIBES.

On the left of this tower in the sketch (Fig. 207) may be observed someremainsofsimilarworkmanshipinthemasonry,whichindicate thepositionofanotherancientstructureabovewhichamodernhousehasbeenerected.Somefragmentsofancientwalls,andagatewaywithtwolargeroundtowers,maybeobservedontheeasternsideoftheRueAubernon,andthese,togetherwiththearcades on the opposite side, and the double row of trees which line theboulevard, form a striking and picturesque promenade. These walls doubtlessenclosed the ancient cité, and the RueAubernon occupies the position of theoriginalditch.Thefortificationsoftheexistingtownextendalongwaybeyondthisancientboundary.

InpassingalongthecoasteastwardsfromAntibesafineviewisobtainedonthe right over the sea towards Nice, while on the other hand glimpses occurbetweentheolivegrovesandupthevalleystothemountainsbeyond.Thefirstof these openings, the valley of theBrague, shews the interestingold townofBiotinthedistance,setasusualonarockyheight.AlittlefurtheronthetowerofthecastleofVilleneuve-LoubetrisesabovetheriverLoup,andimmediatelythereafterthetownofCagnesburstssuddenlyupontheview.Thistownconsistsasusualofaseriesofhousesclusteringinterracesroundthesidesofadetachedandprecipitoushill,crownedwithanancientcastleonitssummit.ThestationofVence-CagnesiseasilyreachedbyrailwayeitherfromthedirectionofNiceorCannes,andfromitseveralpleasantexcursionsmaybemadetotheplacesabovereferred to, which have just been passed, and also to the ancient towns of StPaul-du-VarandVence,alreadymentioned.

CAGNES is a place of some industry, being the point of export for theproductsofthevalleysoftheLoup,theMalvan,andtheCagne.Onleavingtherailwaystationandapproachingthetown,thelowerpartofthehillonwhichitstands isseentoberichlycladwith thedarkgreenfoliageof theorangetrees,enlivenedwith their golden fruit, planted in stone-built terraces rising steeplyoneovertheotheruptothewallsofthetown.

[Imageunavailable.]FIG.209.CASTLEOFCAGNES(fromtheS.)

Enteringatthesouthendofthehillasteepandnarrowstreetleadsstraightupto the top at the north end,where stands the old castle of theGrimaldis (Fig.209). This is evidently an ancient structure, having the bold machicolatedparapetofthefourteenthandfifteenthcenturies.Butithasbeengreatlyalteredintheseventeenthcentury,whenlargewindowshavebeenopenedinthewalls,the machicolations being in numerous places cut away to receive them (Fig.210);while at the entrance front awide outer staircasewith double ramp andmarble balustrade has been introduced leading up to a principal entrancedoorway on the first floor. From this access is obtained to a small innercourtyardsurroundedwithRenaissancecolumnsformingastaircaseandcorridoraboveoftwostorysinheight,which,adornedasitiswithbeautifulplantsbythepresentproprietor,hasapeculiarlypleasingeffect.Someof theapartmentsarefinelydecorated.Thatofthe“BelleCheminée”hasasculpturedmarblefireplaceandaceilingpaintedwiththefallofPhaeton,saidtobebyCarlowe.FromtheplatformlyingtothenorthofthechâteauamagnificentviewisobtainedtothenorthwardupthevalleyoftheMalvantowardsStPaulandVence,andtheloftyprecipicesofStJeannotbeyond,backedtotherightwiththesnowyridgesofthedistantAlps.

[Imageunavailable.]FIG.210.CASTLEOFCAGNES(fromtheN.E.)

ThenearestplaceofprominencefromCagnesistheCastleofVILLENEUVE-LOUBET—about twomiles to thenorth-west.This castle has beenmodernisedandnearlyrebuilt,butenoughoftheoriginalworkremainstorenderavisitveryinteresting.Onnearing it, the edifice (Fig.211) is seen to consist of a centralcastle strengthenedwith four towers at the angles, and surmounted by a lofty,quaint, and Moorish-looking watch-tower, the whole being enclosed with astrongwall of enceinte, defendedwith round towers at the angles (Fig. 212),provided with large port-holes for guns, and separated from the surroundingcounty by a deep ditch. The entrance gateway consists of an iron grating,guardedby tworound towers,and furnishedwithadrawbridgeover themoat.Theroundtowersandwallsofenceintearebynomeansmodern;theyprobablybelong to the sixteenth century, but they have been shorn of their proudbattlements,andthuspresentaverysquatandsubduedappearance.

[Imageunavailable.]FIG.211.CASTLEOFVILLENEUVE-LOUBET(fromtheN.W.)

The central castle is in partmuchmore ancient, but also for themost partgreatlyalteredandmodernised.The

[Imageunavailable.]FIG.212.CASTLEOFVILLENEUVE-LOUBET(fromtheS.E.)

original plan was probably not dissimilar to the existing one, comprising acentralcourtyardwithbuildingssurrounding it.Theexteriorwallsaremodern,but those of the interior of the courtyard are partly ancient, although altered.Theyarebuiltwiththerough-facedashlarofthethirteenthcentury,andcontainsome decayed coats of arms on which may still be traced the lances of theVilleneuves and the star of Les Baux. Externally, the east face (Fig. 212)presents twonoteworthy features in the apse of the chapel and the tallwatch-tower. The chapel, although now converted into apartments, still retains theoutlinesandbuttressesofanapsewhichseemstobelongtothefifteenthcentury.The watch-tower is one of the most perfect examples of those characteristicfeatures of theMaritimeAlps. It is of the same nature as the keep towerswehavemet with at Cannes, Grasse, andAntibes, having the same rough ashlarfacing, but instead of being square on plan like them, it has the eastern sideprojectedintheformofasharpangle(likethetowerofLaTrinitéinthesamelocality,tobedescribedimmediately,andofwhichaplanisgiven).Theaccessto the top is by a narrow wheel-stair on the side next the quadrangle. Theimportantpointabout the tower is that itpreserves itsbattlemented topalmostunaltered.Itiscarrieduptotheheightofabout90feet,andnearthesummithasseveral courses of a dark-coloured stone, which give it a Moorish or Italiancharacter.Thesemayatonetimehavebeenenrichedwithcarving,ofwhichonefanciessometracesmaystillbeobserved,but theyaresocompletelyweather-worn that no forms can be distinguished. The level platform on the top isdefendedwith a simple crenellated parapet withoutmachicolations. From thisloftystationawideoutlookcouldbekeptoverseaandland.

This castle and tower belonged in the thirteenth century to Romée deVilleneuve, the chief of that powerful family and the guardian of Beatrix,daughterofRaymondBéranger IV., the last of theCountsofProvenceof thatline.ItwasthroughthemarriagewiththeheiressBeatrixthatCharlesofAnjou,the brother of St Louis, succeeded to the title and estates of the Count ofProvence.Theestatewas soldat a laterperiod to theLascaresofVentimiglia,and is now the property of the Count of la Panisse-Pacy. In 1538 this castleentertainedanillustriousguestinthepersonofFrancisI.,whostayedherewhilePopePaulIII.carriedonnegotiationsbetweenhimandCharlesV.Thelatterhadlanded atVillefranche in order tomeet the French king; but so greatwas theantipathyanddistrustofthetwomonarchsforeachother,thattheycouldnotbebrought to encounter a personal interview. These negotiations ended in thesignature,byFrancis in theCastleofVilleneuve-Loubet,of theTreatyofNice(See“TheMaritimeAlpsandtheirSeaBoard.”)

[Imageunavailable.]FIG.213.TOWEROFLATRINITÉ(Plan).

From the top of Romée de Villeneuve’s tower another similar tower isobserved rising above the pinewood about amile up the valley to the north-west.ToreachitwedescendfromthecastlesoastogainthebridgeacrosstheLoup,andindoingsothesteepstreetsoftheoldtownofVilleneuve,terracedintiersontheslopeofthe

[Imageunavailable.]FIG.214.TOWEROFLATRINITÉ(fromtheChapel).

hill,aretraversed,andtheoldchurchonitsfineplatformispassedontheleft.Theroadupthevalleyiseasyandagreeable,buttheascentoftheconicalhill,thesummitofwhichiscrownedwiththetowerofLATRINITÉ,isnolightwork.From a distance this tower looks like a lofty pedestal erected to support thecolossal statue of theVirgin and childwhich now surmounts it.But on closerinspectionitisfoundtobearemarkableexampleofakeep,defendedwiththataccumulation of obstacles with which the old builders used to block up theaccesstotheirstrongholds.Afterthesteephillsidehasbeenclimbed,onefindshimselfatthebaseofthepointedrockonwhichthekeepisset(Fig.213).Fromhereaslopingpathleadsuptotheruinsofthechapel,ofwhichonlythevestigesofwallshewninthesketch(Fig.214),mingledwiththescatteredfragmentsofthefontandotherrelics,nowremain.

Theruinsofastronggatewayintheouterwallswhichclosedtheaccessarepassed just before reaching the chapel, and a lower bastioned terrace iscontinuedroundthenorthernpartoftheeminenceatthislevel.

From the chapel,whenone turnshis eyesupwards to the tower (as inFig.214),hediscoverssuchaseriesofwindingstairsinterruptedatfrequentintervalswithwallsandgatewaysasmustcertainlyhaverenderedahostileapproach inthatdirectionimpracticable,whileperpendicularrocksandloftywallsmadetheaccessequallyhopelessontheothersides.Besidesthis,onthesidenextthehill,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 ofRoméedeVilleneuve.Thelowerstoryisoriginal,andcontainedthedoorwayatthelevelofthetopoftherock.Thisinaccessiblepoint,onwhichthereisasmallplatform,wasprobablyreachedbyarudestaircut in therock(as indicatedonthe plan) and was defended with outworks, the approach to which wasoverlookedfromtheupperplatform.Thedoorway,itwillbeobserved,isplacedontheoppositesideofthetowerfromtheplatform,atapointwherethefootholdisnarrow,andthedoorthereforeallthemoresecure.

The upper portion of the tower dates from 1863, when, as the followinginscription,whichiscarvedonamarbleslabletintothewall,announces,theoldtowerwas reconstructed by the Comte and Comtesse de la Panisse-Pacy, anddedicatedtotheblessedVirgin:—

HOC ANTIQUUM CASTELLUMVULGO DICTUM LA TRINITÉHENRICUS DE MARCK TRIPOLICOMES DE PANISSE-PASSIS

ET MARIA THERESADE ROBIN DE BARBENTANEEJUS UXOR INSTAURAVERUNTBEATÆQUE MARIAE VIRGINIIMMACULATAE TESTIMONIUM

FIDEI AC PIETATISDEDICAVERUNT ANNO DOMINI

MDCCCLXIII.

Thetoweralonehasbeenrestoredinthemannershewnbythesketches;alltheotherportionsremainundisturbedintheirruins.Theroomsinthetowerareonly 10 ft. 6 in. long by 7 ft. wide, and there is no indication of any otherhabitationconnectedwiththefort.

The place has all the appearance of a typical robber’s stronghold, and, asJames V. said of a similar Scottish keep, “He that built it was a thief in hisheart.”Accordingtotradition,LaTrinitéwasoriginallyakeepoftheTemplars.ThatorderhadextensivepossessionsinthispartofProvence,andtheymayhaveerectedthistowerasapostforwatchingandgivingnoticeoftheapproachofanenemy.AfterthesuppressionoftheorderLaTrinitépassedintothepossessionoftheMathurinsorRedfriars.TheywerealsocalledtheOrderoftheTrinity,andtheirspecialdutywastosuccourprisoners.Thenameofthetowermaypossiblyhavebeenderivedfromthem.Thechapelis29ft. longby14ft.wide,andtheraisedstepattheeastendisstilltraceable.The

[Imageunavailable.]FIG.215.TOWEROFLATRINITÉ(fromtheS.W.)

wallshavebeenabout8ft.6in.hightotheplainovaloformingthestringcoursefromwhich sprung the semi-circular barrel vault of the roof. From the upperplatformofthefortressasplendidviewisobtained(Fig.215),especiallytothenorthwards,comprisingStPaul-du-Varinthemiddledistance,andVencebackedby the towering precipices of St Jeannet. Beneath these stood the powerfulCommandery of the Templars at StMartin (to be afterwards described), fromwhichasignalattheirwatch-towerofLaTrinitéwouldbeeasilyobserved.

[Imageunavailable.]FIG.216.BIOT.

FromLaTrinitéaroughfootpathleadsacrossthepine-cladhills toBIOT,adistanceofabouttwoandahalfmilesasthecrowflies,butaboutanhour’swalkover theheath-coveredheights,andthroughthedeepravineswhichhavetobetraversed.SomeextensivequarriesarepassedonthewayatLesAspres.Afterahot trampover these rockyandbarrenhills, it is refreshing to reach the fertileandcultivatedvalleyoftheBraguewithitssteepandterracedbanksrichlycladwith olive and orange trees. A very steep descent leads to the bottom of thevalley,fromwhichthewallsandtowersofBiotareseenrisingonthecrestofthehillabove(Fig.216).Thisisoneofthemostprimitiveoldtownsinthedistrict.A very circuitous post road has now been constructed up to it, but the oldaccessesbylongflightsofwidesteps,onwhichthepeasantsandtheirmulesareconstantly ascending and descending, are still preserved, and are in theirwayamongstthemostpicturesquestreetsintheRiviera.Climbingpatientlyupflightafterflight,andwindingroundthenarrowstreets,weatlengthreachthehighestpoint, on which stands the church. The following inscription is carved in theinteriorwall:—“HancEcclesiamconsecravitIllus,primusetreveredismusInxpoP.D.D.IsnædusD.GrassaEpiscopusGrassen,

1472[Imageofroundsymbolunavailable.]DIE19.JANU.”

thus shewing that the church was consecrated by the bishop of Grasse at theabovedate.Someoftheworkcorrespondswiththatperiod,e.g.,thedoorwayinthe west end (Fig. 217). But the south doorway (Fig. 217) has an earliercharacter.Theexteriorisallaltered,andtheinteriorhasalsobeenmodernisedina very extraordinarymanner, but some traces of the original building are stillobservable.BiotbelongedtotheTemplarsin1247,andafterwardstotheknightsof Malta. In 1470 the bishop of Grasse brought hither forty-eight Genoesefamilies, probably to help to re-people the town after the plague or somedestructiveassaultoftheCorsairs.Thiswasevidentlytheoccasiononwhichthebishopre-consecratedthechurch,whichthennodoubtrequiredto

[Imageunavailable.]FIG.217.CHURCHOFBIOT.

betoagreatextentrebuilt.ButsomeofitbearsthesignsofhavingbeenerectedatanearlierdatebytheTemplars.Theplan(Fig.218)isveryunusual.Asimpleoblongdividedintothreeaisleswiththreeterminalapsessuchasweseehereiscommon enough, but the plain round columns which separated the nave andaisles are very uncommon. The bases and caps are of a simple and earlycharacter (Fig. 219). The pillars are too light to have been intended to carryvaulting, and the original churchwould thus seem to have had a rowof plainarchesoneachside,withperhapsaclerestorywallabovesupportingawoodenroof.Thebuildingwould thushaveoriginally thecharacteristicsofaprimitivebasilica,somewhatlikeSanMiniatoatFlorence(Fig.33,p.101).Butthisdesignhasnowbeeningeniouslyalteredanddestroyed,andthewholecharacteroftheinteriordegraded frombeingoneof themost interestingchurchesofProvenceinto a commonplace Renaissance chapel. By means of stucco the old roundpillarshavebeenconvertedonthesidenextthenaveintoflat

[Imageunavailable.]FIG.218.PLANOFCHURCHOFBIOT.

pilasters which are carried up and finished with Ionic caps, supporting anentablaturewhich runs along each side of the church above the old arches.Agroinedvaultinplasterspringingfromthetopofthecorniceis

[Imageunavailable.]FIG.219.CHURCHOFBIOT.

thrownacrossthenave.Theoldpillarswiththeircapsandbaseshave,however,been allowed to remain unchanged on the side next the aisles, where theirarchaicformscontraststrikinglywiththemodernplasterworkontheotherside.An attempt has been made to Italianise the apse also, but the pilasters andentablature fit lamely into theold apse.Awide flightof steps at thewest endleadsdown fromthedoorway into thechurch,andhasa ratherpeculiareffect.Thisnodoubtarosefromtheirregularityof thesite.Tothewestof thechurchlies thepublicplace, surroundedwith plain houses, all arcaded on the groundfloor,andpresentingapleasingexampleofthatpicturesquefeatureofthetownsof the Riviera. A walk of about three miles through the olive gardens of thevalleyoftheBragueleadstotheAntibesRailwaystation.Biotmayofcoursebevisiteddirectlyfromthelatter;thereisagoodcarriageroad.

Oneof themostdelightfulexcursionsfromCagnes is that toSTPAUL-DU-VAR, andVENCE, two of the most interesting old towns of the Riviera. ThedistancetoStPaulisfromthreetofourmiles,andtoVencetwotothreemilesfurther.Thismaybeaccomplishedeitherbydrivingoronfoot.AcarriagemaybehiredneartheCagnesRailwayStation.TherouteindrivinggoesbyarathercircuituousroadroundthewestsideofthevalleyoftheMalvan,passingwithinashortdistanceofthecastleofVilleneuve-Loubet.ThemostdirectroadiseitheralongthebaseofthehillonwhichCagnesstands,orthroughthetown.Forthepedestrianthelatterisbyfarthemostagreeable.Startingfromtheterraceoftheold castle (already described), a rough footpath is followed along the ridgewhichseparatesthevalleyoftheMalvanfromthatoftheCagne,andaffordsadelightful prospect of both. The rich colour of the russet leaves of the foresttrees,mingledwith thedarkgreenof thepinesand thegrey tintof theolives,givesaspecialcharmtothewalk.LookingnorthwardsthetownsofLaGaudeandStJeannetstandoutprominentlyontheirrockyheightsagainsttheloftyandprecipitousmountainsimmediatelybehindthem;whileinthedistancethewhitepeaksof theMaritimeAlpsclose thevalleyof theVar.To thesouth there isasplendidviewofCagneswith theMediterraneanon thehorizon.Afterhalf anhour’swalkthefootpathjoinsthemainroad

[Imageunavailable.]FIG.220.STPAUL-DU-VAR(fromtheE.)

oppositeStPaul,andnearthepointwherethemulepathbranchesofftodescendto theMalvan,beforeagainascendingbya roughandsteep track to the town.From themain road a fine view is obtained ofStPaul (Fig. 220), surroundedwith its massive walls, and standing on a detached promontory, with steepterraced slopesdescending to the river.Otherpleasingandvariedprospectsofthe townandvalleyoccur at intervals amongst the ancientolives in followingtheabovefootpath(Fig.221).Abouthalfwayupthepathon thesidenext thetownanoutworkonadetachedpeak ispassed, thena ruined fortificationbarsthe road, and finally the ancient gateway and barbican, and the cemetery justoutside thewalls, are reached, and themain streetof the town,which isbut anarrow lane, is before us. The architectural interest of the place is at onceapparent.Oneveryhandareevidencesofgenuineancientand

[Imageunavailable.]FIG.221.STPAUL-DU-VAR(fromtheW.)

unalteredwork. The doorways (Fig. 222) are of old and varied forms, almostevery one having a panelled lintel, supported by corbels,many of the formercontaining carved shields and ornaments, and the latter being enriched withleavesandscrolls.Mostofthesedoorwaysareofthebeginningofthesixteenthcentury, and indicate early Renaissance work. Others again are carved andmoulded with the double curvature of the late Gothic style, and a few shewmarks of a simpler and earlier design (Figs. 223 and 224). Thewindows alsocontainmanyspecimensofGothicshaftsandmullions,buttheyaremuchmorealteredthanthedoorways.Eventheancientwoodworkof the latter is inmanyinstances retained, and the unpainted oak or walnut give, in addition to thepicturesqueandfancifuldesigns,arichandantiquecharacter.Oneof themostinteresting points connected with the main, and almost the only street in thetown,isthepreservationofits

[Imageunavailable.]FIG.222.DETAILSFROMSTPAUL-DU-VAR.

ancient shops. At almost every step one meets with the wide arch whichcontainedboththedoorandwindowoftheshop,theformerbeingcutdowntothedoorstep,whilethelatterhadthestoneworkbuiltsoastoformasillabout2feet high, on which the goods were exhibited. These sills are sometimesprojectedandmouldedontheedge.AtStPaulmanyoftheshopfrontsarenowbuilt up, but several are still in use (Fig. 223), and when piled up with theircomplex store of vegetables and fruits, mixed with the quaint and richlycoloured jars of the country, present very tempting subjects for the artist. Thestreetfloor

[Imageunavailable.]FIG.223.OLDSHOPSANDHOUSES,STPAUL-DU-VAR.

ofthehousesadjoiningthenorthgateway(Fig.226) isamongst theoldestandleast altered examples.Numerous narrow lanes branchoff themain street anddescendby stepsandarcades to the roadswhich run round thewalls. Inothercases arches are thrown across the street, and picturesque effects are thusproduced(Figs.225and227).MostofthebuildingsinthemainstreetdatefromthetimeofFrancisI.AfterthedestructiveinvasionofProvencebyCharlesV.,Francis found that his frontier in this quarterwas insufficiently protected, andemployedanengineerfromArlescalledMandontoinspectthelocalityandfixonthebestsiteforafortress.MandonchosetheisolatedhillonwhichstoodtheancienttownofStPaulasthebestsuitedforthispurpose;anditwasaccordinglyfortifiedandsurroundedwiththewallsandbastionswhichstillsubsistalmostintheir entirety. St Paul was thus raised into a place of some importance andsecurity, and became the residence of a governor and several families ofdistinction.Thisnodoubt led to the improvementof thearchitectureofwhichwe have seen so many examples. Of the town houses of the governor andnobility some specimens still remain—one well preserved mansion of asomewhatlaterperiodisseeninsketch,Fig225,andrelicsofothersarealsotobefound,thoughinasadlydegradedanddilapidatedstate.

In theMaisonSuraire (formerlyDuPort), remainsof ancientmagnificencestillexistintworichlydecoratedmantelpieces,ofwhichFig.228isone.

Theoriginal staircaseof thishouse isalsostill inuse; its richly-carvedandornamentalbalustradeofmarble (Fig.229) forming a strange contrastwith itspresenthumblepositionasanaccesstopeasants’houses.Themodeofjunctionofthepedestalsattheturnofthestaircasebyplacingaboldlycutlionrampantbetweenthemisnovelandeffective.

[Imageunavailable.]FIG.224.SIDESTREET,STPAUL-DU-VAR.

Thishousestandsintheverydiminutiveandonlylittle“place”inthetown,where also is the fountain, and whence branches off the way to the church,which standson thehighestpointof the site.Themain street, andall the sidealleys, arebut continuationsof themulepathsof the country, interruptedhereandtherewithsteps,andalltoonarrowtoadmitacartorcarriageofanykind.They are thus often so completely swept by the loads of firewood andbrushwood on the mules’ backs, that passengers have to seek shelter in therecessesof thedoorways.Thewalksroundthewallsareinpartwider,andthesmall gardens of the houses sloping down to them,with the dark foliage andgolden fruit of their orange groves, form a fine foreground to the lovelyprospectsvisibleineverydirection.

[Imageunavailable.]FIG.225.MAINSTREET,STPAUL-DU-VAR.

The gateway (Fig. 230) at the entrance to the town from the north has anolder character than the fortificationsofMandon.Thisgateway seems tohaveformed the ancient entrance through a square tower placed for defence on theneckof landwhich joins thepromontory to themainland. Itpresents thesamecharacterasthesquaregatetowersofAvignon,havingaplainpointedarchwayandportcullisgrooveontheexterior,defendedbyamachicolatedparapetabove,theinteriorofthetowerbeingleftopentowardsthetown,sothat,ifcaptured,itcouldnotbeturnedtoaccountagainstit(seeFig.226).

[Imageunavailable.]FIG.226.INTERIOROFN.GATEWAY,STPAUL-DU-VAR.

This tower has been incorporated by Mandon in his works, and isstrengthened externally by a bastion with another portcullis, and a narrowpassagecommandedfromabove.

[Imageunavailable.]FIG.227.MAINSTREETINSTPAUL-DU-VAR.

But St Paul possesses memorials of a much older time even than thisfourteenth century tower, in the ancient church and keep which crown thesummit of its rocky site. The church is a small but remarkable monument.Externallythewestfront(Fig.231)shewsacentralportionofplainashlarwork,with a simplepointeddoorway, and a small pointedwindowabove.There arealso some corbels remaining, which probably supported the wall plate of thelean-toroofofanouterporchornarthex.Theadjoiningwallsat thesides,andabovethecorbels,areallevidentlymuchmoremodernthanthecentralportion.Theloftysquaretowerattachedtothisfrontappears,fromaninscriptionitbears,to have been erected in the seventeenth century.On entering the building, thelowness of the central nave (Fig. 232), and the extreme simplicity of itsconstruction and vaulting, are seen to correspondwith the style of the centralpartoftheexterior.TheplaincharacterofthewholerecallstheworkoftheearlyCistertian school.Thechurchhasprobablybeenoriginally a simplenave, likeFréjus on a small scale. The aisles appear to have been added afterwards, thesidewallshavingbeencutthroughtogiveaccesstothem(seePlan,Fig.233).But so devoid is the building of ornament or featureswhereby a datemay bedetermined,thattheaislesmaypossiblyhavebeenoriginal,althoughalteredatalater date. The vaulting of the aisles, with its rounded or octagonal ribs, iscertainlyofmorerecentdatethantheplainintersectingvaultwithoutribsofthecentralnave.

[Imageunavailable.]FIG.228.CHIMNEY-PIECEINTHEMAISONSURAIRE,STPAUL-DU-VAR.

Closetothechurchstandsaveryinterestingexampleofthetower-builtkeepsoftheMaritimeAlps(Fig.234).ItissimilaringeneralcharactertothoseoftheMont

[Imageunavailable.]FIG.229.STAIRCASEINTHEMAISONSURAIRE,STPAUL-DU-VAR.

du Chevalier, Grasse, and Antibes, but has some peculiar and remarkablefeaturesofitsown.Theoriginalmasonryisoftheusualrough-facedkind,butithasbeenrepairedinseveralplaceswithworkofasmootherdescription.Thetophas evidently beenmodernised, and is coveredwith a tile roof instead of thepropercrenellatedparapet.Windowsofanantiquecharacterareprovidedtolighttheapartmentsontheupperfloors,insteadofmeresquareholesinthewalllikethoseoftheTourduChevalier.Indeed,thiskeepseemstohavebeenmoreofa

habitationthantheotherswehavemetwith,andwasapparentlyconnectedwithanancientbuildingofthesamedescriptionofmasonry,afewremainsofwhicharevisibletotheleftinthesketch.Butthemostremarkablefeaturesaboutthistower are the entrances and theirdefences.The lowestdoorway ison the firstfloorlevel.

[Imageunavailable.]FIG.230.NORTHGATEWAY,STPAUL-DU-VAR.

It is semi-circular and is now built up. This doorway seems to have givenaccessonlytoaguardroomonthefirstfloor,fromwhichthevaultedbasementwouldbeenteredintheusualmannerbyanapertureinthefloor.Atthelevelofthe doorway there was evidently a wooden platform projected outside of thedoor,fromwhichawoodenoverhangingstairleduptothechiefentrancetotheprincipal apartments of the keep on the floor above. The stone-work shews aprojecting ledge at the lineof junctionof thewooden stairwith thewall.Thecorbels,whichsupportedalevelplatformabovethisstair,stillremain,anditwillbeobservedthatthereisnocorbeloppositetheplacewherethestairwouldpassthrough,asnofloorwouldberequiredatthatpoint.

[Imageunavailable.]FIG.231.WESTENDOFCHURCH,STPAUL-DU-VAR.

Thetwostringcoursesonthenextfloorwerenodoubtinserted,oneforthepurpose of carrying the struts of a sloping roof, and the other to cover thejunctionoftheroofwiththestone-work.Althoughpartlycutaway,thesestringsareyetfairlypreserved.Theslopingroof

[Imageunavailable.]FIG.232.CHURCHOFSTPAUL-DU-VAR.

wouldcoverthewoodengalleryorhoardingwhich,wehaveseen,protectedtheprincipaldoorwaysandstaircase.

[Imageunavailable.]FIG.233.PLANOFCHURCH,STPAUL-DU-VAR.

The outer approaches to this keep were thus most carefully defended. Anassailant, who managed by scaling ladders to get up to the first floor orguardroom level and overpower the guard, would find no access from theinteriortotheupperfloors.Toreachthesehewouldhavetoclimbasteepstair,enclosedwithinawoodencasingwithtrapdoorshut,andwouldthusbeexposedtoattackwithallkindsofmissilesfromtheplatformabove,wherethedefendersstoodwithintheshelteroftheirprojectinghoardingorgallery.

[Imageunavailable.]FIG.234.TOWERORKEEP,STPAUL-DU-VAR.

AsomewhatsimilarwoodenbalconyforthedefenceofthedoorwayexistedatPrestonTowerinScotland,butsofaraswehaveobserved,thatofStPaulisquiteuniqueintheRiviera.Therefinementshewn,bothinthedefensivefeaturesand in thewindowsof this tower, indicateasomewhat laterdate than thoseofCannesorAntibes.Thedefensiveworksherecorrespondwiththehoardingssocommon inFrance in the thirteenth century, such as those atCarcassonne andAiguesMortes.

VENCE.—Awalkofabout threemilesalongagoodroadgraduallyascendsfromStPaul toVenceoneithersideof theMalvanValley.Thatontheeasternsideisthenearer,ifthedirectoldmulepathistakenaboutamilefromVence,instead of the carefully engineered but winding modern roadway. Should thevisitbemadeinDecemberorJanuary,afineopportunitywillprobablypresentitselfofwitnessingtheoliveharvestontheway.Largesheetsarespreadoutintowhich the ripeblackberriesareshowereddownbyshaking thebranches.Men,women, and children all unite to expedite thework, andhelp togatherup thefruitwhichmayhavedroppedupontheground.

Theroadonthewesternsideofthevalleyismorewindingthantheother,inconsequenceofagreatgorgeintherockymountainsidehavingtobecompassedandcrossed.Thedescenttothepoint,wherebridgingitispracticable,alsoaddsto the length and steepness of the ascent to the town. But the rugged way isinteresting, the rocks being full of natural caves, evidently the result of thewavesofapreviousgeologicalepoch.Thetownconsistsoftwodistinctparts—theoldtownenclosedwithinacircularorovalenceinte(nowrepresentedbyaline of houses), and a circle of houses built outside the ancient ramparts. Thepositionofthelatterisnowoccupiedbyawidestreetorboulevardrunningallroundbetweentheoldandnewdivisions.Oneortwoancientgateways(similarto that of Mougins, Fig. 182) are still preserved, but they are small andunimportant.Inthenarrowstreetsspecimensofoldshopfronts,likethoseofStPaul,maybedetectedhereandthere,andinthenewerpartofthetownsomefairRenaissance designs are observable in the houses, that of the Hôtel de Villebeingthefinest.

[Imageunavailable.]FIG.235.VENCECATHEDRAL.

Vence is averyancient city. Itwas theVentiumofRoman times,ofwhichperiodnumerousinscriptionsandrelicsarepreservedandbuiltintothenorthernwall of the cathedral. In mediæval times Vence was originally the see of abishop,butwasafterwardsjoinedtothatofFréjus.ThetownsufferedtheusualcasualtiesfromtheattacksoftheSaracensandassaultsduringthewarsof

[Imageunavailable.]FIG.236.PLANOFVENCECATHEDRAL.

religion.The cathedral,which is evidently very old, is supposed to have beenrebuilt after thedestructionof theoriginaloneby theSaracens in theninthortenthcenturies.Owingtothesimplicityofitsstyleinternally(Fig.235),ithasamost archaic appearance. Unfortunately, the exterior cannot be well seen inconsequenceof the chapels, houses,&c.,which are built against it.Originallythechurchhasconsisted(Fig.236)ofacentralnave18ft.6in.wide,withtwoside aisles each about 10 ft. wide. The chapels shewn projecting beyond theaislesarecomparativelymodern,andare lightedfromtheroof.Thenavepiersare(asregardsdesign)simplyportionsofthesidewallsleftstanding,whiletheremainder is omitted so as to form round archedopenings into the aisles.Theside aisles are carried (as was often done) to a sufficient height to abut thecentralvaultofthenave,andaredividedintotwostorys—theupperstorybeinga gallery—an arrangement very common in Lombardy andGermany.Amoretotal absence of anything like ornament can scarcely be conceived. Thisplainness, taken in conjunction with the somewhat similar work at St Paul’s,seems to indicate that thedesignhereowes its origin to the reignof the earlyCistertianprinciplesinthetwelfthcentury.Thechoirandthetoweratthenorth-east angle (Fig. 237) are evidently of a more recent date. The choir, with itscircular apsidal termination, internally, converted into a square east endexternally, is somewhat remarkable. It may be observed that the easterntermination of the churches ofAntibes andSt Paul are also square externally.ThereisacertainItaliancharacterabouttheeastendofVenceCathedralwithitssingleverysmallpointedwindowanditscorniceenrichedwithmodillions.Theimpostoftheeasterndoor(Fig.236)isalsoquiteItalian,andjudgingfromthestyleofthispartofthechurch,itprobablybelongstothethirteenthcentury.

ThecampanileadjoiningthechurchlikewiserecallsthoseoftheItaliancities.AtVence, as atAntibes, there are two such towers or keeps for defence, onebeing

[Imageunavailable.]FIG.237.EASTEND,VENCECATHEDRAL.

attachedtothechurch,whiletheotherwasformerlyconnectedwiththecastle,andnowwiththeHôteldeVille(seeFig.242).Thegroundflooroftheformertowerentersfromthechurch,andformsachapelwherearedepositedtwoveryfinely carved Gothic doors, which no doubt once served as the doors to thechurch.Thefont(Fig.238)standsinasmallchapelatthewestend.Itsdesignispeculiarandstriking,anditissaidtobeveryancient.Adjoiningthecathedralonthenortharesomeruinousremnantsofthebishop’spalace,nowconvertedintoother uses (Fig.239). In the “place” at the east end of the cathedral (see Fig.237)standsagranitecolumnraisedonapedestal,andsaidtohavebeenthegiftofthecityofMassiliatohersisterofVence.Inthesameplacesomepicturesquefragmentsofoldhousesarestillpreserved(Fig.240), the lateGothicdoorwayontherightbeinggivenonalargerscaleinFig.241.

[Imageunavailable.]FIG.238.FONT,VENCECATHEDRAL.

Thereareseveralsmall“places”intheoldtownallcontainingafewrelicsofolden times.The tower of theConsuls (forVence, like the other towns in theprovince, had her consuls and an independent government), has already beenmentioned,andisshewninFig.242,adjoiningagatewayleadingintoa“place”withafountainononeside,andtheHôteldeVilleontheother.Thistowerisofthe samestyleofmasonryas thosewehavemetwith inother towns,but it isnowcutupintoshopsandhouses,andhaslostitsprimitivefeatures.

[Imageunavailable.]FIG.239.BEHINDCATHEDRAL,VENCE.

From thewide terrace in frontof theHôtel deVille, amagnificentview isobtainedofthemountainstothenorthwards.Atthebaseoftheirloftyprecipicesthe ruins of theCommanderyofStMartinmaybeobserved. It seems to be averyshortwayoff,butisfoundtobeagoodhalfhour’swalkandastiffclimb.However, thetroubleisrepaid,for theviewpresented,whentheloftypointonwhichtheCommanderystandsisattained,ismagnificent,extendingoverVence,St Paul, andCagnes to the sea, and embracing thewhole coast from theCapd’AntibestotheheadlandsbeyondNice.TheCommanderyitselfisashapelessruin (Fig. 243). The eastern wall and the great gateway, with its widemachicolation in the style of the Pope’s palace, are the only parts sufficientlyentireto

[Imageunavailable.]FIG.240.ANCIENTHOUSE,VENCE.

[Imageunavailable.]FIG.241.DOORWAYINVENCE.

giveanyindicationofthenatureofthebuildings,whichfromtheseseemratherto have resembled a castle than amonastery. Thiswas the chief house of theTemplars in the district, and overlooked numerous and extensive lands withwhich the orderwas enriched.The tower ofLaTrinité, as alreadymentioned,formed one of the outlying forts of the Templars, and is well seen from theCommandery.Whenviolenthandswere laidupontheorderbyPhilip theFair,HugorianwasMasterofStMartin-les-Vence.Hewasseizedin1308,andcarriedofftoprisoninTarascon.ThiscountrywasthenunderthedominionofCharlesII.ofNaplesandDukeofProvence,whomPhiliphadpersuadedto join in thedestructionoftheTemplars.ButinProvencethegreaternumberoftheKnightswereallowedtoescape,onlyforty-eightinallbeingcaptured.Theirlandswerechiefly bestowed on the Knights Hospitallers, who thus acquired greatpossessionsinthispartofProvence.

[Imageunavailable.]FIG.242.TOWERORKEEPOFTHECONSUL,VENCE.

[Imageunavailable.]FIG.243.COMMANDERYOFSTMARTIN-LES-VENCE.

AshortrailwayjourneyconductsfromVence-CagnestoNICE,acrosstheVar,the“dyke”orwallwhichkeepsthefloodsofthisimpetuousriverwithinboundsbeingoneofthemostnotableofFrenchEngineeringWorks.TheexistingtownofNiceisalmostentirelymodern.Thestreets,withtheirrowsofshopsandlinesof trees, look like a small piece of Paris transported to the south. The widepromenade des Anglais by the shore, however, commands a prospect whichnothinginPariscanmatch.Theoldtown,withitsnarrowstreetscrowdedroundtheport,isofancientorigin,beingoneoftheoriginalPhocæancolonies,andinthe modern “Nice” may still be recognised its original Greek name of Nike(victory).ButitbecameaplaceofsecondaryimportanceundertheRomans,whomadeCemenelum,anancienttownoftheLiguriansonthehillwhichoverlooksNice from thenorth, the chief cityof theMaritimeAlps, towhichNice actedmerelyas theport.Beingsonear thefrontier,bothCemenelumandNicewereexposedtoattackonallhands,andsufferedseverelyfromtheinvasionsof theBarbarians. In 578 the Lombards destroyed the strong city of Cemenelum orCimiès,aneventwhich,tosomeextent,restoredtheancientimportanceofNice.In617Nice joined theother townsof thecoast ina league to free themselvesfromtheFrankishkings.ThetownwasfrequentlyattackedbytheSaracens,andmorethanoncetakenanddestroyed.ButaftertheMoorsweredrivenfromtheGreatFraxinetin975,theinhabitantsofthetownwerecomparativelyfreefromtheir inroads.AlthoughNice stoutly defendedher independence, shewas, likethe other towns of Provence, forced to yield to the Counts of Provence, whorebuilt theCastle both as a defence andmenace to the inhabitants.Charles ofAnjou was greatly indebted to Nice for ships to enable him to carry out hisdesigns uponNaples. The incessant struggles between the powerfulNobles inthe neighbourhood, the Grimaldi of Monaco, the Lascaris of Tende, and theDorias ofDolceAqua devastated the land, and brought famine and plague intheir train. In thewarswhich followed the death ofQueen Jeanne, theNiçoistookthesideofLadislausofHungary,andcalledintheCountofSavoytoaidthem against the King of Naples. Under the protection of Savoy, Nice soonregained her prosperity. The Counts of that house strengthened the Castle byevery means in their power, and for this purpose the ancient Cathedral andBishop’sPalacewereremoved.

InthesixteenthandseventeenthcenturiesNicewasexposedtodamagefromthearmiesbothoftheFrenchandtheEmperor,andsufferedseverely—somuchsothatthemerestfragmentisallthatremainsoftheancientcastle

[Imageunavailable.]FIG.244.CROSSATCIMIÈS.

whichgallantlywithstoodsomanysieges, andnota singleancientbuilding ispreserved.

[Imageunavailable.]FIG.245.CASTLEOFSTANDRÉ,NEARNICE.

The environs of Nice, although full of natural beauties, are remarkablydestitute of architectural interest. The few Roman relics at Cemenelum havealreadybeendescribed.Neartheseisanoldconvent,wherefromthechurchyardafineviewoftheloftyandruggedbanksofthevalleyofthePaillon(whichrunsthroughNice)maybeobtained.IntheParvisinfrontstandsaremarkablecross(Fig.244),bearingtheimageofthecrucifiedseraphwhoappearedtoStFrancisofAssisi.Thecrossbearsaquatrefoiloneachofitsthreeupperpoints,withthefigure of aBishop and aMonk carved in the side quatrefoils, and that of theemblematic Pelican on her nest feeding her young in the top quatrefoil. Thecross is supportedona twistedmarble shaft, some9or10 feethigh,havingacomposite capital, containing a shield bearing the arms of the founder. Aninscription runs along the abacus, in which 1477 is legible. This date quitecorrespondswiththecharacterofthedesign.

DescendingbyasteepmulepathfromtheheightofCimièstothevalleyofthePaillonpastsomegreatmonasteries,orsimilarestablishments,includingthatofStPons,allsurroundedwithwallsandstuddedwithcypresses,wereachthehighroad.FollowingthisroadforthreemilesupthevalleybringsusinviewoftheCastleofStAndré, the sketchofwhich (Fig.245) gives some idea of thenatureofthescenery.PassingthroughthevillageofStAndré,andpenetratingashort way further up the gorge of the torrent of the same name, Falicon isreached,famousforitsgrottoandnaturalbridge.TheviewlookingbackuponStAndré(Fig.246)isstrikinglypicturesque.

FromNicetherailwayproceedseastwardsbyalongtunnelundertheridge,formerly dominated by the old Castle, on emerging from which we findourselvesinoneofthemostcharmingscenesintheRiviera,theland-lockedbayofVILLEFRANCHE.Onthemarginofthisshelteredandbeautifularmoftheseastands theold“Free-town,” surroundedwith fortifications,and reflected in thequiet waters, on which, too, there are generally afloat one or two majesticrepresentatives of foreign fleets.Between this andMonaco the railway passesalong the narrow strip of shore which lies between the sea and the loftyprecipicesof tertiary limestonewhichhere towerabove it.Atoneof thesharpturnsroundtherocks,afirstdistantglimpseiscaughtoftheoldtownandCastleofEZA(Fig.247),setlikeaneyrieonthesummitofitsbareandloftypyramidalpeak. There is a railway station at the base of the mountain, and one feelstemptedtoalightandscale

[Imageunavailable.]FIG.246.STANDRÉ,NEARNICE.

[Imageunavailable.]FIG.247.EZA,FROMTHERAILWAYSTATION.

theheight, thebuildings looksoenticinglypicturesque.But it isnoeasy task;thereisscarcelyanytrackforpartoftheway,andwhenvisible,thepathisroughandfullof runningstones,aswellassteepandwinding.One isglad to takearest occasionally, and enjoy the various fine views of the town on its loftypinnacle,andtheextensiveseaboardvisiblefromthiselevation.Fig.248givessomeideaofthecharacterofoneoftheseprospects.Whenatlasttheascentisscaled, the result, as regards the architecture, is, it must be confessed, on thewholeratherdisappointing.Theentrancegatewaytothetownisinterestingfromtheremarkableandstrongwayinwhichitsdefencesare

[Imageunavailable.]FIG.248.EZA(fromE.)

[Imageunavailable.]FIG.249.APPROACHTOTHETOWNGATE,EZA.

arranged.Theouterapproach(Fig.249)isbyapassagefacedbyacannonport-hole.Fromthisaccessagateatrightanglesleadstoasecondnarrowenclosedpassage commanded by a machicolated tower, through which a winding andascending vaulted way conducts into the town (Fig. 250.)) The view of theinteriorofthisgatewayisverypicturesque(Fig.251.))Thetownitselfconsistsofafewnarrowtortuouslanesborderedbydecayinghouses,chieflytenantedbydonkeys,pigs,andpoultry.Onthetopofthebarerock,andapproachedbygreatstepscutinthesolidlimestone,afewscantyandunintelligiblefragmentsofthecastleareyetvisible,butthegreaterportionhasbeenentirelysweptaway.

[Imageunavailable.]FIG.250.ENTRANCEGATEWAYTOTOWN,EZA.

Ezawas theArisium ofAntonine’s Itinerary, and it formed, likeGourdon,duringmediævaltimes,aprettysecureretreatfromtheassaultsoftheCorsairs.The castlewas, however, demolished by theTurks underBarbarossa in 1543.Thearcadedtowerhouse,andthedoorlintel,shewninFigs.252and253,weretheonlyobjectsofarchitecturalinterestdiscoverableintheplace.

[Imageunavailable.]FIG.251.INTERIOROFENTRANCEGATEWAY,EZA.

BetweenEzaandMonacotherailwaycontinuestorunalongthebaseoftheimmense cliffswhichoverhang the sea, or through the frequent tunnelswhichpenetrate them.OnestationshortofMonacowearriveat that forLATURBIE;from which, by a very steep and zig-zag path, one may ascend the bare andnearlyverticalhillabovetherailway,whenceapleasantwalkofamileor twothroughthepineforestleadstothetownofLaTurbie.Thiselevatedsituationis,however,moreeasilyapproachedbyalongwell-pavedbutsteepmule-pathfromMonaco.The

[Imageunavailable.]FIG.252.HOUSEINEZA.

monumenttoAugustus,whichheremarksthelimitbetweenGaulandItaly,hasalreadybeendescribed(ante,p.87).Thismonumenthasprovidedaquarry,outofwhichthemoreimportantbuildingsofthetownhavebeenconstructed.Thisis apparent from the great size of the stones used in the erection of the outergatewaytothe

[Imageunavailable.]FIG.253.DOORWAYINEZA.

[Imageunavailable.]FIG.254.OUTERSOUTHGATEWAY,LATURBIE.

south (Fig. 254.)) Passing through this archway, an inner encircling street isentered, fromwhichanotherpicturesqueandpointedgateway (Fig.255) givesaccesstothecentreofthetown.Thereisalsoathirdgatewayofpointedform,witha longmachicolationover it at theeasternentrance (Fig.256), and somefurtherfragmentsoftheoldentimearetobeseeninthestreets(Fig.257).ThegreattrophyofAugustus,fromwhichtheplacederivesitsname,wasconvertedinmediæval

[Imageunavailable.]FIG.255.INNERSOUTHGATEWAY,LATURBIE.

times into a fortress,when the upper part has been rebuilt. The double tier ofpointed arcade-ornaments (Fig. 32), which formed the support of the parapet,have quite an Italian character. They remind one of the similar ornament onGrasseCathedral.ThistowerwasblownupbyMarshalVillarsattheendoftheseventeenthcentury.

[Imageunavailable.]FIG.256.EASTERNGATEWAY,LATURBIE.

In descending by the steep and well-paved footpath from La Turbie toMonaco,delightfulglimpsesareobtainedfromamongsttheluxuriantolivesandcitronsofthelattertownonitsisolatedrock.Mostofthetownsonthesea-boardhave a prominent rock for their site, but that onwhichMonaco is built is themost detached and sea-girt of them all. It is of considerable height, and hasperpendicularfacesonallsides.Onthreesidestheseplungesheerdownintothesea,andon the fourthornorthernsideof thepeninsula theprecipitous rock isonlyjoinedtothemainlandbyanarrowstripoflow-lyingsandybeach.Ontheinaccessibleplatformabovetheseprecipicesstandstheancienttown,surroundedwithitswallsandbastions,andgivingshelterandprotectiontothequietharbouronitseasternflank.OfallthesefeatureswehaveacommandingprospectaswedescendfromtheheightsoftheCorniceroad,whichpassesbyLaTurbie.

ThehistoryortraditionsofMonacoextendfurtherbackthanthoseofmostofthelocalitiesoftheRiviera.ItderivesitsnamefromHercules,whoissupposedtohavetouchedhereonhiswayintoSpain,andtohavegainedagreatvictoryover thenative tribes.Hence thenameofPortusHerculis, bywhich theplacewas known in the early centuries of our era. This was afterwards changed toPortus Herculis Monœci, and finally into Monaco. The rocky fortresssubsequently fell into the hands of the Saracens, who are said to have beenexpelled from it in the tenth century by the sameGrimoald or Grimaldi whodislodgedtheMoorsfromtheGrandFraxinet,andwhosesuccessorsbecamethePrincesofMonaco.

[Imageunavailable.]FIG.257.HOUSESATLATURBIE.

Intheeleventhcenturytheplaceseemstohavebeenabandoned,andin1162the Emperor Frederick I. presented it to the Republic of Genoa, who tookpossession, and rebuilt the fortifications in 1215. During the struggles of theItalianRepublics,andthewarsoftheGuelphsandGhibellines,Monacoseveral

timeschangedhands,butwasmostfrequentlyinthepossessionoftheGrimaldi,and sometimes became the shelter of bands of pirates who scoured theMediterranean.TheGrimaldisidedwiththeFrenchintheItalianwarsofCharlesVIII. and Louis XII., and through the influence of the latter became thegovernorsofthewholeoftheWesternRiviera.

During the struggle between France and Spain in the sixteenth andseventeenthcenturies,Monacowasalternatelyundertheprotectionofeach.Theboundaries of the principality then includedMentone and Roquebrune, but in1848Mentonedeclareditselfafreetown.SincetheannexationofthecountyofNicebyFrance,theprincipality,whichisaboutthreemileslongbyabouthalfamilewide,isentirelysurroundedbytheFrenchCantonof“Menton.”

Acomparativelyeasydrivetothetownhasnowbeenmadeuptheeastsideof the rock, but theoriginal approachwasby a steep flight of steps, carefullydefendedwithstronglyfortifiedgates,andcommandedbythebattlementsabove(see sketch, Fig. 258). The existing works at this point are evidently of theseventeenthcentury.Thenorthside,whichoverlooksthemainland,wasfortifiedwithalargecircularbastionatthewesternangle(Fig.259),andasquareoneattheeasternangle.Theformerstillretainssomeofthelargecorbelswhichcarriedthe original parapet of the fifteenth century; but the bastions have beenheightenedandmadesuitableforartilleryatalaterdate.Onarrivingatthetopoftheentrancetothetown,awideopenstaircaseascendstothefrontoftheDucalPalace (Fig. 258). This edifice is a picturesque assemblage of buildings ofseveraldates,chieflyof theRenaissanceperiod.Someof theold towers retaintheirforkedbattlements,aformcommonintheNorthofItaly.Thewholeplaceisvastandpalatial,andfromitsloftysiteandsplendidbackground,composedofaruggedmountaincalledtheTêtede

[Imageunavailable.]FIG.258.DUCALPALACE,MONACO.

Chien,hasanobleandimpressiveappearance.Thecourtyardofthepalaceisalso a fine though somewhat peculiar specimen of Italian design, the frescopaintingsonthewallsgivingitarichandsouthernaspect.

[Imageunavailable.]FIG.259.DUCALPALACE,MONACO(N.W.Bastion.)

Thetownconsistsofthreeparallelstreets,andcontainssomegoodbitsofoldwork. A large new church in the early Romanesque or Provençal style ofarchitecture has recently been erected.Theold church contained specimensofcapitals,andotherdetailsverysimilartothoseofthelowerarcadeintheCastleofStHonorat.Thegardensofthepalace,whichextendroundthewesternsideoftherock,whereeverychinkandcreviceisfilledwithfigtrees,aloes,pears,andpalms, form a delightful promenade; and the views from the walls towardsMonteCarloandMentone,

[Imageunavailable.]FIG.260.ENTRANCETOTOWN,ROQUEBRUNE.

withthemountainrangesbehindthem,aremostcharming.Onlyafewmilesoff(about an hour’s walk) the remark remarkable town ofROQUEBRUNE is seenembosomedinorangegrovesontheslopeofthemountain.Theascentfromtherailwaystationisbyasteepandnarrowpath,whichpenetratesintothetownbya long vaulted and stepped passage, the entrance towhich is through a smallarchedgateway,defendedbyawideoverhangingmachicolation(Fig.260).ThechurchofStMargaretisthenreached,inwhichtheoldfont(Fig.261)isworthyofnote.Thepeculiarityofthistownarisesfromthehugemassesofrockwhichstandupamongstthehouses,andatashortdistancepresenttheappearanceofagreatcastle.Thesegivethetownitsname,andoneofthem,largerthantherest,isactuallycrownedwiththeremainsoftheancientfortressoftheLascaris(Fig.262), which, however, is now but an empty shell. One or two open “places”amongstthegreatrocksformbeautifulterraces,commandingfineandextensiveprospects.

[Imageunavailable.]FIG.261.FONT,ROQUEBRUNE.

The railway, after leaving Roquebrune, sweeps round the CapMartin, andentersthebayofMENTONE,whichisonlyaboutfourmilesoff.Thistown,likealltheothersonthecoast,haditscastleonthesummitofapromontorywhichjutsout into thesea,anddivides thecoast into twoportions,called theeasternandwesternbays.TheCountsofVentimigliaandtheGenoesehad,atdifferenttimes,possessionofthetownandcastle,butitwasforthemostpartanappanageofMonaco,andfolloweditsfortunes.In1848theinhabitantsformedthemselvesinto a free Republic, and enjoyed autonomy for thirteen years, after whichMentonebecamethe“cheflieu”ofaFrenchCanton.Thetownwasatonetimesurroundedwithwalls,which rose straightup from the sea. It thuscompletelyoccupied

[Imageunavailable.]FIG.262.ROQUEBRUNECASTLE.

thenarrowstripoflandbetweentheshoreandthehillonwhichthecastlestood,andbarredthewayalongthecoast.Theeasterngateofthetown,andthe“LongStreet,”which isalsoaverynarrowone, leading through it, still remain,butanew and wider roadway, which forms part of the Cornice Road, has beenconstructedalongthebackofthehousesintheeasternbay,andnowenclosestheharbouronthesidenextthetown.Anoldsquaretowerattheextremepointofthepromontoryisoneofthefewrelicsofthefortificationsofthetown.Abovethe“LongStreet”thehousesarebuiltinterraces,risingrapidlytierabovetieronthehillsides,andapproachedbylongflightsofstepsandnarrowvaultedlanes.Inthemidstofthesestandthechurches,buildingsoftheseventeenthcentury,ofclumsy character. The towers and spires, however, form a picturesque group(Fig.263);andalongwith thehouses,as seen from theharbour, togetherwiththe magnificent background of lofty and partly snow-clad mountains whichshelterMentoneonthenorth,theycomposeasplendidpicture.

[Imageunavailable.]FIG.263.MENTONE(fromtheHarbour).

The old castle which formerly crowned the summit, has been entirelydemolished,anditssite isoccupiedasacemetery,fromwhichveryfineviewsareobtainedbothofthecoastlineandofthemountainsonthenorth.Numerousnarrowvalleysandgorgesrunupfromtheseatowardsthemountains,formingbeautifulandinterestingpromenadesandexcursions,butthereislittletoattractthestudentofarchitecture.

AtGORBIO,beautifullysituatedaboutfivemilesfromMentonetothewest,and some distance up a charming valley, there are an old churchwith a darknave,andtheremainsofacastleoftheLascaris.Thehouseshereareunitedbyarches thrown across the narrow streets, an arrangement very common in thisdistrict,andsupposedtobeforthepurposeofresistingtosomeextenttheeffectofearthquakes.

STEAGNÈS,not far fromGorbio, isalsoa favouriteexcursion. It isa loftyand beautiful spot, with the remains of an old castle said to be of Saracenicorigin.

TheascenttoCASTELLARformsanotherdelightfulwalkofaboutanhouranda-half,givingafineideaoftherichnessofthevalleysofMentoneinlemons,inthe growth of which they excel every place north of Palermo. The town ofCastellar is of some extent, and its situation on a “col” at the top of a steepascentisfine,butthereisnoarchitectureofimportance.Itisclumsilybuilt,andhas been at one time surrounded with walls, which now form the exterior ofhouses.Someremainsofditchesandtowers—oneofthelatterbeingconvertedintothebelfryofthechurch—alsostillexist.

AboutamileeastwardsfromMentonetheCorniceRoadcrossesbytheboldarch of the Pont St Louis the ravinewhich now forms the boundary betweenFrance and Italy. Since 1861 the limits of France have been extendedconsiderablyfurthereastwardsthaninancienttimes,whenLaTurbiemarkedtheboundary ofGaul. In the course of our journeywe have observed that asweapproachthefrontier,thetownspossessagooddealoftheItaliancharacter,andthatbothhistoricallyandarchitecturallytheyhavemuchincommonwithItaly.ThearchitecturalstylesofFranceandItalywereobservedtooverlapeachotherinthedistrictwehavejustexamined.ButwhenwepassthemodernboundaryofFranceatthePontStLouis,wemay

[Imageunavailable.]FIG.264.WESTPORTALOFCATHEDRAL,VENTIMIGLIA.

besaidtohaveleftnearlyalltraceofFrenchandProvençalarchitecturebehind,andinourfurtherprogresseastwardsweshallmeetwithalmostnothingwhichisnot entirely Italian in style.We shall therefore in concluding our journeygiveonlyarapidsketchofsomeof themoreimportantbuildingsbetweenMentoneandGenoa.

[Imageunavailable.]FIG.265.INTERIOROFCATHEDRAL,VENTIMIGLIA.

TherailwayeastwardsfromMentonefollowsthecoastline,andcutsthroughsomeloftyrocksatthemouthofthe

[Imageunavailable.]FIG.266.STREETINDOLCEAQUA.

torrent of St Louis, famous from containing the caves in which have beendiscoveredhumanremains,associatedwiththebonesofextinctanimals,suchasthemammoth,thegreatbear,theelk,&c.

[Imageunavailable.]FIG.267.CASTLEOFTHEDORIAS,DOLCEAQUA.

AboutsevenmilesfromMentone,thelinepasses

[Imageunavailable.]FIG.268.DOLCEAQUA(fromtheS.W.)

[Imageunavailable.]FIG.269.STREETINSANREMO.

throughatunnel,onemergingfromwhichthefrontiertownofVENTIMIGLIA isseen towering above the plain of the river Roya. It stands on a bold rockyheadland,defendedononesidebythesea,andontheotherbytheriver.Likeallborder towns, its possession was constantly disputed by the neighbouringsuzerains,anditenduredmanysieges,butwasgenerallyundertheauthorityofthe town of Genoa. The streets are narrow and tortuous, and have the usualpicturesquestaircasesandarches.Theporchofthecathedralseeninthesketch(Fig.264)isold,andisdecidedlyItalianincharacter,buttherestofthefrontismodern. The interior again (Fig.265)might be a Provençal Cistertian design,suchasthatofThoronet.

TwomileseastwardsfromVentimiglia,thevalleyoftheNerviaopenstotheleft.Aneasyandagreeablewalkofaboutfivemilesup thevalley leads to thevery quaint old town of DOLCE AQUA. On the way we pass through thedecayingbutpicturesquetownofCampoRossowithanopen“place”linedwitharcadedfootways.

[Imageunavailable.]FIG.270.HOUSESINSANREMO.

ThemostancientpartofDolceAqualiesontheleftsideoftheriver,whichiscrossedbyanoldbridgeofone span,having the roadwaysteppeduponeachside,andshowingtracesofoldfortifications.Abovethisthehousesriseintiers,formingadenseandconfusedlabyrinthofnarrowlanesanddarktunnels—manyoftheformer

[Imageunavailable.]FIG.271.SANSIRO,SANREMO(N.Doorway).

crossedby strengtheningarches thrownbetween thehousesoneach side (Fig.266). Dominating thewhole stand the proud ruins of the castle of theDorias(Fig. 267), a family famous in the history of Genoa and the Riviera. It is abuildingofalatedate(seventeenthcentury),andhasbeendefendedwithgreatbastionsmountedwithcannons(Fig.268),surroundedwithwalls,andprovidedwith a drawbridge. The castle has evidently contained large and sumptuousapartments,buttheinteriorisnowreducedtototalruin.Thetownhasalsobeenprovided with fortifications, of which one tower near the river has beenappropriatedandheightenedintoachurchsteeple(Fig.268).Thecastlehasbeenabandoned since the wars of 1748, and the descendants of the Dorias nowoccupy amansion, situated under thewalls, inwhich there is a finely carvedchimney piece, and an interesting collection of family portraits. The town ofPIGNA,abouttenmilesfurtherupthevalley,issaidtocontainagoodchurchofthe fifteenth century,with pointed arches, and a fine painting of the sixteenthcentury.

[Imageunavailable.]FIG.272.GATEWAYANDSTREETINTAGGIA.

Passing the ancient republic of Bordighera, with its arcaded streets andsplendidpalmgardens,wesoonreachSANREMO.Thisancienttown,originallyindependent,cameultimately,liketherestoftheRiviera,undertheauthorityofGenoa. It consists as usual of one principal street along the narrow strip ofgroundbetweenthebase

[Imageunavailable.]FIG.273.DOORWAYINTAGGIA.

of thehillonwhich theold townstandsand thesea.The townconsistsof theordinarypileofterracedhouseswithnarrowtortuousstreetsandsteepflightsofstepsleadinguptothem.Thereishereanextraordinaryprofusionofthearches,of which we have met with examples elsewhere, thrown across the narrowstreets, in order to strengthen the houses against the shocks of earthquake towhichthisregionis liable.Thesefeaturessometimeproduce, togetherwiththestairs and tall houses, extraordinary combinations and effects (Figs. 269 and270).

The cathedral of San Siro, which stands detached in a small “place,” hassome good Italian features still preserved,—amongst which are the north andsouthdoorways(Fig.271), the remainderhavingbeengreatlymodernised andspoiled.

In the main street there are some fair specimens of Renaissance palaces,somewhatinthestyleofthoseofGenoa.

[Imageunavailable.]FIG.274.DOORWAYINTAGGIA.

FromtherailwaystationofArmadiTaggia,somemileseastofSanRemo,anexpeditionmaybemadeaboutfivemilesupthevalleytotheexquisitelyquaintoldtownofTAGGIA.Itconcentratesinitselfallthevariousremarkablefeaturesof the townsof theRiviera in itsarcadedstreetsandvaultedfootpaths,narrowlanescrossedwitharches,andapproachedbysteepstairsanddarktunnels;andthesefeaturesarehereallcombinedinsoprofuseandpicturesqueamannerastopresentanepitomeofthoseofalltherest.Inthemidstofthesestrikinggeneral

[Imageunavailable.]FIG.275.CLOISTERS,STCRISTOFERO,TAGGIA.

[Imageunavailable.]FIG.276.CHURCHATALASSIO.

effects,socaptivatingtotheartist, it isdifficult,however, topickoutanythingwhichmayberegardedasreallygoodarchitecture.Fig.272givessomeideaofthepicturesquenessofthearcadedstreetsandgateways,whileFigs.273and274giveafewgoodarchitecturaldetails.Thefirst(Fig.273)might,fromitsstyle,bethe lintel of any fifteenth century house in Genoa (a splendid example of asimilarstyleofdoorwayatGenoabeingshowninFig.281),andtheother(Fig.274) is a Renaissance doorway in black marble ornamented with raisedarabesques. Close to the town is the monastery of San Cristofero, where theancientcloisterandtower(Fig.275)aregoodspecimensofearly Italianwork.Thevaultingof

[Imageunavailable.]FIG.277.TOWERSANDWESTENDOFCHURCH,ALBENGA.

the cloister is late, the original roof being probably of timber. The tower is agoodItaliancampanile,withstringcoursesofthearcadedornamentsocommoninLombardyandtheRhineland.

[Imageunavailable.]FIG.278.ALBENGA(fromRailwayStation).

Wearenowinthecentreofthedistrictwhichsufferedsoseverelyfromtheearthquakesof1887.BUSSANAispassedontherightinreturningtotherailway.ThetownsofPORTOMAURIZIO(whichstandsonasolitaryrock),ONEGLIA,andDIANO MARINA, all names too well known in connection with the abovecatastrophe, are reached in successionbefore arrivingatALASSIO, the furthesteastofthehealthresortsoftheRiviera.Thetowerofthechurchhere(Fig.276)hastheusualformoftheItaliancampanile.

A few miles further east bring us toALBENGA, which is, architecturallyspeaking,themostinterestingtownonthispartofthecoast.ItliesinahollownearthemouthoftheriverAcosia,andisdefendedfromthecoldwindsoftheNorthbyanamphitheatreoflofty,snow-cladmountains.Thegeneralviewofthetownfromthe

[Imageunavailable.]FIG.279.TOWERATNORTH-EASTOFCHURCH,ALBENGA.

railwaystation(Fig.278)shewsthepeculiarpreponderanceofsquaretowersforwhich it is remarkable. On closer inspection these are found to be no lesssurprisingthanwhenseenfromadistance.Theyaregenerallyquiteplainandarebuiltofbrick.Theviewofthewestendofthechurch(Fig.277)shewsfourofthese towers crowded close together, exhibiting examples of several differentdesigns.ThatoverthenorthentrancetothechurchhasastrongresemblancetothecampanilesofLombardy,suchasthatofMantua,andisthoroughlyItalianineverydetail,while theplainsquare towersadjoiningrecallsimilarexamplesatBolognaandelsewhereinItaly.Thatagainattheeastendofthechurch,whichhasthefigureofthelionatitsbase(Fig.279),withitsplainbrickshaft,itstriplearcaded top, and fork-shaped battlements, is almost identical with those ofVerona. The church has originally been an Italian design of the thirteenthcentury.Althoughnowmuchalteredandspoiled ithasevidentlyhad thesamearcadedornamentat theeavesaswehaveobservedatGrasse,SanRemo,andelsewhere.Thedoorwaysalsocorrespond instylewith theabovechurches.Tothe north of the church is a very interesting baptistery,which reminds one ofthoseofFréjusandAix. It isofoctagonal form,28 feet longby26 feetwide,with a vault supported on Corinthian-like pillars, and has a very ancient butdismalandneglectedappearance.OneofthewindowsisfilledwithstonetraceryofaByzantineorMoorishcharacter.

Inmovingeastwardswepass insuccessionCERIALE,withitsfortifications,andLOANOwithitsgreatmonasteries,VEREZZIwithonegoodcampanile,andFLNALMARINOwithtwo.FromthelatteraviewisobtainedofFINALBORGO inthe distance (about twomiles off),where there are evidently the remains of afinecastellatedstructure.At

[Imageunavailable.]FIG.280.CLOISTERS,SANMATTEO,GENOA.

[Imageunavailable.]FIG.281.DOORWAY,PIAZZASANMATTEO,GENOA.

Noli there isananciententrance towerwithanarchway through it.SavonaretainsitsfortificationsoftheVaubanSchool,andVerazzetheshatteredruinsofanoldcastle.

[Imageunavailable.]FIG.282.CHURCH,CLOISTERS,ETC.,GENOA.

ItisnotintendedtoattempttodescribethearchitectureofGENOA.Thathasalready formed the subject of special works, and would require a volume toitself.Only,inclosingthisaccountofthearchitectureoftheRiviera,oneortwoexamplesfromGenoaaregiven,inordertomakemoredistincttheanalogiestowhichattentionhasbeendrawnbetween thearchitectureofa largepartof theRivieraandthatofthefamousRepublic,aswellasthestyleofItalygenerally.Thus the side doorway of the cathedral exhibits, in a remarkablemanner, thesameimitationofRomanarchitecture(seeVignetteontitlepage,andHeadingp.25),modifiedbytheintroductionofRomanesqueorTeutonicornament,whichweobservedatStGilles,Arles,andotherchurchesofProvence.Thisdoorwayispartoftheoriginalbuildingoftheeleventhcentury,althoughthegreaterpartofthecathedralwasrestoredabout1300.

[Imageunavailable.]FIG.283.CAMPANILE,GENOA.

The façade of SanMatteo, onwhich are engraved somany inscriptions inhonourofthevariousdistinguishedmembersofthefamilyofDoriaandthatofSanStefano,shewthearcadedcaves,andtheinlaidmouldingunderthecornicewhich exist at Grasse, San Remo, Ventimiglia, &c. The doorways of thesechurches have the same flat porch, with small projection, and plain pointedgable,andthesamesortofarchandshaftsasseveraloftheexampleswehavemetwith in theRiviera. SanMatteo dates from 1278. The cloister (Fig. 280)which adjoins that church is of the beginning of the fourteenth century, andcontains themonumentsof theDorias,whichhavebeenbroughtherefromthesuppressed church of Santa Dominica. The cloisters of SanMatteo, and alsothoseof San Lorenzo, present shafts and caps in the same Italian style aswehaveobservedextendedasfarwestwardsasthecloistersatFréjus,andtheuppercloister of the castle of St Honorat. The sculptured lintel in the Piazza SanMatteo(Fig.281),exhibitingthecombatofStGeorgeandtheDragon,althoughmoreelaborate,issimilarinstyletothelintelofthehouseatTaggia(Fig.273);while the campaniles and arcades of other churches in Genoa (Figs. 282 and283) recall the Italian style, ofwhichwehavemetwith somany examples inProvence.

[Imageunavailable.]FIG.284.KNOCKER,ELNECATHEDRAL.

[Imageunavailable.]FIG.285.LAMPFROMOLDCHURCH,MONACO.

INDEX.

A,B,C,D,E,F,G,H,I,L,M,N,O,P,R,S,T,V.Aegitna,308.AiguesMortes,206.Aix-en-Provence,217.Alassio,454.Albenga,456.AlbigensianCrusades,27.Antibes,84,371.Arles,50,183.Autun,33.AurelianWay,79.Auribeau,380.Avignon,3,34,137.

Barbarians,Invasionsof,14.Beaucaire,173.Béziers,222.Biot,387.Burgundy,Styleof,109.Bussana,456.ByzantineArchitecture,97.

Cagnes,376.Callian,364.Camargue,The,77.Cannes,83,308.Cannet,275.Carcassonne,243.Carpentras,47,167.Castellar,441.Castellaras,350.CastellatedArchitecture,116.Cavaillon,48,167.Cemenelum(Cimiès),86,421.Ceriale,458.

Charlemagne,Revivalunder,17.ChartreuseduValdeBénédiction,164.ChristianBuildings,Early,95.Church,EarlyOrganisationof,12;Revivalof,19.

CistertianArchitecture,110,274.Citeaux,Monksof,22.Clausonne,84.Cluny,Abbeyof,19.Cogolin,302.Courthézon,137.Crau,The,77.Cruas,128.Crusades,23.Crussol,128.

DolceAqua,448.Dome,Theuseof,105.

Elne,239.Esterel,304.Eza,424.

FeudalSystem,112.Finalborgo,458.Finalmarino,458.France,NorthernArchitecture,1.” Southern ” ,3.

Fraxinet,leGrand,304.Fréjus,80,285.

GardeAdhémar,134.Gaul,Southern,History,5,9.Genoa,461.Gorbio,440.Gothic,Northern,114.Gourdon,366.Grasse,350.GreekandRomanColonies—inTowns—10.

Grimaud,302.HolyRomanEmpires,15.

Hyères,270.

IlesdeLérins,319.

LaGardeFreinet,304.Lagunes,The,221,235.LaTrinité,Towerof,382.LaTurbie,87,428.LeBar,365.LeCannet,347.LeLuc,80.LeThor,167.LesBaux,178.LesMaures,299.LesSaintesMaries,212.Loano,458.Lyons,34,121.

Marseilles,79,213.Mediterranean,Littoralof—History,7.Mentone,440.Molléges,168.Monaco,432.Monasteries,Originof,12.” Growthof,19.

MontMajour,194.MontStCassien,307.Mougins,348.MunicipalitiesoftheMiddleAges,11.MuséeCalvert,34.

Napoule,305.Narbonne,230.Nice,86,418.Nimes,64.Noli,461.

NotreDamedeVie,349.” ” duPré,LeMans,102.

Oneglia,456.Orange,40.

Pernes,167.Perpignan,235.PhocæansinGaul,7.Phœniciansdo.,7.Pigna,449.PointedArch,107,113.Pomponiana,80.PontduGard,76.” StBénezet,151.” StEsprit,136.

PortoMaurizio,456.Provence,Historyof,25.” passedtoFrance,30.

ProvençalArchitecture,105,118,211.Puisalicon,229.

Ravenna,96.Riez,292.Riviera,The,79.RomanArchitecture,Early,90.” ” TheArchin,91.

RomanArchitecture,ContinuedunderChristianity,94.RomanArchitecture,RemainsinProvence,33.Roquebrune,437.

SteAgnès,441.StAndré,Castleof,155,421.” Césaire,359.” Chamas,77.” Front,Perigueux,104.” Gabriel,182.” Gilles,204.” Honorat,Castleof,323.

” ” Islandof,319.” Mark’s,Venice,98.

SteMarguérite(Lérins),343.StMartindeLondres,229.” ” lesVences,418.” Maximin,282.” Paul-Trois-Châteaux,134.” ” -du-Var,392.” Peyré,306.” PierredeReddes,229.” Raphäel,299.” Remy,48.” Ruf,164.” Sauveur(Lérins),323.

SteTrinité(Lérins),320.StTropez,300.” Veran,164.

SanMiniato,100.” Remo,450.

Saracens,Invasionof,15.SautduLoup,369.Savona,461.SculptureinProvence,107.Single-naveChurches,105.SyrianChurches,98,210.

Taggia,452.Tarascon,168.Thoronet,274.Toulon,79.Tourettes,369.Tournon,363.

Vaison,165.Valence,127.Vallauris,344.Vaulting,Introductionof,100.” inProvence,102.

VaultinginAquitaine,103.

Venasque,167.Vence,84,408.Ventimiglia,442.Verazze,461.Verezze,458.Vernégues,78.Vienne,34,124.Villeneuve,Townof,154.” Church,163.

Villeneuve-Loubet,378.VillesMortes,220.Visigoths,10.Viviers,134.

[Imageunavailable.]FROMARLESMUSEUM.

THECASTELLATEDANDDOMESTIC

ARCHITECTUREOFSCOTLAND

FROMTHETWELFTHTOTHEEIGHTEENTHCENTURYBY

DAVIDMACGIBBONandTHOMASROSSARCHITECTS

Withabout1000IllustrationsofGroundPlans,Sections,Views,Elevations,andDetails.In2Volumes.Royal8vo.FourGuineasnett.

“OneofthemostimportantandcompletebooksonScottisharchitecturethathas ever been compiled. Its value to the architect, the archæologist, and thestudentofstylesisatonceapparent.Itconsistsalmostexclusivelyofwhatmaybe called illustrated architectural facts, well digested and arranged, andconstituting amonument of patient research, capable draughtsmanship, and ofwellsustainedeffort,whichdotheauthorsinfinitecredit.”—Scotsman.

“Theirdescriptionsaregood,andtheirargumentsalwaysworthattentionandgenerallyconvincing....Theplans...areclearandgood,andbythemselvesmakethebookamostvaluableadditiontothelibraryofanymanwhowishestostudyand understand the defensive architecture of theMiddle Ages. The book hasanothervalueinthatitpreservesarecordofsomanybuildingsinthestatetheyare now. Many are neglected and daily falling more and more intoruin.”—Athenæum.

“NooneacquaintedwiththehistoryofGreatBritaincantakeupthisneatly-boundvolume ...withoutbeingatonce struckby its careful completenessandextreme archæological interest, while all students of architectural style willwelcometheworkspeciallyforitstechnicalthoroughness.”—BuildingNews.

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issued.”—DundeeAdvertiser.“Totheintelligentreadersofallclasses,wecancordiallyrecommenditasa

veryinterestingandsuggestivebook.”—DailyFreePress,Aberdeen.“Messrs.MacGibbon andRoss now show in sketches of ground plans and

elevationssuchaseriesofdomesticstructuresasnotonlyindicatesthegradualprogressofScottisharchitecturefromtimescomparativelyrude,butpermitsthedevelopmenttobetracedinsuchawayasdeterminesthestagesofprogressor‘Periods’intowhichitshistorymaybenaturallydivided.”—GlasgowHerald.

“Highlyinterestingandpicturesquework.”—EdinburghReview.

EDINBURGH:DAVIDDOUGLAS,15CASTLESTREET.FOOTNOTE:[A] Elevations and details are given in Viollet-le-Duc’s Dictionnaire, to which we are also

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