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THE ARCHITECTURE
OF
PROVENCE AND THE RIVIERA
_Printed by George Waterston & Sons_
FOR
DAVID DOUGLAS, EDINBURGH.
LONDON HAMILTON, ADAMS, AND CO.
CAMBRIDGE MACMILLAN AND BOWES.
GLASGOW JAMES MACLEHOSE AND SONS.
THE ARCHITECTURE OF
PROVENCE
AND
THE RIVIERA
BY
DAVID MACGIBBON
AUTHOR OF “THE CASTELLATED AND DOMESTIC ARCHITECTURE OF SCOTLAND.”
[Illustration]
EDINBURGH: DAVID DOUGLAS
1888.
[_All rights reserved._]
PREFACE.
Having been called on, a few years ago, to make frequent journeys
between this country and the Riviera, the author was greatly impressed
with the extraordinary variety and abundance of the ancient
architectural monuments of Provence. This country was found to contain
not only special styles of Mediæval Art peculiar to itself, but likewise
an epitome of all the styles which have prevailed in Southern Europe
from the time of the Romans. It proved to be especially prolific in
examples of Roman Art from the age of Augustus till the fall of the
Empire. It also comprises a valuable series of buildings illustrative of
the transition from Classic to Mediæval times. These are succeeded by a
rich and florid development of Romanesque, accompanied by a plain style
which existed parallel with it--both being peculiar to this locality.
The remains of the Castellated Architecture are also especially grand
and well preserved; while the picturesque towns, monasteries, and other
structures of the Riviera have a peculiar charm and attraction of their
own.
These Architectural treasures being comparatively unknown, it is
believed that a popular work bringing their leading features into notice
will be not unacceptable to all lovers of architecture as well as to the
numerous visitors to the south of France, and may be of use in directing
attention to a most interesting department which has hitherto been to a
great extent overlooked.
A proper history of Provence has unfortunately not yet been written. A
short account, derived from various sources, of the state of the country
from early times and during the Middle Ages is therefore prefixed to the
description of the Monuments, so as to explain the historical conditions
under which the Architecture of Provence was developed, and to show its
connection with that of other countries and times.
The author has to acknowledge the valuable aid he has received from the
excellent notes on the Architecture of the country by Prosper Mérimée in
his “Voyage dans les Midi de la France” (1835),--a work which, even at
the early date of its publication, anticipated many of the results more
recently arrived at.
The comprehensive and invaluable “Dictionnaire Raisonné” of
Viollet-le-Duc has also been of much service, and is frequently referred
to.
Most of the illustrations are from drawings and measurements made by the
author on the spot, and these generally bear his initials. But where
thought advisable for fuller illustration some of the drawings are taken
from photographs; from Henry Révoil’s beautiful work on the
“Architecture Romane du Midi de la France” (1873); and a few from other
sources as mentioned in the text.
Special thanks are due to Professor Baldwin Brown for his kindness in
revising the proof sheets, and for the valuable suggestions he has made.
EDINBURGH, _October 1888_.
ERRATA.
Page vi. line 11 from bottom, _for_ “les” _read_ “le”
“ 5, “ 10 “ top, “ “two thousand” “ “three thousand.”
“ 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, “ “ST CÉSAIRE” “ “ST TROPHIME.”
“ 211, “ 20 from top, “ “dypticks” “ “dyptichs.”
“ 212, “ 14 “ bottom, “ “Jocobi” “ “Jacobi.”
“ 221, “ 6 “ top, “ “bonnded” “ “bounded.”
“ 462, “ 12 “ bottom, “ “shews” “ “shew.”
TABLE OF CONTENTS.
I. INTRODUCTORY.
The Architecture of South of France comparatively little known, 1;
contrast of North and South in climate, buildings, &c., 3; Provence
a very ancient and independent State, 4; and scene of important
historical events, 5.
II. EARLY HISTORY OF PROVENCE, AND ITS CONDITION DURING THE MIDDLE AGES.
Colonised by Phœnicians, 1100 B.C.--Greek culture introduced, 7;
occupied by the Romans about 100 B.C., 8; became their favourite
province, 9; overrun by Visigoths in fourth century, 10; Roman and
Greek colonies were in cities, and the revived government also
municipal, 11; the Church the chief instrument of organised government,
12; monasteries established, 13; anarchic condition from fifth to
eighth century, 14; invasion of Saracens, 15; attempt to establish a
“Holy Roman Empire,” 16; revival under Charlemagne, 18; growth of the
monasteries, Cluny, 20; Citeaux, 22; the Crusades, 23; effects of the
above on Architecture, 24.
III. POLITICAL HISTORY OF PROVENCE.
Fall of the Empire in fifth century. Kings of Provence from sixth to
tenth century, 26; Kingdom of Arles, 27; Raymond Béranger becomes Count
of Provence, 11, 12; independence of cities attacked, 27; Albigensian
crusade, 28; in 1245 Charles of Anjou becomes Count of Provence, 29;
Queen Joan; 1480, King René dies and Provence becomes part of France,
30.
IV. DESCRIPTION OF CLASSIC BUILDINGS.
The Architecture of Provence naturally divided into a Classic and
a Mediæval period--which best considered separately, 32; the Roman
period, 33; Paris, Autun, capricious preservation of Classic
monuments, 34; Lyons, Vienne, 35; Temple of Augustus and Livia, remains
of Forum, 37; the pyramid, 38; Vienne restored, 39; Orange, 40; the
theatre, 42; triumphal arch, 45; other triumphal arches at Cavaillon,
47; St Remy, 48; mausoleum at St Remy, 50; Arles, history, 51;
amphitheatre, 52; mode of protecting spectators in ditto, 54; obelisk,
Place d’Hommes, Tour de la Trouille, 56; Alyscamps, 57; sculpture in
museum, 59; Nimes, history, 64; amphitheatre, 65; Maison Carrée, 68;
statue of Venus, 71; Nymphæum, 72; Tour Magne, 73; Roman gates, 74;
Pont du Gard, 76; the “Camargue” and the “Crau,” 77; St Chamas, Roman
bridge at, 77; Vernégue, temple at, 78; paucity of classic remains
at Marseilles and Narbonne, 79; Pomponiana, 80; Le Luc, 80; Fréjus,
history, 80; gate of Gaul, amphitheatre, theatre, aqueduct, 82; Via
Aurelia, 83; aqueduct of Clausonne, Antibes, Vence, 84; Cemenelum, 86;
Turbia, 87.
V. TRANSITION PERIOD.
Transition from Classic to Mediæval Architecture, 90; principles of
Greco-Italian design, trabeate as opposed to the arch, 91; gradual
introduction and development of the latter, 92; trabeate features
dropped, 93; early Christian architecture a continuation of that
of Rome, 94; the basilica, 95; the baptistery, 96; San Vitale, 96;
Byzantine edifices, the dome, 97; St Mark’s, Syrian churches, 98; early
churches in the West--Romanesque varieties, 99; attempts to vault--San
Miniato, 100; Notre Dame du Pré, Le Mans; form of vaulting in Provence,
102; in Aquitaine, 103; St Front, Perigueux, 104; the dome and single
nave characteristic of the South, 105; varieties of style, influence
of Roman remains, 105; powerful in Provence, 106; shewn in campaniles,
baptisteries, and especially sculpture, 107; supposed Byzantine
influence--the pointed arch, 107; used for simplicity of construction,
108; Burgundian style, imitative of nature, 109; the severe style
of the Cistertians, 110; the second style of Provençal art; the two
periods described, 111; growth of lay element, 112; traditional
ecclesiastical forms abandoned and new natural forms adopted, 113;
Northern Gothic developed, 114; Gothic applicable to all requirements,
115; domestic and castellated Architecture, 116; origin and growth of
the latter, 117; peculiarities in the South, 118; recapitulation, 119;
place of Provençal Architecture, 120.
VI. DESCRIPTION OF MEDIÆVAL BUILDINGS.
Description of Mediæval buildings--Lyons, the Ainay, 121; the
cathedral, 122; Vienne, St André-le-Bas, and St Pierre, 124;
cathedral, 126; ancient houses, 127; Valence, Maison des Fêtes,
127; castle of Crussol, monastery of Cruas, 128; church of Cruas,
132; Montélimar, Viviers--commencement of Provençal examples, St
Paul-trois-châteaux, 134; St Restitut, Pont St Esprit, 136; Courthézon,
Avignon, 137; history, 138; Notre Dame des Doms, 139; imitation of
Roman work, 141; palace of the Popes, 143; history, 144; description
of, 145; walls of town, 148; gates, 151; Pont St Bénezet, 151; tower
of Villeneuve, 154; castle of St André, 155; gatehouse, 156; curtains,
161; guard rooms on walls, 162; church of Villeneuve, 163; churches
of Avignon, the Beffroi, abbey of St Ruf, Priory of St Veran, 164;
Vaison, 165; Carpentras, Venasque, Pernes, Le Thor, Cavaillon, 167; Le
clocher de Molléges, 168; Tarascon, history, Ste Marthe, 168; castle,
170; houses, gateway, 172; Beaucaire castle, 173; triangular keep, 176;
oratory, 178; Les Baux, 179; the town--the bas-reliefs, 180; account
of the family, 181; St Gabriel, 182; Arles, St Trophime, 183; includes
examples of all periods of Provençal Architecture--the Cistertian
nave, 184; the west portal, 187; the cloisters, 188; the Alyscamps, St
Honorat, 191; prosperity of Arles after union to France--Renaissance
palaces, 192; Mont-Majour, Hermitage, 194; church, 196; cloister, 199;
chapel of Ste Croix, 199; the keep, 203; St Gilles, Abbey church,
204; interrupted by Albigensian crusade, 205; portal, 206; sources of
Provençal art, 210; Les Saintes Maries, 212; Marseilles, St Victor,
213; Aix-en-Provence, St Sauveur, 217; cloisters, 219; “Les Villes
Mortes du Golfe de Lyon,” 220; Montpellier, Maguelonne, 222; Béziers,
222; St Nazaire, 224; Fountain, 227; house in town, 228; Puisalicon, St
Pierre de Reddes, St Martin de Londres, 229; Narbonne, history, 230;
cathedral, 231; its fortifications, 232; Archbishop’s palace, 233;
the keep, 234; St Paul, the Lagunes, the Pyrenees, Perpignan, 235;
the castellet, cathedral, 236; citadel, &c., Elne, 239; cathedral,
240; the unfinished chevet, the campanile, 241; the cloisters, 244;
Carcassonne, 244; history, 245; towers of the Visigoths, 246; the
porte Narbonnaise--the barbican and its defences, 252; the walls and
towers, 254; St Nazaire, 257; Aigues Mortes, 260; Canal, 261; walls
and gateways, 264; Porte de Nimes, 266; Tour de Constance, 268; Tour
Carbonnière, 269.
Eastwards from Marseilles--Toulon, 270; Hyères, 271; castle, 272;
St Paul, 273; examples of Cistertian style, 274; Cannet, 275; abbey
of Thoronet, 276; the cloisters, 278; remarkable details, 280;
chapter house, 281; St Maximin, 282; Fréjus, cathedral and Bishop’s
palace, 281; fortified, 289; baptistery, 291; “Pantheon” at Riez,
293; the cloisters, Fréjus, 296; Brass lamp, 298; doorways in town,
299; district of Les Maures, how to visit, 300; St Tropez, fish
market, 301; Grimaud, castle, 302; La Garde Freinet, St Raphaël, the
Esterelle mountains, 304; Napoule, 305; St Peyré, Mont St Cassien,
307; Cannes, 308; history, Tour du Chevalier, 310; St Anne, 314; Notre
Dame d’Espérance, 317; Iles de Lérins, 319; St Honorat, cloisters,
320; Ste Trinité, 320; St Sauveur, 323; castle of St Honorat, 324;
style of lower cloister, 330; style of upper cloister, 334; additions,
340; Ste Marguérite, 343; Vallauris, 344; Le Cannet, 347; Mougins,
Notre Dame des Vie, 348; Auribeau, 350; Grasse, 351; cathedral, 353;
keep tower, 354; Renaissance, 357; l’Oratoire, 357; St Césaire, 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; castle of Villeneuve-Loubet, 378; history, 381;
tower of La Trinité, 382; Biot, 387; St Paul-du-Var, 392; approach to,
393; Architecture of shops and houses, 395; staircase, 397; gateway,
398; church, 400; remarkable keep-tower, 401; Vence, 407; cathedral,
409; keep towers, 411; column, 413; commandery of St Martin, 414;
destruction of the Templars, 417; Nice, history, 418; Cimiès Cross,
421; castle of St André, 422; Villefranche, Eza, 422; La Turbie,
428; gateways, 430; Monaco, 432; history, 433; Ducal Palace, 434;
Roquebrune, 437; Mentone, 438; Gorbio, Ste Agnes, Castellar, 441;
boundary of Provençal Architecture, 441; Ventimiglia, 445; Dolce Aqua,
445; Pigna, 448; San Remo, 449; Taggia, 450; Bussana, Oneglia, &c, 451;
Albenga, 452; Genoa, 455.
LIST OF ILLUSTRATIONS.
Details from Cathedral, Genoa, _Title-page_
Map of Provence and Riviera, _To face page_ 1
Details from Cathedral, Arles--_Headpiece_, 1
Details from Arles Museum--_Headpiece_, 7
Head in Arles Museum--_Tailpiece_, 24
Details from Cathedral, Genoa--_Headpiece_, 25
“ of Tomb of Cornelia, Arles--_Tailpiece_, 31
“ from Arles Museum--_Headpiece_, 32
VIENNE, Temple of Augustus and Livia, 36
“ Roman Forum, 37
“ The Pyramid, 38
“ Restored, 39
ORANGE, Roman Theatre--_Exterior_, 41
“ “ “ _Interior_, 43
“ Triumphal Arch, 46
ST REMY, Triumphal Arch and Mausoleum, 49
ARLES, Amphitheatre--_Exterior_, 52
“ “ _Interior_, 53
“ Roman Theatre, 55
“ Place d’Hommes, 57
“ The Alyscamps, 58
“ From the Museum, 59
“ Tomb of Cornelia, 60
“ From the Museum, 61
“ “ “ 62
“ “ “ 63
NIMES, Amphitheatre--_Exterior_, 64
“ “ _Interior_, 65
“ “ Corridor, 67
“ Maison Carrée, 69
NIMES, Statue of Venus, 71
“ Nymphæum, 72
“ La Tourmagne, 74
“ Le Pont du Gard, 75
FRÉJUS, Amphitheatre, 81
FRÉJUS, Aqueduct, 83
CLAUSONNE, Aqueduct, 84
CIMIES, (_Looking N.E._) 85
“ (_Looking S. W._), 86
LA TURBIE, Monument to Augustus, 87
From Arles Museum--_Tailpiece_, 89
“ --_Headpiece_, 90
SAN MINIATO, 101
TOULOUSE Cathedral, 106
From Piazza, San Matteo, Genoa--_Headpiece_, 121
LYONS, The Ainay, 122
“ Arcades in Cathedral, 123
VIENNE, St André-le-Bas, 124
“ St Pierre, 125
“ St Maurice, 126
“ House in, 127
VALENCE, Maison-des-Têtes, 128
CRUSSOL, Castle, 129
CRUAS, Abbey (_from S.W._), 130
“ Monastery Church, 131
“ Church, 133
ST PAUL-TROIS-CHÂTEAUX, _Part of Exterior_ (_from Révoil_), 135
AVIGNON, Church of Notre Dame des Doms, and Palace of
the Popes, 140
“ Monument of Pope John XXII., 142
“ Plan of the Palace of the Popes (from Viollet-le-Duc’s
_Dictionnaire_), 143
“ Portion of City Wall (_West side_), 149
“ Pont St Bénezet and Chapel of St Nicholas, 152
VILLENEUVE, Tower, 154
ST ANDRÉ, Oratory in Castle, 155
“ Castle, Villeneuve-lez-Avignon. _Plan of Entrance
Gateway_, 156
“ Castle of, Villeneuve-lez-Avignon. _Exterior of
Gateway_, 157
“ Castle, _Interior of Gateway_, 158
ST ANDRÉ, Castle, _Fireplace in Gatehouse_, 159
“ “ _Walls of Enceinte_, 160
“ Guard-room on wall, 161
“ Remains of a Guard-room on wall, 162
VILLENEUVE-LEZ-AVIGNON, Church, 163
Le Clocher de Molléges (from Viollet-le-Duc’s _Dictionnaire_), 168
TARASCON, Ste Marthe, 169
“ Castle, 171
TARASCON, House, 172
“ Gate, 173
BEAUCAIRE, Plan of the Castle, 174
“ Castle (_from S.-E._), 175
“ “ (_from N.-E._), 175
“ Plans of the Keep, 176
“ Castle (_Interior of Courtyard_), 177
LES BAUX, Fortress, 179
ST GABRIEL, Church, _West Front_. (From _Révoil_), 182
ARLES, St Trophime, 185
“ West Portal of St Trophime, 186
“ Cloisters, St Trophime, (_Eastern Arcade_), 189
“ “Clocher” of the Church of St Honorat, (From _Révoil_), 191
“ Renaissance House, 193
MONT-MAJOUR, Plan of Hermitage, 194
“ Hermitage--Chapel of St Peter, 195
“ The Church and Keep, 197
“ Cloisters, 198
“ Chapelle de Sainte Croix, 200
“ Mortuary Chapel, 201
“ The Keep, Hermitage, etc., 202
“ Plans and Section of Keep, 203
ST GILLES, Portal, 207
“ South Doorway, (_Enlarged_), 208
LES SAINTES MARIES, Church. (From _Révoil_.) 213
MARSEILLES, St Victor--_Exterior_, 214
“ “ _Interior_, 215
“ Monument in St Victor’s, 216
AIX-EN-PROVENCE, St Sauveur, Doorway, 217
“ “ “ _Interior_, 218
“ Cloisters, St Sauveur, 219
BÉZIERS, From the Orbe, 223
BÉZIERS, Tower, South side of St Nazaire, 224
“ Apse, St Nazaire, 225
“ Cathedral of St Nazaire, 226
“ Fountain in Cloisters, 227
“ House, 228
“ St Pierre de Reddes. (From _Révoil_.) 229
NARBONNE, Cathedral of St Just, 231
PERPIGNAN, The Castellet, 237
PERPIGNAN, Cathedral of St Jean, 238
ELNE, Marble Gateway, 241
“ Cathedral, 242
“ Cloisters, 244
CARCASSONNE, general view, 245
“ Towers and Castle, 247
“ Outer and Inner Walls, North Side, 249
“ Porte Narbonnaise, 251
“ Western Walls and Barbican, 253
“ Interior of Walls, 256
“ St Nazaire, 258
AIGUES MORTES, “Tour de Constance,” 261
“ Walls on East and North Sides, 263
“ Interior of South Side of Walls, 265
“ Porte de Nimes, 267
HYÈRES, Castle, 272
“ St Paul, 273
CANNET, 275
THORONET, Church from South-West, 276
“ “ _Interior_, 277
“ Cloister, 279
“ Caps in Cloister, 280
“ Fountain in Grounds, 283
ST MAXIMIN, Church, 284
FRÉJUS, Plan of Cathedral, 285
“ Cathedral, _Interior_, 286
“ Western Enclosure and Cathedral Buildings, 287
“ Cathedral, Eastern Tower and Bishop’s Palace, 288
“ “ South or Entrance Front, 290
“ “ Baptistery, 292
RIEZ, The “Pantheon,” _Plan_ (_From Texier and Pullan_), 293
“ “ _Section_ “ “ 294
FRÉJUS, Cathedral, Cloisters, 295
“ “ “ _Interior_, 297
“ Cathedral, Brass Lamp (_From a drawing by Mr R.
Burns Begg_), 298
“ Doorways, 299
ST TROPEZ, general view, 300
“ Entrance to Fishmarket, 301
GRIMAUD, From the Plain, 302
GRIMAUD, Castle, 303
NAPOULE, Castle, 305
“ “ 306
MONT ST CASSIEN, 307
CANNES, Bay of, and the Esterelle Mountains, 309
“ The Old Town, 311
“ Tour du Chevalier, 312
“ “ “ Plan and Section, 313
“ Church of St Anne, 315
“ “ “ Plan, 316
“ “ “ Doorway, 316
“ Mont du Chevalier, 317
“ Notre Dame d’Espérence, 318
ST HONORAT, Cloisters of Monastery, _Interior_, 320
“ Ste Trinité, _Interior_, 321
“ “ Plan, 322
“ “ West End, 323
“ “ East End, 324
“ “ Doorway, 325
“ St Sauveur, Lérins (_from Révoil_), 325
“ Castle, Plan of Ground Floor, 326
“ “ (_from N.-W._), 327
“ “ Lower Cloister, 329
“ “ Capitals and Bases, 330
“ “ “ “ Base, 331
“ “ Lower Cloister, 333
“ “ (_from N.-E._), 335
“ “ (_section from N. to S._), 336
“ “ Plan of First Floor, 337
“ “ Upper Cloister, 338
“ “ Upper Cloister, Details, 339
“ “ Refectory, 341
STE MARGUÉRITE, Castle, 343
VALLAURIS, Abbot’s Summer Palace, 345
“ Chapel of Abbot’s Summer Palace, 345
“ “ “ “ “ 346
LE CANNET, “Maison du Brigand,” 347
“ Notre Dame des Anges, 348
MOUGINS, Notre Dame de Vie, 349
“ Gate to Town, 350
AURIBEAU, 351
GRASSE, View of Town, 352
“ Cathedral, Plan of, 352
“ “ West End, 353
“ “ (_Campanile at N. E. angle_), 354
“ “ _Interior_, 355
“ Keep Tower, 356
“ Staircase, 357
“ Church of the Oratoire, 358
“ “ “ Cap of Main Pier, 359
ST CÉSAIRE, Ancient Gateway, 359
“ Carving over Doorways, 360
“ Church, _Exterior_, 361
“ “ _Interior_, 362
“ Plan of Church, 363
CHATEAU DE TOURNON, 363
CALLIAN, Town and Castle, 364
LE BAR, South Doorway of Church, 365
GOURDON, View of, 367
“ Houses, 368
“ Château, 369
TOURETTES, Church, 370
“ Font, 371
ANTIBES (_from West_), 372
“ Tower or Keep attached to Cathedral, 374
“ “ “ of the Castle, 375
CAGNES, Castle (_from the South_), 377
“ “ (_from the N.-E._), 378
VILLENEUVE-LOUBET, Castle (_from the N.-W._), 379
“ “ “ (_from the S.-E._), 380
LA TRINITÉ, Tower of (_Plan_), 382
“ “ (_from the Chapel_), 383
LA TRINITÉ, Tower of (_from the S.-W._) 386
BIOT, View of, 387
“ Church--_Exterior_, 389
“ “ Plan of, 390
“ “ _Interior_, 391
ST PAUL-DU-VAR, (_from the East_), 393
“ (“ _West_), 394
“ Details, 395
ST PAUL-DU-VAR, Old Shops and Houses, 396
“ Side Street, 397
“ Main Street, 398
“ Interior of North Gateway, 399
“ Main Street, 400
“ Chimney-piece in the Maison Suraire, 401
“ Staircase in the Maison Suraire, 402
“ North Gateway, 403
“ Church, West End of, 404
“ “ _Interior_, 405
“ “ Plan of, 406
“ Tower or Keep, 407
VENCE, Cathedral--_Interior_, 409
“ “ Plan, 410
“ “ East End, 412
“ “ Font, 413
“ Behind Cathedral, 414
“ Ancient House, 415
“ Doorway, 416
“ Tower or Keep of the Consul, 417
ST MARTIN-LES-VENCE, Commandery, 418
CIMIES, Cross, 420
NICE, Castle of St André, 421
“ St André, 423
EZA, (_from the Railway Station_), 424
“ (_from the East_), 425
“ Approach to the Town Gate, 426
“ Entrance Gateway to Town, 427
“ Interior of Entrance Gateway, 428
“ House, 429
“ Doorway, 430
LA TURBIE, Outer south Gateway, 430
LA TURBIE, Inner South Gateway, 431
“ Eastern Gateway, 432
“ Houses, 433
MONACO, Ducal Palace, 435
“ “ “ (_N. W. Bastion_), 436
ROQUEBRUNE, Entrance to Town, 437
“ Font, 438
“ Castle, 439
MENTONE, (_from the Harbour_), 440
VENTIMIGLIA, West Portal of Cathedral, 442
“ Interior of Cathedral, 443
DOLCE AQUA, Street, 444
“ Castle of the Dorias, 445
“ “ “ (_from the S. W._), 446
SAN REMO, Street, 447
“ Houses, 448
“ San Siro (_North Doorway_), 449
TAGGIA, Gateway and Street, 450
“ Doorway, 451
“ “ 452
“ Cloisters, St Christofero, 453
ALASSIO, Church, 454
ALBENGA, Towers and West End of Church, 455
“ (_from Railway Station_), 456
“ Tower at North-East of Church, 457
GENOA, Cloisters, San Matteo, 459
“ Doorway, Piazza San Matteo, 460
“ Church, Cloisters, etc., 461
“ Campanile, 462
Knocker, Elne Cathedral--_Tailpiece_, 463
Lamp from Old Church, Monaco, 464
Details from Tomb of Cornelia, Arles Museum, 467
[Illustration: SKETCH MAP TO ACCOMPANY “THE ARCHITECTURE OF PROVENCE AND
THE RIVIERA.”
Scale of English Miles]
[Illustration] I.
The beautiful buildings of the North of France are as well known to all
English lovers of architecture as many of the edifices of our own
country, and every one is more or less acquainted with them.
The various styles which have prevailed there--whether Gothic or
Renaissance, Ecclesiastical, Castellated or Domestic--have all been
fully illustrated and rendered familiar by numerous admirable works,
both French and English. Besides, being so near our own shores, and
lying as it does, between England and Paris, this part of the country is
easily accessible, and is much visited by English tourists and students
of architecture.
The various styles of Northern France, too, have many points of
resemblance to those on this side of the channel; and there thus exists
a feeling of sympathy between the two which renders the study of both,
and a comparison of their similarities and differences, particularly
interesting to the English observer.
All these circumstances have contributed to make the great cathedrals of
Amiens, Beauvais, Rouen, Rheims, and Chartres familiar and attractive;
while the picturesque towns of Northern France, with their quaint
half-timbered houses, and the no less picturesque costumes of the
inhabitants, are constantly brought before us in the charming
representations of our artists.
The ancient castles of Normandy and Northern France, such as the
Châteaux d’Arques, Gaillard, and Falaise, are as closely connected with
English as French history; and as the dwellings of our Plantaganet
Kings, and the scene of many important events in their lives, they claim
even more attention at our hands than they have yet received.
But the South of France is a comparatively unknown country. It is much
less frequented by our countrymen than the North, and its buildings and
scenery rarely form the subject of our artists’ paintings. It is indeed
true that a very large number of English people winter in the Riviera or
at Pau; but these visitors are all desirous to perform their migration
at a single flight, and to move, as by a magic spell, unconscious of the
horrors of the middle passage, from the gloom of the dreary winter of
England to the bright sunshine and lovely landscape of the South. That
this should be the case is perhaps scarcely to be wondered at, so many
of the visitors being themselves delicate or in company with invalids.
But for their own sakes it is much to be regretted, as they thus pass
through a great deal of fine and novel scenery without observing it, and
catch but a passing glimpse of some of the most ancient and interesting
cities, churches, and castles in Europe. It must, however, be confessed
that the intervening district between the North and South is not a
pleasant region in mid-winter. Between Lyons and Marseilles the cold is
frequently very intense, and the whole valley of the Rhone suffers from
the fierce and bitter “mistral” which sweeps down it from the region of
the Cevennes Mountains on the north-west. To enjoy a tour in the valley
of the Rhone on the way out to the Riviera one must start earlier than
usual, so as to make the October weather available, or delay till the
return journey in spring.
The Englishman travelling southwards for the first time is chiefly
struck with the entire change in the aspect of the scenery, the
vegetation, the style of the buildings, the colour of the soil and
hills, the brilliant sunshine, and the clear blue sky, which everywhere
meet the view in descending the Rhone. This is especially the case in
going south by the night train from Paris. Soon after leaving Lyons
daylight commences, when the traveller awakes to find himself in a new
zone. All the surroundings are transformed: instead of the sombre sun
and foggy atmosphere of the North, he enjoys the bright light and
breathes the clear air of the South, and finds around him, instead of
bare trees and frozen herbage, vineyards and gardens still rich with the
lovely tinted foliage of autumn.
The buildings in these gardens and fields particularly strike the eye of
the architect. They are so unlike what he has been accustomed to, and
left behind only a few hours ago. The houses of timber-framed work, with
their steep roofs covered with slates or flat tiles, and the snug
homesteads of England and the North of France, have entirely vanished;
and in their stead only small square or oblong erections are to be seen
scattered here and there through the fields, with plastered and tinted
walls, and covered with tiled roofs of the ribbed Italian pattern, all
laid at flat slopes, and generally having one side of the roof much
longer than the other.
At Avignon the change of aspect is even more complete. “On arriving at
Avignon,” says Prosper Mérimée, “it appeared to me that I had left
France behind. Landing from the steamboat I had not been prepared by a
gradual transition for the novelty of the spectacle which presented
itself; the language, the costumes, the aspect of the country,
everything appears strange to one coming from the centre of France. I
believed myself in the middle of a Spanish town. The crenellated walls,
the towers furnished with machicolations, the country covered with
olives and plants of a tropical vegetation, recalled Valencia, &c.”
Not less great than the differences in climate and in the aspects of
nature, are those of the arts of the North and South; and these
diversities in nature and art, although now all embraced within the
compass of one great and united country, are indications of the
political differences which, in former times, existed between the
various portions of it. The growth of France as a kingdom has been slow
and gradual. Not to refer to changes which have occurred in our own
times to modify the extent of her surface, it should be remembered that
Provence was no part of France till the fifteenth century. It was not
till 1481, in the time of Louis XI., that Provence passed under the rule
of the King of France.
During the earlier and more important epochs of the architectural
revolutions in that province, it formed an independent State, and was in
advance, in art and literature, of its northern neighbours. In
considering the history of its architecture, it is important that this
should be kept clearly in view. We shall see, as we glance rapidly over
the history of the Southern provinces, that, in most respects, the
development of the civilisation of the South differs from that of the
Northern kingdom, and that the growth of the architecture naturally
follows the progress of the respective countries. The art of the South,
although it reached maturity earlier than that of the North, was also
the first to decay; and, as the Northern Franks spread their arms over
the South, and bit by bit got possession of the land, so their noble and
vigorous style of architecture accompanied them, and, to a great extent,
superseded the older and more finished, but less expansive, styles of
the southern provinces.
But the country we are dealing with has a history which extends back for
hundreds of years before the names of Gaul or France were heard of. This
region has in all ages formed a centre for the reception of the culture
and arts of the various nations of the Mediterranean, and from which
these have again been radiated to the remoter countries of the West. Its
reminiscences thus carry us back to the dawn of history, some three
thousand years ago, when we find the coast in the hands of the Phœnician
navigators, by whose commercial and naval activity it could not fail to
be greatly influenced. To the Phœnicians succeeded the Greeks, who
colonised the country, and infused into it that spirit of Grecian
culture and art of which it was long the home. The Romans next took
possession of the land, and, under their dominion, it became a favourite
province, and was lavishly enriched with the productions of the
magnificent architecture of the Empire.
Amidst the horrors of the barbarian irruptions which followed the fall
of the Empire, this fortunate province succeeded in maintaining some
relics of Roman civilisation; and when the dawn began to appear after
the terrible night of the Dark Ages, it was amongst the first to show
signs of life and revival. In the South, song and literature, encouraged
by contact with the Saracens of Spain, sprang up and flourished ere, in
the North, the struggle for existence had produced a settled condition
in the land. Here too the Christian Church took an early and firm hold,
and has left interesting traces of its sacred edifices of very early
date. It was here also that the primitive monastic societies of the West
preserved the learning and enlightenment whereby the nations were
subsequently revived and illumined. During the Middle Ages we shall
likewise find that this remarkable region still retained its
distinctive attitude as a centre of artistic and commercial energy
between the East and the West. It occupied in this respect, during the
twelfth and thirteenth centuries, a very remarkable position, and was at
that time the scene of action of some of the chief political and
religious movements in the West of Europe.
While connected as a fief with the “Holy Roman Empire,” it was also in
close proximity to the growing power of France on the north, and to
Spain and Italy on the south. For a time indeed it was under the
suzerainty of Aragon, and was thus brought into contact with the science
and arts of the Moors in Spain. From Italy again it received an impulse
from the energy of the growing Republics of that country; while it also
felt only too terribly and effectively the sway and power of the Pope.
At the same time it became the chief _entrepôt_ of the growing traffic
from the East, and the highway by which the artistic and other products
of the Levant were dispersed through France and the North of Europe.
The importance of this region was at that period immense, but in course
of time it gradually diminished, until at length the tide of influence
became reversed. The increasing power of France overshadowed the South,
and the policy and arts of the North gradually encroached upon and
finally absorbed it.
Having to investigate the architecture of a region so rich in historic
and artistic records, it may be well, before considering its monuments
in detail, to glance a little more fully at the historic conditions
under which the various styles we shall meet with were produced and
developed. We shall thus be the better able to understand and appreciate
their place and significance in connection with the growth of the
architecture.
[Illustration] II.
The history of the littoral of the Mediterranean goes back to the
earliest dawn of maritime enterprise.
The coast was visited by the Phœnicians, those first and adventurous
merchants and navigators of the Levant, who pushed their commerce even
as far as the shores of distant Britain. Carthage was one of the Tyrian
Colonies, and so also was Cadiz, founded about 1100 B.C.
The Phœnicians established many cities and ports on the coast, such as
Illiberris, Narbonne, and Marseilles, and carried on a considerable
trade with them. Some of these have entirely perished, while in the
remainder only a few traces have been found of their Phœnician origin.
The next navigators who explored the Riviera were the Greek colonists
from Phocæa, itself a Grecian colony on the coast of Asia Minor, the
inhabitants of which were forced to leave their country by the invasion
of the Persians under Cyrus.
These adventurers, after establishing themselves in Corsica, spread to
other parts of the coast. They settled about 600 B.C., by treaty with
the natives, at Massilia or Marseilles. Owing to its fine rock-sheltered
harbour, and from its proximity to the mouth of the Rhone, which then
formed the highway to the extensive and populous country lying to the
northwards, this colony soon grew into a flourishing seaport. In course
of time the Massiliotes became rich, and acquired extensive lands
around their town. They also spread their canvas over the neighbouring
seas, and established numerous colonies all along the coast, such as
Narbonne, Antibes, Nice, Monaco, &c.
The Phocæans brought with them from their native home, and introduced
wherever they went, their Greek tongue, together with their Grecian
culture and love of Art.
The government of their towns was founded on the pattern of that of
Phocæa, the people choosing a council of 600, a committee of whom formed
the executive.
They had also schools and colleges for the teaching of grammar and
letters, and the encouragement of science and art.
The language, civilisation, and culture of the whole of the Massiliote
towns were thus entirely Greek, and gave a Grecian character to the
first enlightenment of Southern Gaul; a circumstance which left a
distinct trace in the artistic style of the country, even under the
Empire, just as in Sicily and southern Italy, the settlement of the
Greek colonists in those countries produced a similar result.
The Massiliotes, being rivals of the Carthaginians as merchants and
navigators, naturally took part with the Romans in their Punic wars,
furnished them with ships, and became their allies.
In 154 B.C. the Ligurian tribes of South Gaul rose against the
Massiliote colonies, and the latter in their turn applied to their Roman
allies for assistance. This formed the first introduction of the Roman
Legions into Gaul. Other disputes with the native tribes arose, and in
123 B.C. C. Sextus Calvinus completed the subjugation of the Salyes, and
founded the first Roman settlement in transalpine Gaul at Aquae Sextiae
(now Aix), where he had found the warm springs attractive.
The road from Italy into Gaul by the sea-coast was thus secured, and a
way opened for further conquest.
In 118 B.C. Q. Fabius Maximus and C. Domitius Ahenobarbus defeated the
Avernes and Allobroges, and became masters of the Southern Celts. A
Roman colony was then established at Narbo Martius (Narbonne), to secure
the country and protect the road into Spain.
During the civil war Massilia espoused the cause of Pompey, a course
which led to the town being besieged and taken by Caesar. Massilia was
then Romanized and lost her colonies, but she still retained her letters
and arts, and her schools continued to flourish under the Empire.
By the year 50 B.C. the whole of Gaul had been subdued by Julius Caesar.
Colonies were established by him and his successors at Arles, Orange,
Vienne, and all the important Gallic towns, and the country was thus
brought under Roman rule and influence. Traces of the gradual passage
from Greek to Roman culture are to be found in the monuments of the
earlier centuries of the Christian era. This is observable in the change
from the Greek to the Latin language, the Greek names assuming a Latin
form and being inscribed in Roman characters.
Under Rome the towns of Gaul were adorned with the profusion of splendid
public buildings universal throughout the Empire, every town being
provided with its Forum and Temples, its Theatre, Amphitheatre, Baths,
Aqueducts and Triumphal Arches. The style of architecture adopted was
naturally that of the Romans, but in many buildings and sculptures of
the early centuries, a strong Greek feeling may be detected. This is
also the case at Pompeii, in Southern Italy, which was likewise
originally a Greek colony.
During the second and third centuries, South Gaul gradually became
entirely Romanized, and was the favourite province of the Empire, with
the seat of the prefect at Trèves. In the first brilliant period of the
Empire, her extensive conquests added to her strength, both in supplying
men for her armies, and wealth for the embellishment of her cities.
Hence the magnificent display of public buildings then erected
everywhere throughout the Roman world. But it also tended to her
enervation through luxury and superfluity. This gradually encouraged the
growing corruption of the Empire, and caused continually fresh demands
on the provinces to feed the central craving and consumption--while with
luxury the strength of Rome relaxed, and she became unable in return to
extend to the provinces the support they required.
This weakness went on, gradually increasing, till in the fifth century
the country fell an easy prey to the hordes of Barbarians who then
poured in upon it. In the fourth century the Visigoths had burst over
Southern Gaul, and settled in the fertile plains between the Pyrenees
and the Garonne. That part of the country being well peopled and
civilised, and the conquerors comparatively small in number, they were
in course of time, to a great extent, absorbed into the general
population. The civilisation and polity of the Romans thus continued to
preserve a comparatively uninterrupted course in the south-west of Gaul.
It is a peculiarity of all the Greek and Roman colonies, as compared
with those of modern times, that they were established in cities. In the
cities were centred all the life and movement of the ancient world. The
land of course had to be cultivated, but that was done by bands of
slaves led out from the towns. The open country was uninhabited, and
except within a short distance from the towns, lay waste and
uncultivated. The form of government exercised in the various states,
was founded on that of the towns. The supreme power of Rome herself,
with all her wide-spread command, was but an extended municipal
authority, and every town was in this respect a repetition of the
capital on a small scale. As the conquests of Rome extended, this form
of government was found inadequate to the control of the numerous
nations finally comprised under Roman sway.
The Empire, with its stronger grasp and centralised control, with its
multitude of functionaries, all appointed by and in constant relation
with a central will, alone enabled the existence of Rome to be continued
for some centuries.
But when the Empire also finally decayed and fell, the old municipal
principle again came to the front. As the colonies had been founded in
cities, so when the Imperial system gave way, the city again asserted
itself; and in Southern Gaul, where the barbarians had been civilised,
municipal authority prevailed, and each town became an independent
little State--the natural tendency of these municipalities being to
detach themselves, and to watch jealously the proceedings of their
neighbours.
This municipal principle is a leading characteristic of the Middle Ages
in Italy and Southern Gaul, and distinguishes these countries from the
Northern provinces. Traces of it are still very apparent in Italy and
Provence, and contribute greatly to the picturesque character of these
provinces. There even yet the soil is to a great extent cultivated by
peasants, who dwell together in crumbling old cities perched on the tops
of hills, and surrounded with ancient walls. Daily the men, women, and
mules descend to their labour in the fields, till the evening, when they
may be met toiling up the steep and rocky paths to a well-earned rest in
their ancestral town.
While in the Southern provinces the Empire was thus dying from
exhaustion, and the little isolated municipal states of the towns
remained the only representatives of civil government left in the land,
in Northern Gaul the invasions of the barbarians were much more frequent
and numerous, so that almost every trace of Roman civilization was
obliterated. But in the midst of all this decay and destruction of
general government a new organising and centralising power was arising,
in the form of the Christian Church. After passing through the fiery
trials of the first three centuries Christianity had been adopted by
Constantine in A.D. 313; and by the end of the fourth century the church
had become an extensive and united institution, with a well organised
hierarchy of clergy, revenues of its own, and provincial, national, and
general councils. The vigour of the administration of the church system
was conspicuous in the general laxity, and the control of affairs
naturally fell into the hands of the ecclesiastical authorities--the
priests and bishops. Their jurisdiction was officially recognised, and
under the codes of Theodosius and Justinian the control of municipal
affairs was remitted to the clergy and bishops, who were thus for a time
in their respective cities the representatives of government and order.
From the date of Constantine till the overthrow of society, Barbarism,
Paganism, and Christianity went on side by side. While civilisation
remained the schools continued, Christians of antique learning and Pagan
students discussed together the same problems of philosophy, and the
Fathers endeavoured to reconcile them with Christianity. But as
successive waves of Barbarians rushed over the land, drowning all before
them, almost every semblance of learning was swept away. Hence arose a
desire on the part of learned men to retire from the anarchy and
insecurity of the conditions around them to some safe retreat, where
they might converse on and study in peace those high problems which
occupied their minds. These societies, in the natural course of events,
were by degrees converted into monasteries. The celebrity of the Eastern
ascetics and devotees had penetrated to Western Europe, but the solitary
form of religious observance did not at first meet with much
encouragement there. Societies of recluses were then, however, also
common in the East, and the Eastern monastery was the form adopted by
the Western recluses as their model. But monasteries were not at this
time religious societies, nor were the monks in Holy orders. They were
simply associations of laymen who wished to retire from the confusion
and turmoil into which all civil government was thrown, and find peace
for study and quiet for contemplation. Such was the famous monastery of
the Lérins, founded early in the fifth century by St Honorat, on an
island off the coast near Cannes, which soon became the most celebrated
school of learning and piety in Southern Gaul, and was as great a
blessing to the countries of the Mediterranean as the similar colony of
St Columba at Iona was to the North of Britain.
It is easy, however, to fancy how, in the midst of the strife and unrest
of the fifth and sixth centuries, such societies tended to become
religious, and thus obtain protection from the Church. This they were
finally compelled to do, although at the sacrifice of their liberty, by
placing themselves under the authority of the bishops, where alone they
could find rest and safety. For the Barbarians, many of whom were
already Christians, stood in awe of the Church, and the Church strove to
secure her ascendancy by maintaining the independence of the spiritual
power, and the incapacity of the temporal powers to interfere with it; a
doctrine which afterwards led to the terrible struggle for supremacy
between the temporal and spiritual powers, represented on the one hand
by the Emperor, and on the other by the Pope, a struggle which lasted
so long, and involved so many cities in the horrors of the factions of
the Guelphs and Ghibellines.
During the fearful reign of anarchy and destruction which prevailed in
the sixth and seventh centuries, when all security for life and property
had disappeared, and the armed hand of the Barbarian bore down all rule
and order before it, the authority of the Bishops likewise gave way.
Their Sees were invaded by Goths and Franks, who assumed their titles
and drew their revenues. The fate of the monasteries was similar. The
invaders seized the seats of the abbots, and the recluses were
dispersed. Everywhere nothing but decay and disintegration prevailed. No
wonder then, that monuments of this period are rare; the marvel is that
any human structures should have survived the shock of universal ruin
and destruction. Only a few of the more massive Roman monuments, built
as if to last for ever, were able to withstand the tornado. The small
and modest Christian edifices have been almost entirely swept away; but
fortunately a few rare vestiges have been preserved within our district,
sufficient to indicate the nature of the early Christian Architecture
under the Empire.
By the eighth century the Barbarian invaders of Gaul had become somewhat
settled in their new possessions, and had abandoned their original
wandering mode of life. A certain nominal supremacy had always been
accorded to the Merovingian Kings of the Franks, but the royal power,
together with the title, had now passed into the stronger and more
active hands of the Carlovingians, under whom it grew into a distinct
royal authority.