fourteenth century tower, in the ancient church and keep which crown the
summit of its rocky site. The church is a small but remarkable monument.
Externally the west front (Fig. 231) shews a central portion of plain
ashlar work, with a simple pointed doorway, and a small pointed window
above. There are also some corbels remaining, which probably supported
the wall plate of the lean-to roof of an outer porch or narthex. The
adjoining walls at the sides, and above the corbels, are all evidently
much more modern than the central portion. The lofty square tower
attached to this front appears, from an inscription it bears, to have
been erected in the seventeenth century. On entering the building, the
lowness of the central nave (Fig. 232), and the extreme simplicity of
its construction and vaulting, are seen to correspond with the style of
the central part of the exterior. The plain character of the whole
recalls the work of the early Cistertian school. The church has probably
been originally a simple nave, like Fréjus on a small scale. The aisles
appear to have been added afterwards, the side walls having been cut
through to give access to them (_see_ Plan, Fig. 233). But so devoid is
the building of ornament or features whereby a date may be determined,
that the aisles may possibly have been original, although altered at a
later date. The vaulting of the aisles, with its rounded or octagonal
ribs, is certainly of more recent date than the plain intersecting vault
without ribs of the central nave.
[Illustration: FIG. 228. CHIMNEY-PIECE IN THE MAISON SURAIRE, ST
PAUL-DU-VAR.]
Close to the church stands a very interesting example of the tower-built
keeps of the Maritime Alps (Fig. 234). It is similar in general
character to those of the Mont
[Illustration: FIG. 229. STAIRCASE IN THE MAISON SURAIRE, ST
PAUL-DU-VAR.]
du Chevalier, Grasse, and Antibes, but has some peculiar and remarkable
features of its own. The original masonry is of the usual rough-faced
kind, but it has been repaired in several places with work of a smoother
description. The top has evidently been modernised, and is covered with
a tile roof instead of the proper crenellated parapet. Windows of an
antique character are provided to light the apartments on the upper
floors, instead of mere square holes in the wall like those of the Tour
du Chevalier. Indeed, this keep seems to have been more of a habitation
than the others we have met with, and was apparently connected with an
ancient building of the same description of masonry, a few remains of
which are visible to the left in the sketch. But the most remarkable
features about this tower are the entrances and their defences. The
lowest doorway is on the first floor level.
[Illustration: FIG. 230. NORTH GATEWAY, ST PAUL-DU-VAR.]
It is semi-circular and is now built up. This doorway seems to have
given access only to a guardroom on the first floor, from which the
vaulted basement would be entered in the usual manner by an aperture in
the floor. At the level of the doorway there was evidently a wooden
platform projected outside of the door, from which a wooden overhanging
stair led up to the chief entrance to the principal apartments of the
keep on the floor above. The stone-work shews a projecting ledge at the
line of junction of the wooden stair with the wall. The corbels, which
supported a level platform above this stair, still remain, and it will
be observed that there is no corbel opposite the place where the stair
would pass through, as no floor would be required at that point.
[Illustration: FIG. 231. WEST END OF CHURCH, ST PAUL-DU-VAR.]
The two string courses on the next floor were no doubt inserted, one for
the purpose of carrying the struts of a sloping roof, and the other to
cover the junction of the roof with the stone-work. Although partly cut
away, these strings are yet fairly preserved. The sloping roof
[Illustration: FIG. 232. CHURCH OF ST PAUL-DU-VAR.]
would cover the wooden gallery or hoarding which, we have seen,
protected the principal doorways and staircase.
[Illustration: FIG. 233. PLAN OF CHURCH, ST PAUL-DU-VAR.]
The outer approaches to this keep were thus most carefully defended. An
assailant, who managed by scaling ladders to get up to the first floor
or guardroom level and overpower the guard, would find no access from
the interior to the upper floors. To reach these he would have to climb
a steep stair, enclosed within a wooden casing with trapdoor shut, and
would thus be exposed to attack with all kinds of missiles from the
platform above, where the defenders stood within the shelter of their
projecting hoarding or gallery.
[Illustration: FIG. 234. TOWER OR KEEP, ST PAUL-DU-VAR.]
A somewhat similar wooden balcony for the defence of the doorway existed
at Preston Tower in Scotland, but so far as we have observed, that of St
Paul is quite unique in the Riviera. The refinement shewn, both in the
defensive features and in the windows of this tower, indicate a somewhat
later date than those of Cannes or Antibes. The defensive works here
correspond with the hoardings so common in France in the thirteenth
century, such as those at Carcassonne and Aigues Mortes.
VENCE.--A walk of about three miles along a good road gradually ascends
from St Paul to Vence on either side of the Malvan Valley. That on the
eastern side is the nearer, if the direct old mule path is taken about a
mile from Vence, instead of the carefully engineered but winding modern
roadway. Should the visit be made in December or January, a fine
opportunity will probably present itself of witnessing the olive harvest
on the way. Large sheets are spread out into which the ripe blackberries
are showered down by shaking the branches. Men, women, and children all
unite to expedite the work, and help to gather up the fruit which may
have dropped upon the ground.
The road on the western side of the valley is more winding than the
other, in consequence of a great gorge in the rocky mountain side having
to be compassed and crossed. The descent to the point, where bridging it
is practicable, also adds to the length and steepness of the ascent to
the town. But the rugged way is interesting, the rocks being full of
natural caves, evidently the result of the waves of a previous
geological epoch. The town consists of two distinct parts--the old town
enclosed within a circular or oval enceinte (now represented by a line
of houses), and a circle of houses built outside the ancient ramparts.
The position of the latter is now occupied by a wide street or boulevard
running all round between the old and new divisions. One or two ancient
gateways (similar to that of Mougins, Fig. 182) are still preserved, but
they are small and unimportant. In the narrow streets specimens of old
shop fronts, like those of St Paul, may be detected here and there, and
in the newer part of the town some fair Renaissance designs are
observable in the houses, that of the Hôtel de Ville being the finest.
[Illustration: FIG. 235. VENCE CATHEDRAL.]
Vence is a very ancient city. It was the Ventium of Roman times, of
which period numerous inscriptions and relics are preserved and built
into the northern wall of the cathedral. In mediæval times Vence was
originally the see of a bishop, but was afterwards joined to that of
Fréjus. The town suffered the usual casualties from the attacks of the
Saracens and assaults during the wars of
[Illustration: FIG. 236. PLAN OF VENCE CATHEDRAL.]
religion. The cathedral, which is evidently very old, is supposed to
have been rebuilt after the destruction of the original one by the
Saracens in the ninth or tenth centuries. Owing to the simplicity of its
style internally (Fig. 235), it has a most archaic appearance.
Unfortunately, the exterior cannot be well seen in consequence of the
chapels, houses, &c., which are built against it. Originally the church
has consisted (Fig. 236) of a central nave 18 ft. 6 in. wide, with two
side aisles each about 10 ft. wide. The chapels shewn projecting beyond
the aisles are comparatively modern, and are lighted from the roof. The
nave piers are (as regards design) simply portions of the side walls
left standing, while the remainder is omitted so as to form round arched
openings into the aisles. The side aisles are carried (as was often
done) to a sufficient height to abut the central vault of the nave, and
are divided into two storys--the upper story being a gallery--an
arrangement very common in Lombardy and Germany. A more total absence of
anything like ornament can scarcely be conceived. This plainness, taken
in conjunction with the somewhat similar work at St Paul’s, seems to
indicate that the design here owes its origin to the reign of the early
Cistertian principles in the twelfth century. The choir and the tower at
the north-east angle (Fig. 237) are evidently of a more recent date. The
choir, with its circular apsidal termination, internally, converted into
a square east end externally, is somewhat remarkable. It may be observed
that the eastern termination of the churches of Antibes and St Paul are
also square externally. There is a certain Italian character about the
east end of Vence Cathedral with its single very small pointed window
and its cornice enriched with modillions. The impost of the eastern door
(Fig. 236) is also quite Italian, and judging from the style of this
part of the church, it probably belongs to the thirteenth century.
The campanile adjoining the church likewise recalls those of the Italian
cities. At Vence, as at Antibes, there are two such towers or keeps for
defence, one being
[Illustration: FIG. 237. EAST END, VENCE CATHEDRAL.]
attached to the church, while the other was formerly connected with the
castle, and now with the Hôtel de Ville (_see_ Fig. 242). The ground
floor of the former tower enters from the church, and forms a chapel
where are deposited two very finely carved Gothic doors, which no doubt
once served as the doors to the church. The font (Fig. 238) stands in a
small chapel at the west end. Its design is peculiar and striking, and
it is said to be very ancient. Adjoining the cathedral on the north are
some ruinous remnants of the bishop’s palace, now converted into other
uses (Fig. 239). In the “place” at the east end of the cathedral (_see_
Fig. 237) stands a granite column raised on a pedestal, and said to have
been the gift of the city of Massilia to her sister of Vence. In the
same place some picturesque fragments of old houses are still preserved
(Fig. 240), the late Gothic doorway on the right being given on a larger
scale in Fig. 241.
[Illustration: FIG. 238. FONT, VENCE CATHEDRAL.]
There are several small “places” in the old town all containing a few
relics of olden times. The tower of the Consuls (for Vence, like the
other towns in the province, had her consuls and an independent
government), has already been mentioned, and is shewn in Fig. 242,
adjoining a gateway leading into a “place” with a fountain on one side,
and the Hôtel de Ville on the other. This tower is of the same style of
masonry as those we have met with in other towns, but it is now cut up
into shops and houses, and has lost its primitive features.
[Illustration: FIG. 239. BEHIND CATHEDRAL, VENCE.]
From the wide terrace in front of the Hôtel de Ville, a magnificent view
is obtained of the mountains to the northwards. At the base of their
lofty precipices the ruins of the Commandery of St Martin may be
observed. It seems to be a very short way off, but is found to be a good
half hour’s walk and a stiff climb. However, the trouble is repaid, for
the view presented, when the lofty point on which the Commandery stands
is attained, is magnificent, extending over Vence, St Paul, and Cagnes
to the sea, and embracing the whole coast from the Cap d’Antibes to the
headlands beyond Nice. The Commandery itself is a shapeless ruin (Fig.
243). The eastern wall and the great gateway, with its wide
machicolation in the style of the Pope’s palace, are the only parts
sufficiently entire to
[Illustration: FIG. 240. ANCIENT HOUSE, VENCE.]
[Illustration: FIG. 241. DOORWAY IN VENCE.]
give any indication of the nature of the buildings, which from these
seem rather to have resembled a castle than a monastery. This was the
chief house of the Templars in the district, and overlooked numerous and
extensive lands with which the order was enriched. The tower of La
Trinité, as already mentioned, formed one of the outlying forts of the
Templars, and is well seen from the Commandery. When violent hands were
laid upon the order by Philip the Fair, Hugorian was Master of St
Martin-les-Vence. He was seized in 1308, and carried off to prison in
Tarascon. This country was then under the dominion of Charles II. of
Naples and Duke of Provence, whom Philip had persuaded to join in the
destruction of the Templars. But in Provence the greater number of the
Knights were allowed to escape, only forty-eight in all being captured.
Their lands were chiefly bestowed on the Knights Hospitallers, who thus
acquired great possessions in this part of Provence.
[Illustration: FIG. 242. TOWER OR KEEP OF THE CONSUL, VENCE.]
[Illustration: FIG. 243. COMMANDERY OF ST MARTIN-LES-VENCE.]
A short railway journey conducts from Vence-Cagnes to NICE, across the
Var, the “dyke” or wall which keeps the floods of this impetuous river
within bounds being one of the most notable of French Engineering Works.
The existing town of Nice is almost entirely modern. The streets, with
their rows of shops and lines of trees, look like a small piece of Paris
transported to the south. The wide promenade des Anglais by the shore,
however, commands a prospect which nothing in Paris can match. The old
town, with its narrow streets crowded round the port, is of ancient
origin, being one of the original Phocæan colonies, and in the modern
“Nice” may still be recognised its original Greek name of Nike
(victory). But it became a place of secondary importance under the
Romans, who made Cemenelum, an ancient town of the Ligurians on the hill
which overlooks Nice from the north, the chief city of the Maritime
Alps, to which Nice acted merely as the port. Being so near the
frontier, both Cemenelum and Nice were exposed to attack on all hands,
and suffered severely from the invasions of the Barbarians. In 578 the
Lombards destroyed the strong city of Cemenelum or Cimiès, an event
which, to some extent, restored the ancient importance of Nice. In 617
Nice joined the other towns of the coast in a league to free themselves
from the Frankish kings. The town was frequently attacked by the
Saracens, and more than once taken and destroyed. But after the Moors
were driven from the Great Fraxinet in 975, the inhabitants of the town
were comparatively free from their inroads. Although Nice stoutly
defended her independence, she was, like the other towns of Provence,
forced to yield to the Counts of Provence, who rebuilt the Castle both
as a defence and menace to the inhabitants. Charles of Anjou was greatly
indebted to Nice for ships to enable him to carry out his designs upon
Naples. The incessant struggles between the powerful Nobles in the
neighbourhood, the Grimaldi of Monaco, the Lascaris of Tende, and the
Dorias of Dolce Aqua devastated the land, and brought famine and plague
in their train. In the wars which followed the death of Queen Jeanne,
the Niçois took the side of Ladislaus of Hungary, and called in the
Count of Savoy to aid them against the King of Naples. Under the
protection of Savoy, Nice soon regained her prosperity. The Counts of
that house strengthened the Castle by every means in their power, and
for this purpose the ancient Cathedral and Bishop’s Palace were removed.
In the sixteenth and seventeenth centuries Nice was exposed to damage
from the armies both of the French and the Emperor, and suffered
severely--so much so that the merest fragment is all that remains of the
ancient castle
[Illustration: FIG. 244. CROSS AT CIMIÈS.]
which gallantly withstood so many sieges, and not a single ancient
building is preserved.
[Illustration: FIG. 245. CASTLE OF ST ANDRÉ, NEAR NICE.]
The environs of Nice, although full of natural beauties, are remarkably
destitute of architectural interest. The few Roman relics at Cemenelum
have already been described. Near these is an old convent, where from
the churchyard a fine view of the lofty and rugged banks of the valley
of the Paillon (which runs through Nice) may be obtained. In the Parvis
in front stands a remarkable cross (Fig. 244), bearing the image of the
crucified seraph who appeared to St Francis of Assisi. The cross bears a
quatrefoil on each of its three upper points, with the figure of a
Bishop and a Monk carved in the side quatrefoils, and that of the
emblematic Pelican on her nest feeding her young in the top quatrefoil.
The cross is supported on a twisted marble shaft, some 9 or 10 feet
high, having a composite capital, containing a shield bearing the arms
of the founder. An inscription runs along the abacus, in which 1477 is
legible. This date quite corresponds with the character of the design.
Descending by a steep mule path from the height of Cimiès to the valley
of the Paillon past some great monasteries, or similar establishments,
including that of St Pons, all surrounded with walls and studded with
cypresses, we reach the high road. Following this road for three miles
up the valley brings us in view of the Castle of St André, the sketch of
which (Fig. 245) gives some idea of the nature of the scenery. Passing
through the village of St André, and penetrating a short way further up
the gorge of the torrent of the same name, Falicon is reached, famous
for its grotto and natural bridge. The view looking back upon St André
(Fig. 246) is strikingly picturesque.
From Nice the railway proceeds eastwards by a long tunnel under the
ridge, formerly dominated by the old Castle, on emerging from which we
find ourselves in one of the most charming scenes in the Riviera, the
land-locked bay of VILLEFRANCHE. On the margin of this sheltered and
beautiful arm of the sea stands the old “Free-town,” surrounded with
fortifications, and reflected in the quiet waters, on which, too, there
are generally afloat one or two majestic representatives of foreign
fleets. Between this and Monaco the railway passes along the narrow
strip of shore which lies between the sea and the lofty precipices of
tertiary limestone which here tower above it. At one of the sharp turns
round the rocks, a first distant glimpse is caught of the old town and
Castle of EZA (Fig. 247), set like an eyrie on the summit of its bare
and lofty pyramidal peak. There is a railway station at the base of the
mountain, and one feels tempted to alight and scale
[Illustration: FIG. 246. ST ANDRÉ, NEAR NICE.]
[Illustration: FIG. 247. EZA, FROM THE RAILWAY STATION.]
the height, the buildings look so enticingly picturesque. But it is no
easy task; there is scarcely any track for part of the way, and when
visible, the path is rough and full of running stones, as well as steep
and winding. One is glad to take a rest occasionally, and enjoy the
various fine views of the town on its lofty pinnacle, and the extensive
seaboard visible from this elevation. Fig. 248 gives some idea of the
character of one of these prospects. When at last the ascent is scaled,
the result, as regards the architecture, is, it must be confessed, on
the whole rather disappointing. The entrance gateway to the town is
interesting from the remarkable and strong way in which its defences
are
[Illustration: FIG. 248. EZA (_from E._)]
[Illustration: FIG. 249. APPROACH TO THE TOWN GATE, EZA.]
arranged. The outer approach (Fig. 249) is by a passage faced by a
cannon port-hole. From this access a gate at right angles leads to a
second narrow enclosed passage commanded by a machicolated tower,
through which a winding and ascending vaulted way conducts into the town
(Fig. 250.) The view of the interior of this gateway is very picturesque
(Fig. 251.) The town itself consists of a few narrow tortuous lanes
bordered by decaying houses, chiefly tenanted by donkeys, pigs, and
poultry. On the top of the bare rock, and approached by great steps cut
in the solid limestone, a few scanty and unintelligible fragments of the
castle are yet visible, but the greater portion has been entirely swept
away.
[Illustration: FIG. 250. ENTRANCE GATEWAY TO TOWN, EZA.]
Eza was the Arisium of Antonine’s Itinerary, and it formed, like
Gourdon, during mediæval times, a pretty secure retreat from the
assaults of the Corsairs. The castle was, however, demolished by the
Turks under Barbarossa in 1543. The arcaded tower house, and the door
lintel, shewn in Figs. 252 and 253, were the only objects of
architectural interest discoverable in the place.
[Illustration: FIG. 251. INTERIOR OF ENTRANCE GATEWAY, EZA.]
Between Eza and Monaco the railway continues to run along the base of
the immense cliffs which overhang the sea, or through the frequent
tunnels which penetrate them. One station short of Monaco we arrive at
that for LA TURBIE; from which, by a very steep and zig-zag path, one
may ascend the bare and nearly vertical hill above the railway, whence a
pleasant walk of a mile or two through the pine forest leads to the town
of La Turbie. This elevated situation is, however, more easily
approached by a long well-paved but steep mule-path from Monaco. The
[Illustration: FIG. 252. HOUSE IN EZA.]
monument to Augustus, which here marks the limit between Gaul and Italy,
has already been described (_ante_, p. 87). This monument has provided a
quarry, out of which the more important buildings of the town have been
constructed. This is apparent from the great size of the stones used in
the erection of the outer gateway to the
[Illustration: FIG. 253. DOORWAY IN EZA.]
[Illustration: FIG. 254. OUTER SOUTH GATEWAY, LA TURBIE.]
south (Fig. 254.) Passing through this archway, an inner encircling
street is entered, from which another picturesque and pointed gateway
(Fig. 255) gives access to the centre of the town. There is also a third
gateway of pointed form, with a long machicolation over it at the
eastern entrance (Fig. 256), and some further fragments of the olden
time are to be seen in the streets (Fig. 257). The great trophy of
Augustus, from which the place derives its name, was converted in
mediæval
[Illustration: FIG. 255. INNER SOUTH GATEWAY, LA TURBIE.]
times into a fortress, when the upper part has been rebuilt. The double
tier of pointed arcade-ornaments (Fig. 32), which formed the support of
the parapet, have quite an Italian character. They remind one of the
similar ornament on Grasse Cathedral. This tower was blown up by
Marshal Villars at the end of the seventeenth century.
[Illustration: FIG. 256. EASTERN GATEWAY, LA TURBIE.]
In descending by the steep and well-paved footpath from La Turbie to
Monaco, delightful glimpses are obtained from amongst the luxuriant
olives and citrons of the latter town on its isolated rock. Most of the
towns on the sea-board have a prominent rock for their site, but that on
which Monaco is built is the most detached and sea-girt of them all. It
is of considerable height, and has perpendicular faces on all sides. On
three sides these plunge sheer down into the sea, and on the fourth or
northern side of the peninsula the precipitous rock is only joined to
the mainland by a narrow strip of low-lying sandy beach. On the
inaccessible platform above these precipices stands the ancient town,
surrounded with its walls and bastions, and giving shelter and
protection to the quiet harbour on its eastern flank. Of all these
features we have a commanding prospect as we descend from the heights of
the Cornice road, which passes by La Turbie.
The history or traditions of Monaco extend further back than those of
most of the localities of the Riviera. It derives its name from
Hercules, who is supposed to have touched here on his way into Spain,
and to have gained a great victory over the native tribes. Hence the
name of Portus Herculis, by which the place was known in the early
centuries of our era. This was afterwards changed to Portus Herculis
Monœci, and finally into Monaco. The rocky fortress subsequently fell
into the hands of the Saracens, who are said to have been expelled from
it in the tenth century by the same Grimoald or Grimaldi who dislodged
the Moors from the Grand Fraxinet, and whose successors became the
Princes of Monaco.