,,the ,,architecture ,,of ,,provence ,,and ,,the ,,riviera ,printed by ,george ,waterston ,sons ,,for ,,david ,,douglas1 ,,edinburgh4 ,,london ,,hamilton1 ,,adams1 ,,and ,,co4 ,,cambridge ,,macmillan ,,and ,,bowes4 ,,glasgow ,,james ,,maclehose ,,and ,,sons4 ,,the ,,architecture ,,of ,,provence ,,and ,,the ,,riviera ,,by ,,david ,,macgibbon ,,author ,,of 8,,the ,,castellated ,,and ,,domestic ,,architecture ,,of ,,scotland40 ,illustration ,,edinburgh3 ,,david ,,douglas #ahhh4 ,all rights reserved4 ,,preface4 ,having been called on1 a few years ago1 to make frequent journeys between this country and the ,riviera1 the author was greatly impressed with the extraordinary variety and abundance of the ancient architectural monuments of ,provence4 ,this country was found to contain not only special styles of ,medival ,art peculiar to itself1 but likewise an epitome of all the styles which have prevailed in ,southern ,europe from the time of the ,romans4 ,it proved to be especially prolific in examples of ,roman ,art from the age of ,augustus till the fall of the ,empire4 ,it also comprises a valuable series of buildings illustrative of the transition from ,classic to ,medival times4 ,these are succeeded by a rich and florid development of ,romanesque1 accompanied by a plain style which existed parallel with it--both being peculiar to this locality4 ,the remains of the ,castellated ,architecture are also especially grand and well preserved2 while the picturesque towns1 monasteries1 and other structures of the ,riviera have a peculiar charm and attraction of their own4 ,these ,architectural treasures being comparatively unknown1 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 ,france1 and may be of use in directing attention to a most interesting department which has hitherto been to a great extent overlooked4 ,a proper history of ,provence has unfortunately not yet been written4 ,a short account1 derived from various sources1 of the state of the country from early times and during the ,middle ,ages is therefore prefixed to the description of the ,monuments1 so as to explain the historical conditions under which the ,architecture of ,provence was developed1 and to show its connection with that of other countries and times4 ,the author has to acknowledge the valuable aid he has received from the excellent notes on the ,architecture of the country by ,prosper ,mrime in his 8,voyage dans les ,midi de la ,france0 7#ahce71--;a work which1 even at the early date of its publication1 anticipated many of the results more recently arrived at4 ,the comprehensive and invaluable 8,dictionnaire ,raisonn0 of ,viollet-le-,duc has also been of much service1 and is frequently referred to4 ,most of the illustrations are from drawings and measurements made by the author on the spot1 and these generally bear his initials4 ,but where thought advisable for fuller illustration some of the drawings are taken from photographs2 from ,henry ,rvoil's beautiful work on the 8,architecture ,romane du ,midi de la ,france0 7#ahgc72 and a few from other sources as mentioned in the text4 ,special thanks are due to ,professor ,baldwin ,brown for his kindness in revising the proof sheets1 and for the valuable suggestions he has made4 ,,edinburgh1 ,october #ahhh4 ,,errata4 ,page vi4 line #aa from bottom1 for 8les0 read 8le0 8 #e1 8 #aj 8 top1 8 8two thousand0 8 8three thousand40 8 #bg1 8 #a 8 8 no 7 8 #cf1 8 #g 8 bottom1 for 8,care0 8 8,carre40 8 #ic1 8 #ab 8 8 8 8,dioeletian0 8 8,diocletian40 8 #abf1 8 #d 8 8 8 8length0 8 8width40 8 #abh1 ,title1 ,fig4 #da1 8 8,,fetes0 8 8,,tetes40 8 #adg1 line #g from bottom1 8 8apartmnts0 8 8apartments40 8 #aid1 ,title of ,fig4 #ig1 8 8,,st ,c,,saire0 8 8,,st ,,trophime40 8 #baa1 8 #bj from top1 8 8dypticks0 8 8dyptichs40 8 #bab1 8 #ad 8 bottom1 8 8,jocobi0 8 8,jacobi40 8 #bba1 8 #f 8 top1 8 8bonnded0 8 8bounded40 8 #dfb1 8 #ab 8 bottom1 8 8shews0 8 8shew40 ,,table ,,of ,,contents4 ,i4 ,,introductory4 ,the ,architecture of ,south of ,france comparatively little known1 #a2 contrast of ,north and ,south in climate1 buildings1 c41 #c2 ,provence a very ancient and independent ,state1 #d2 and scene of important historical events1 #e4 ,,ii4 ,,early ,,history ,,of ,,provence1 ,,and ,,its ,,condition ,,during ,,the ,,middle ,,ages4 ,colonised by ,phnicians1 #aajj ,b4,c4--,greek culture introduced1 #g2 occupied by the ,romans about #ajj ,b4,c41 #h2 became their favourite province1 #i2 overrun by ,visigoths in fourth century1 #aj2 ,roman and ,greek colonies were in cities1 and the revived government also municipal1 #aa2 the ,church the chief instrument of organised government1 #ab2 monasteries established1 #ac2 anarchic condition from fifth to eighth century1 #ad2 invasion of ,saracens1 #ae2 attempt to establish a 8,holy ,roman ,empire10 #af2 revival under ,charlemagne1 #ah2 growth of the monasteries1 ,cluny1 #bj2 ,citeaux1 #bb2 the ,crusades1 #bc2 effects of the above on ,architecture1 #bd4 ,,iii4 ,,political ,,history ,,of ,,provence4 ,fall of the ,empire in fifth century4 ,kings of ,provence from sixth to tenth century1 #bf2 ,kingdom of ,arles1 #bg2 ,raymond ,branger becomes ,count of ,provence1 #aa1 #ab2 independence of cities attacked1 #bg2 ,albigensian crusade1 #bh2 in #abde ,charles of ,anjou becomes ,count of ,provence1 #bi2 ,queen ,joan2 #adhj1 ,king ,ren dies and ,provence becomes part of ,france1 #cj4 ,,iv4 ,,description ,,of ,,classic ,,buildings4 ,the ,architecture of ,provence naturally divided into a ,classic and a ,medival period--which best considered separately1 #cb2 the ,roman period1 #cc2 ,paris1 ,autun1 capricious preservation of ,classic monuments1 #cd2 ,lyons1 ,vienne1 #ce2 ,temple of ,augustus and ,livia1 remains of ,forum1 #cg2 the pyramid1 #ch2 ,vienne restored1 #ci2 ,orange1 #dj2 the theatre1 #db2 triumphal arch1 #de2 other triumphal arches at ,cavaillon1 #dg2 ,st ,remy1 #dh2 mausoleum at ,st ,remy1 #ej2 ,arles1 history1 #ea2 amphitheatre1 #eb2 mode of protecting spectators in ditto1 #ed2 obelisk1 ,place d',hommes1 ,tour de la ,trouille1 #ef2 ,alyscamps1 #eg2 sculpture in museum1 #ei2 ,nimes1 history1 #fd2 amphitheatre1 #fe2 ,maison ,carre1 #fh2 statue of ,venus1 #ga2 ,nymphum1 #gb2 ,tour ,magne1 #gc2 ,roman gates1 #gd2 ,pont du ,gard1 #gf2 the 8,camargue0 and the 8,crau10 #gg2 ,st ,chamas1 ,roman bridge at1 #gg2 ,verngue1 temple at1 #gh2 paucity of classic remains at ,marseilles and ,narbonne1 #gi2 ,pomponiana1 #hj2 ,le ,luc1 #hj2 ,frjus1 history1 #hj2 gate of ,gaul1 amphitheatre1 theatre1 aqueduct1 #hb2 ,via ,aurelia1 #hc2 aqueduct of ,clausonne1 ,antibes1 ,vence1 #hd2 ,cemenelum1 #hf2 ,turbia1 #hg4 ,v4 ,,transition ,,period4 ,transition from ,classic to ,medival ,architecture1 #ij2 principles of ,greco-,italian design1 trabeate as opposed to the arch1 #ia2 gradual introduction and development of the latter1 #ib2 trabeate features dropped1 #ic2 early ,christian architecture a continuation of that of ,rome1 #id2 the basilica1 #ie2 the baptistery1 #if2 ,san ,vitale1 #if2 ,byzantine edifices1 the dome1 #ig2 ,st ,mark's1 ,syrian churches1 #ih2 early churches in the ,west--,romanesque varieties1 #ii2 attempts to vault--,san ,miniato1 #ajj2 ,notre ,dame du ,pr1 ,le ,mans2 form of vaulting in ,provence1 #ajb2 in ,aquitaine1 #ajc2 ,st ,front1 ,perigueux1 #ajd2 the dome and single nave characteristic of the ,south1 #aje2 varieties of style1 influence of ,roman remains1 #aje2 powerful in ,provence1 #ajf2 shewn in campaniles1 baptisteries1 and especially sculpture1 #ajg2 supposed ,byzantine influence--the pointed arch1 #ajg2 used for simplicity of construction1 #ajh2 ,burgundian style1 imitative of nature1 #aji2 the severe style of the ,cistertians1 #aaj2 the second style of ,provenal art2 the two periods described1 #aaa2 growth of lay element1 #aab2 traditional ecclesiastical forms abandoned and new natural forms adopted1 #aac2 ,northern ,gothic developed1 #aad2 ,gothic applicable to all requirements1 #aae2 domestic and castellated ,architecture1 #aaf2 origin and growth of the latter1 #aag2 peculiarities in the ,south1 #aah2 recapitulation1 #aai2 place of ,provenal ,architecture1 #abj4 ,,vi4 ,,description ,,of ,,medi,,val ,,buildings4 ,description of ,medival buildings--,lyons1 the ,ainay1 #aba2 the cathedral1 #abb2 ,vienne1 ,st ,andr-le-,bas1 and ,st ,pierre1 #abd2 cathedral1 #abf2 ancient houses1 #abg2 ,valence1 ,maison des ,ftes1 #abg2 castle of ,crussol1 monastery of ,cruas1 #abh2 church of ,cruas1 #acb2 ,montlimar1 ,viviers--commencement of ,provenal examples1 ,st ,paul-trois-chteaux1 #acd2 ,st ,restitut1 ,pont ,st ,esprit1 #acf2 ,courthzon1 ,avignon1 #acg2 history1 #ach2 ,notre ,dame des ,doms1 #aci2 imitation of ,roman work1 #ada2 palace of the ,popes1 #adc2 history1 #add2 description of1 #ade2 walls of town1 #adh2 gates1 #aea2 ,pont ,st ,bnezet1 #aea2 tower of ,villeneuve1 #aed2 castle of ,st ,andr1 #aee2 gatehouse1 #aef2 curtains1 #afa2 guard rooms on walls1 #afb2 church of ,villeneuve1 #afc2 churches of ,avignon1 the ,beffroi1 abbey of ,st ,ruf1 ,priory of ,st ,veran1 #afd2 ,vaison1 #afe2 ,carpentras1 ,venasque1 ,pernes1 ,le ,thor1 ,cavaillon1 #afg2 ,le clocher de ,mollges1 #afh2 ,tarascon1 history1 ,ste ,marthe1 #afh2 castle1 #agj2 houses1 gateway1 #agb2 ,beaucaire castle1 #agc2 triangular keep1 #agf2 oratory1 #agh2 ,les ,baux1 #agi2 the town--the bas-reliefs1 #ahj2 account of the family1 #aha2 ,st ,gabriel1 #ahb2 ,arles1 ,st ,trophime1 #ahc2 includes examples of all periods of ,provenal ,architecture--the ,cistertian nave1 #ahd2 the west portal1 #ahg2 the cloisters1 #ahh2 the ,alyscamps1 ,st ,honorat1 #aia2 prosperity of ,arles after union to ,france--,renaissance palaces1 #aib2 ,mont-,majour1 ,hermitage1 #aid2 church1 #aif2 cloister1 #aii2 chapel of ,ste ,croix1 #aii2 the keep1 #bjc2 ,st ,gilles1 ,abbey church1 #bjd2 interrupted by ,albigensian crusade1 #bje2 portal1 #bjf2 sources of ,provenal art1 #baj2 ,les ,saintes ,maries1 #bab2 ,marseilles1 ,st ,victor1 #bac2 ,aix-en-,provence1 ,st ,sauveur1 #bag2 cloisters1 #bai2 8,les ,villes ,mortes du ,golfe de ,lyon10 #bbj2 ,montpellier1 ,maguelonne1 #bbb2 ,bziers1 #bbb2 ,st ,nazaire1 #bbd2 ,fountain1 #bbg2 house in town1 #bbh2 ,puisalicon1 ,st ,pierre de ,reddes1 ,st ,martin de ,londres1 #bbi2 ,narbonne1 history1 #bcj2 cathedral1 #bca2 its fortifications1 #bcb2 ,archbishop's palace1 #bcc2 the keep1 #bcd2 ,st ,paul1 the ,lagunes1 the ,pyrenees1 ,perpignan1 #bce2 the castellet1 cathedral1 #bcf2 citadel1 c41 ,elne1 #bci2 cathedral1 #bdj2 the unfinished chevet1 the campanile1 #bda2 the cloisters1 #bdd2 ,carcassonne1 #bdd2 history1 #bde2 towers of the ,visigoths1 #bdf2 the porte ,narbonnaise--the barbican and its defences1 #beb2 the walls and towers1 #bed2 ,st ,nazaire1 #beg2 ,aigues ,mortes1 #bfj2 ,canal1 #bfa2 walls and gateways1 #bfd2 ,porte de ,nimes1 #bff2 ,tour de ,constance1 #bfh2 ,tour ,carbonnire1 #bfi4 ,eastwards from ,marseilles--,toulon1 #bgj2 ,hyres1 #bga2 castle1 #bgb2 ,st ,paul1 #bgc2 examples of ,cistertian style1 #bgd2 ,cannet1 #bge2 abbey of ,thoronet1 #bgf2 the cloisters1 #bgh2 remarkable details1 #bhj2 chapter house1 #bha2 ,st ,maximin1 #bhb2 ,frjus1 cathedral and ,bishop's palace1 #bha2 fortified1 #bhi2 baptistery1 #bia2 8,pantheon0 at ,riez1 #bic2 the cloisters1 ,frjus1 #bif2 ,brass lamp1 #bih2 doorways in town1 #bii2 district of ,les ,maures1 how to visit1 #cjj2 ,st ,tropez1 fish market1 #cja2 ,grimaud1 castle1 #cjb2 ,la ,garde ,freinet1 ,st ,raphal1 the ,esterelle mountains1 #cjd2 ,napoule1 #cje2 ,st ,peyr1 ,mont ,st ,cassien1 #cjg2 ,cannes1 #cjh2 history1 ,tour du ,chevalier1 #caj2 ,st ,anne1 #cad2 ,notre ,dame d',esprance1 #cag2 ,iles de ,lrins1 #cai2 ,st ,honorat1 cloisters1 #cbj2 ,ste ,trinit1 #cbj2 ,st ,sauveur1 #cbc2 castle of ,st ,honorat1 #cbd2 style of lower cloister1 #ccj2 style of upper cloister1 #ccd2 additions1 #cdj2 ,ste ,margurite1 #cdc2 ,vallauris1 #cdd2 ,le ,cannet1 #cdg2 ,mougins1 ,notre ,dame des ,vie1 #cdh2 ,auribeau1 #cej2 ,grasse1 #cea2 cathedral1 #cec2 keep tower1 #ced2 ,renaissance1 #ceg2 l',oratoire1 #ceg2 ,st ,csaire1 #cei2 chteau de ,tournon1 #cfc2 ,montauroux and ,callian1 #cfd2 ,le ,bar1 #cff2 ,gourdon1 #cfg2 ,tourettes1 #cfi2 ,antibes1 #cga2 two keep towers1 #cgc2 ,cagnes1 castle1 #cgf2 castle of ,villeneuve-,loubet1 #cgh2 history1 #cha2 tower of ,la ,trinit1 #chb2 ,biot1 #chg2 ,st ,paul-du-,var1 #cib2 approach to1 #cic2 ,architecture of shops and houses1 #cie2 staircase1 #cig2 gateway1 #cih2 church1 #djj2 remarkable keep-tower1 #dja2 ,vence1 #djg2 cathedral1 #dji2 keep towers1 #daa2 column1 #dac2 commandery of ,st ,martin1 #dad2 destruction of the ,templars1 #dag2 ,nice1 history1 #dah2 ,cimis ,cross1 #dba2 castle of ,st ,andr1 #dbb2 ,villefranche1 ,eza1 #dbb2 ,la ,turbie1 #dbh2 gateways1 #dcj2 ,monaco1 #dcb2 history1 #dcc2 ,ducal ,palace1 #dcd2 ,roquebrune1 #dcg2 ,mentone1 #dch2 ,gorbio1 ,ste ,agnes1 ,castellar1 #dda2 boundary of ,provenal ,architecture1 #dda2 ,ventimiglia1 #dde2 ,dolce ,aqua1 #dde2 ,pigna1 #ddh2 ,san ,remo1 #ddi2 ,taggia1 #dej2 ,bussana1 ,oneglia1 c1 #dea2 ,albenga1 #deb2 ,genoa1 #dee4 ,,list ,,of ,,illustrations4 ,details from ,cathedral1 ,genoa1 ,title-page ,map of ,provence and ,riviera1 ,to face page #a ,details from ,cathedral1 ,arles--,headpiece1 #a ,details from ,arles ,museum--,headpiece1 #g ,head in ,arles ,museum--,tailpiece1 #bd ,details from ,cathedral1 ,genoa--,headpiece1 #be 8 of ,tomb of ,cornelia1 ,arles--,tailpiece1 #ca 8 from ,arles ,museum--,headpiece1 #cb ,,vienne1 ,temple of ,augustus and ,livia1 #cf 8 ,roman ,forum1 #cg 8 ,the ,pyramid1 #ch 8 ,restored1 #ci ,,orange1 ,roman ,theatre--,exterior1 #da 8 8 8 ,interior1 #dc 8 ,triumphal ,arch1 #df ,,st ,,remy1 ,triumphal ,arch and ,mausoleum1 #di ,,arles1 ,amphitheatre--,exterior1 #eb 8 8 ,interior1 #ec 8 ,roman ,theatre1 #ee 8 ,place d',hommes1 #eg 8 ,the ,alyscamps1 #eh 8 ,from the ,museum1 #ei 8 ,tomb of ,cornelia1 #fj 8 ,from the ,museum1 #fa 8 8 8 #fb 8 8 8 #fc ,,nimes1 ,amphitheatre--,exterior1 #fd 8 8 ,interior1 #fe 8 8 ,corridor1 #fg 8 ,maison ,carre1 #fi ,,nimes1 ,statue of ,venus1 #ga 8 ,nymphum1 #gb 8 ,la ,tourmagne1 #gd 8 ,le ,pont du ,gard1 #ge ,,fr,,jus1 ,amphitheatre1 #ha ,,fr,,jus1 ,aqueduct1 #hc ,,clausonne1 ,aqueduct1 #hd ,,cimies1 7,looking ,n4,e47 #he 8 7,looking ,s4 ,w471 #hf ,,la ,,turbie1 ,monument to ,augustus1 #hg ,from ,arles ,museum--,tailpiece1 #hi 8 --,headpiece1 #ij ,,san ,,miniato1 #aja ,,toulouse ,cathedral1 #ajf ,from ,piazza1 ,san ,matteo1 ,genoa--,headpiece1 #aba ,,lyons1 ,the ,ainay1 #abb 8 ,arcades in ,cathedral1 #abc ,,vienne1 ,st ,andr-le-,bas1 #abd 8 ,st ,pierre1 #abe 8 ,st ,maurice1 #abf 8 ,house in1 #abg ,,valence1 ,maison-des-,ttes1 #abh ,,crussol1 ,castle1 #abi ,,cruas1 ,abbey 7from ,s4,w471 #acj 8 ,monastery ,church1 #aca 8 ,church1 #acc ,,st ,,paul-,,trois-,,ch,,teaux1 ,part of ,exterior 7from ,rvoil71 #ace ,,avignon1 ,church of ,notre ,dame des ,doms1 and ,palace of the ,popes1 #adj 8 ,monument of ,pope ,john ,,xxii41 #adb 8 ,plan of the ,palace of the ,popes 7from ,viollet-le-,duc's ,dictionnaire71 #adc 8 ,portion of ,city ,wall 7,west side71 #adi 8 ,pont ,st ,bnezet and ,chapel of ,st ,nicholas1 #aeb ,,villeneuve1 ,tower1 #aed ,,st ,,andr1 ,oratory in ,castle1 #aee 8 ,castle1 ,villeneuve-lez-,avignon4 ,plan of ,entrance ,gateway1 #aef 8 ,castle of1 ,villeneuve-lez-,avignon4 ,exterior of ,gateway1 #aeg 8 ,castle1 ,interior of ,gateway1 #aeh ,,st ,,andr1 ,castle1 ,fireplace in ,gatehouse1 #aei 8 8 ,walls of ,enceinte1 #afj 8 ,guard-room on wall1 #afa 8 ,remains of a ,guard-room on wall1 #afb ,,villeneuve-,,lez-,,avignon1 ,church1 #afc ,le ,clocher de ,mollges 7from ,viollet-le-,duc's ,dictionnaire71 #afh ,,tarascon1 ,ste ,marthe1 #afi 8 ,castle1 #aga ,,tarascon1 ,house1 #agb 8 ,gate1 #agc ,,beaucaire1 ,plan of the ,castle1 #agd 8 ,castle 7from ,s4-,e471 #age 8 8 7from ,n4-,e471 #age 8 ,plans of the ,keep1 #agf 8 ,castle 7,interior of ,courtyard71 #agg ,,les ,,baux1 ,fortress1 #agi ,,st ,,gabriel1 ,church1 ,west ,front4 7,from ,rvoil71 #ahb ,,arles1 ,st ,trophime1 #ahe 8 ,west ,portal of ,st ,trophime1 #ahf 8 ,cloisters1 ,st ,trophime1 7,eastern ,arcade71 #ahi 8 8,clocher0 of the ,church of ,st ,honorat1 7,from ,rvoil71 #aia 8 ,renaissance ,house1 #aic ,,mont-,,majour1 ,plan of ,hermitage1 #aid 8 ,hermitage--,chapel of ,st ,peter1 #aie 8 ,the ,church and ,keep1 #aig 8 ,cloisters1 #aih 8 ,chapelle de ,sainte ,croix1 #bjj 8 ,mortuary ,chapel1 #bja 8 ,the ,keep1 ,hermitage1 etc41 #bjb 8 ,plans and ,section of ,keep1 #bjc ,,st ,,gilles1 ,portal1 #bjg 8 ,south ,doorway1 7,enlarged71 #bjh ,,les ,,saintes ,,maries1 ,church4 7,from ,rvoil47 #bac ,,marseilles1 ,st ,victor--,exterior1 #bad 8 8 ,interior1 #bae 8 ,monument in ,st ,victor's1 #baf ,,aix-,,en-,,provence1 ,st ,sauveur1 ,doorway1 #bag 8 8 8 ,interior1 #bah 8 ,cloisters1 ,st ,sauveur1 #bai ,b,,ziers1 ,from the ,orbe1 #bbc ,b,,ziers1 ,tower1 ,south side of ,st ,nazaire1 #bbd 8 ,apse1 ,st ,nazaire1 #bbe 8 ,cathedral of ,st ,nazaire1 #bbf 8 ,fountain in ,cloisters1 #bbg 8 ,house1 #bbh 8 ,st ,pierre de ,reddes4 7,from ,rvoil47 #bbi ,,narbonne1 ,cathedral of ,st ,just1 #bca ,,perpignan1 ,the ,castellet1 #bcg ,,perpignan1 ,cathedral of ,st ,jean1 #bch ,,elne1 ,marble ,gateway1 #bda 8 ,cathedral1 #bdb 8 ,cloisters1 #bdd ,,carcassonne1 general view1 #bde 8 ,towers and ,castle1 #bdg 8 ,outer and ,inner ,walls1 ,north ,side1 #bdi 8 ,porte ,narbonnaise1 #bea 8 ,western ,walls and ,barbican1 #bec 8 ,interior of ,walls1 #bef 8 ,st ,nazaire1 #beh ,,aigues ,,mortes1 8,tour de ,constance10 #bfa 8 ,walls on ,east and ,north ,sides1 #bfc 8 ,interior of ,south ,side of ,walls1 #bfe 8 ,porte de ,nimes1 #bfg ,,hy,,res1 ,castle1 #bgb 8 ,st ,paul1 #bgc ,,cannet1 #bge ,,thoronet1 ,church from ,south-,west1 #bgf 8 8 ,interior1 #bgg 8 ,cloister1 #bgi 8 ,caps in ,cloister1 #bhj 8 ,fountain in ,grounds1 #bhc ,,st ,,maximin1 ,church1 #bhd ,,fr,,jus1 ,plan of ,cathedral1 #bhe 8 ,cathedral1 ,interior1 #bhf 8 ,western ,enclosure and ,cathedral ,buildings1 #bhg 8 ,cathedral1 ,eastern ,tower and ,bishop's ,palace1 #bhh 8 8 ,south or ,entrance ,front1 #bij 8 8 ,baptistery1 #bib ,,riez1 ,the 8,pantheon10 ,plan 7,from ,texier and ,pullan71 #bic 8 8 ,section 8 8 #bid ,,fr,,jus1 ,cathedral1 ,cloisters1 #bie 8 8 8 ,interior1 #big 8 ,cathedral1 ,brass ,lamp 7,from a drawing by ,mr ,r4 ,burns ,begg71 #bih 8 ,doorways1 #bii ,,st ,,tropez1 general view1 #cjj 8 ,entrance to ,fishmarket1 #cja ,,grimaud1 ,from the ,plain1 #cjb ,,grimaud1 ,castle1 #cjc ,,napoule1 ,castle1 #cje 8 8 #cjf ,,mont ,,st ,,cassien1 #cjg ,,cannes1 ,bay of1 and the ,esterelle ,mountains1 #cji 8 ,the ,old ,town1 #caa 8 ,tour du ,chevalier1 #cab 8 8 8 ,plan and ,section1 #cac 8 ,church of ,st ,anne1 #cae 8 8 8 ,plan1 #caf 8 8 8 ,doorway1 #caf 8 ,mont du ,chevalier1 #cag 8 ,notre ,dame d',esprence1 #cah ,,st ,,honorat1 ,cloisters of ,monastery1 ,interior1 #cbj 8 ,ste ,trinit1 ,interior1 #cba 8 8 ,plan1 #cbb 8 8 ,west ,end1 #cbc 8 8 ,east ,end1 #cbd 8 8 ,doorway1 #cbe 8 ,st ,sauveur1 ,lrins 7from ,rvoil71 #cbe 8 ,castle1 ,plan of ,ground ,floor1 #cbf 8 8 7from ,n4-,w471 #cbg 8 8 ,lower ,cloister1 #cbi 8 8 ,capitals and ,bases1 #ccj 8 8 8 8 ,base1 #cca 8 8 ,lower ,cloister1 #ccc 8 8 7from ,n4-,e471 #cce 8 8 7section from ,n4 to ,s471 #ccf 8 8 ,plan of ,first ,floor1 #ccg 8 8 ,upper ,cloister1 #cch 8 8 ,upper ,cloister1 ,details1 #cci 8 8 ,refectory1 #cda ,,ste ,,margu,,rite1 ,castle1 #cdc ,,vallauris1 ,abbot's ,summer ,palace1 #cde 8 ,chapel of ,abbot's ,summer ,palace1 #cde 8 8 8 8 8 #cdf ,,le ,,cannet1 8,maison du ,brigand10 #cdg 8 ,notre ,dame des ,anges1 #cdh ,,mougins1 ,notre ,dame de ,vie1 #cdi 8 ,gate to ,town1 #cej ,,auribeau1 #cea ,,grasse1 ,view of ,town1 #ceb 8 ,cathedral1 ,plan of1 #ceb 8 8 ,west ,end1 #cec 8 8 7,campanile at ,n4 ,e4 angle71 #ced 8 8 ,interior1 #cee 8 ,keep ,tower1 #cef 8 ,staircase1 #ceg 8 ,church of the ,oratoire1 #ceh 8 8 8 ,cap of ,main ,pier1 #cei ,,st ,c,,saire1 ,ancient ,gateway1 #cei 8 ,carving over ,doorways1 #cfj 8 ,church1 ,exterior1 #cfa 8 8 ,interior1 #cfb 8 ,plan of ,church1 #cfc ,,chateau ,,de ,,tournon1 #cfc ,,callian1 ,town and ,castle1 #cfd ,,le ,,bar1 ,south ,doorway of ,church1 #cfe ,,gourdon1 ,view of1 #cfg 8 ,houses1 #cfh 8 ,chteau1 #cfi ,,tourettes1 ,church1 #cgj 8 ,font1 #cga ,,antibes 7from ,west71 #cgb 8 ,tower or ,keep attached to ,cathedral1 #cgd 8 8 8 of the ,castle1 #cge ,,cagnes1 ,castle 7from the ,south71 #cgg 8 8 7from the ,n4-,e471 #cgh ,,villeneuve-,,loubet1 ,castle 7from the ,n4-,w471 #cgi 8 8 8 7from the ,s4-,e471 #chj ,,la ,,trinit1 ,tower of 7,plan71 #chb 8 8 7from the ,chapel71 #chc ,,la ,,trinit1 ,tower of 7from the ,s4-,w47 #chf ,,biot1 ,view of1 #chg 8 ,church--,exterior1 #chi 8 8 ,plan of1 #cij 8 8 ,interior1 #cia ,,st ,,paul-,,du-,,var1 7from the ,east71 #cic 8 78 ,west71 #cid 8 ,details1 #cie ,,st ,,paul-,,du-,,var1 ,old ,shops and ,houses1 #cif 8 ,side ,street1 #cig 8 ,main ,street1 #cih 8 ,interior of ,north ,gateway1 #cii 8 ,main ,street1 #djj 8 ,chimney-piece in the ,maison ,suraire1 #dja 8 ,staircase in the ,maison ,suraire1 #djb 8 ,north ,gateway1 #djc 8 ,church1 ,west ,end of1 #djd 8 8 ,interior1 #dje 8 8 ,plan of1 #djf 8 ,tower or ,keep1 #djg ,,vence1 ,cathedral--,interior1 #dji 8 8 ,plan1 #daj 8 8 ,east ,end1 #dab 8 8 ,font1 #dac 8 ,behind ,cathedral1 #dad 8 ,ancient ,house1 #dae 8 ,doorway1 #daf 8 ,tower or ,keep of the ,consul1 #dag ,,st ,,martin-,,les-,,vence1 ,commandery1 #dah ,,cimies1 ,cross1 #dbj ,,nice1 ,castle of ,st ,andr1 #dba 8 ,st ,andr1 #dbc ,,eza1 7from the ,railway ,station71 #dbd 8 7from the ,east71 #dbe 8 ,approach to the ,town ,gate1 #dbf 8 ,entrance ,gateway to ,town1 #dbg 8 ,interior of ,entrance ,gateway1 #dbh 8 ,house1 #dbi 8 ,doorway1 #dcj ,,la ,,turbie1 ,outer south ,gateway1 #dcj ,,la ,,turbie1 ,inner ,south ,gateway1 #dca 8 ,eastern ,gateway1 #dcb 8 ,houses1 #dcc ,,monaco1 ,ducal ,palace1 #dce 8 8 8 7,n4 ,w4 ,bastion71 #dcf ,,roquebrune1 ,entrance to ,town1 #dcg 8 ,font1 #dch 8 ,castle1 #dci ,,mentone1 7from the ,harbour71 #ddj ,,ventimiglia1 ,west ,portal of ,cathedral1 #ddb 8 ,interior of ,cathedral1 #ddc ,,dolce ,,aqua1 ,street1 #ddd 8 ,castle of the ,dorias1 #dde 8 8 8 7from the ,s4 ,w471 #ddf ,,san ,,remo1 ,street1 #ddg 8 ,houses1 #ddh 8 ,san ,siro 7,north ,doorway71 #ddi ,,taggia1 ,gateway and ,street1 #dej 8 ,doorway1 #dea 8 8 #deb 8 ,cloisters1 ,st ,christofero1 #dec ,,alassio1 ,church1 #ded ,,albenga1 ,towers and ,west ,end of ,church1 #dee 8 7from ,railway ,station71 #def 8 ,tower at ,north-,east of ,church1 #deg ,,genoa1 ,cloisters1 ,san ,matteo1 #dei 8 ,doorway1 ,piazza ,san ,matteo1 #dfj 8 ,church1 ,cloisters1 etc41 #dfa 8 ,campanile1 #dfb ,knocker1 ,elne ,cathedral--,tailpiece1 #dfc ,lamp from ,old ,church1 ,monaco1 #dfd ,details from ,tomb of ,cornelia1 ,arles ,museum1 #dfg ,illustration3 ,,sketch ,,map ,,to ,,accompany 8,,the ,,architecture ,,of ,,provence ,,and ,,the ,,riviera40 ,scale of ,english ,miles ,illustration ,i4 ,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 country1 and every one is more or less acquainted with them4 ,the various styles which have prevailed there--whether ,gothic or ,renaissance1 ,ecclesiastical1 ,castellated or ,domestic--have all been fully illustrated and rendered familiar by numerous admirable works1 both ,french and ,english4 ,besides1 being so near our own shores1 and lying as it does1 between ,england and ,paris1 this part of the country is easily accessible1 and is much visited by ,english tourists and students of architecture4 ,the various styles of ,northern ,france1 too1 have many points of resemblance to those on this side of the channel2 and there thus exists a feeling of sympathy between the two which renders the study of both1 and a comparison of their similarities and differences1 particularly interesting to the ,english observer4 ,all these circumstances have contributed to make the great cathedrals of ,amiens1 ,beauvais1 ,rouen1 ,rheims1 and ,chartres familiar and attractive2 while the picturesque towns of ,northern ,france1 with their quaint half-timbered houses1 and the no less picturesque costumes of the inhabitants1 are constantly brought before us in the charming representations of our artists4 ,the ancient castles of ,normandy and ,northern ,france1 such as the ,chteaux d',arques1 ,gaillard1 and ,falaise1 are as closely connected with ,english as ,french history2 and as the dwellings of our ,plantaganet ,kings1 and the scene of many important events in their lives1 they claim even more attention at our hands than they have yet received4 ,but the ,south of ,france is a comparatively unknown country4 ,it is much less frequented by our countrymen than the ,north1 and its buildings and scenery rarely form the subject of our artists' paintings4 ,it is indeed true that a very large number of ,english people winter in the ,riviera or at ,pau2 but these visitors are all desirous to perform their migration at a single flight1 and to move1 as by a magic spell1 unconscious of the horrors of the middle passage1 from the gloom of the dreary winter of ,england to the bright sunshine and lovely landscape of the ,south4 ,that this should be the case is perhaps scarcely to be wondered at1 so many of the visitors being themselves delicate or in company with invalids4 ,but for their own sakes it is much to be regretted1 as they thus pass through a great deal of fine and novel scenery without observing it1 and catch but a passing glimpse of some of the most ancient and interesting cities1 churches1 and castles in ,europe4 ,it must1 however1 be confessed that the intervening district between the ,north and ,south is not a pleasant region in mid-winter4 ,between ,lyons and ,marseilles the cold is frequently very intense1 and the whole valley of the ,rhone suffers from the fierce and bitter 8mistral0 which sweeps down it from the region of the ,cevennes ,mountains on the north-west4 ,to enjoy a tour in the valley of the ,rhone on the way out to the ,riviera one must start earlier than usual1 so as to make the ,october weather available1 or delay till the return journey in spring4 ,the ,englishman travelling southwards for the first time is chiefly struck with the entire change in the aspect of the scenery1 the vegetation1 the style of the buildings1 the colour of the soil and hills1 the brilliant sunshine1 and the clear blue sky1 which everywhere meet the view in descending the ,rhone4 ,this is especially the case in going south by the night train from ,paris4 ,soon after leaving ,lyons daylight commences1 when the traveller awakes to find himself in a new zone4 ,all the surroundings are transformed3 instead of the sombre sun and foggy atmosphere of the ,north1 he enjoys the bright light and breathes the clear air of the ,south1 and finds around him1 instead of bare trees and frozen herbage1 vineyards and gardens still rich with the lovely tinted foliage of autumn4 ,the buildings in these gardens and fields particularly strike the eye of the architect4 ,they are so unlike what he has been accustomed to1 and left behind only a few hours ago4 ,the houses of timber-framed work1 with their steep roofs covered with slates or flat tiles1 and the snug homesteads of ,england and the ,north of ,france1 have entirely vanished2 and in their stead only small square or oblong erections are to be seen scattered here and there through the fields1 with plastered and tinted walls1 and covered with tiled roofs of the ribbed ,italian pattern1 all laid at flat slopes1 and generally having one side of the roof much longer than the other4 ,at ,avignon the change of aspect is even more complete4 8,on arriving at ,avignon10 says ,prosper ,mrime1 8it appeared to me that ,i had left ,france behind4 ,landing from the steamboat ,i had not been prepared by a gradual transition for the novelty of the spectacle which presented itself2 the language1 the costumes1 the aspect of the country1 everything appears strange to one coming from the centre of ,france4 ,i believed myself in the middle of a ,spanish town4 ,the crenellated walls1 the towers furnished with machicolations1 the country covered with olives and plants of a tropical vegetation1 recalled ,valencia1 c40 ,not less great than the differences in climate and in the aspects of nature1 are those of the arts of the ,north and ,south2 and these diversities in nature and art1 although now all embraced within the compass of one great and united country1 are indications of the political differences which1 in former times1 existed between the various portions of it4 ,the growth of ,france as a kingdom has been slow and gradual4 ,not to refer to changes which have occurred in our own times to modify the extent of her surface1 it should be remembered that ,provence was no part of ,france till the fifteenth century4 ,it was not till #adha1 in the time of ,louis ,,xi41 that ,provence passed under the rule of the ,king of ,france4 ,during the earlier and more important epochs of the architectural revolutions in that province1 it formed an independent ,state1 and was in advance1 in art and literature1 of its northern neighbours4 ,in considering the history of its architecture1 it is important that this should be kept clearly in view4 ,we shall see1 as we glance rapidly over the history of the ,southern provinces1 that1 in most respects1 the development of the civilisation of the ,south differs from that of the ,northern kingdom1 and that the growth of the architecture naturally follows the progress of the respective countries4 ,the art of the ,south1 although it reached maturity earlier than that of the ,north1 was also the first to decay2 and1 as the ,northern ,franks spread their arms over the ,south1 and bit by bit got possession of the land1 so their noble and vigorous style of architecture accompanied them1 and1 to a great extent1 superseded the older and more finished1 but less expansive1 styles of the southern provinces4 ,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 of4 ,this region has in all ages formed a centre for the reception of the culture and arts of the various nations of the ,mediterranean1 and from which these have again been radiated to the remoter countries of the ,west4 ,its reminiscences thus carry us back to the dawn of history1 some three thousand years ago1 when we find the coast in the hands of the ,phnician navigators1 by whose commercial and naval activity it could not fail to be greatly influenced4 ,to the ,phnicians succeeded the ,greeks1 who colonised the country1 and infused into it that spirit of ,grecian culture and art of which it was long the home4 ,the ,romans next took possession of the land1 and1 under their dominion1 it became a favourite province1 and was lavishly enriched with the productions of the magnificent architecture of the ,empire4 ,amidst the horrors of the barbarian irruptions which followed the fall of the ,empire1 this fortunate province succeeded in maintaining some relics of ,roman civilisation2 and when the dawn began to appear after the terrible night of the ,dark ,ages1 it was amongst the first to show signs of life and revival4 ,in the ,south1 song and literature1 encouraged by contact with the ,saracens of ,spain1 sprang up and flourished ere1 in the ,north1 the struggle for existence had produced a settled condition in the land4 ,here too the ,christian ,church took an early and firm hold1 and has left interesting traces of its sacred edifices of very early date4 ,it was here also that the primitive monastic societies of the ,west preserved the learning and enlightenment whereby the nations were subsequently revived and illumined4 ,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 ,west4 ,it occupied in this respect1 during the twelfth and thirteenth centuries1 a very remarkable position1 and was at that time the scene of action of some of the chief political and religious movements in the ,west of ,europe4 ,while connected as a fief with the 8,holy ,roman ,empire10 it was also in close proximity to the growing power of ,france on the north1 and to ,spain and ,italy on the south4 ,for a time indeed it was under the suzerainty of ,aragon1 and was thus brought into contact with the science and arts of the ,moors in ,spain4 ,from ,italy again it received an impulse from the energy of the growing ,republics of that country2 while it also felt only too terribly and effectively the sway and power of the ,pope4 ,at the same time it became the chief entrept of the growing traffic from the ,east1 and the highway by which the artistic and other products of the ,levant were dispersed through ,france and the ,north of ,europe4 ,the importance of this region was at that period immense1 but in course of time it gradually diminished1 until at length the tide of influence became reversed4 ,the increasing power of ,france overshadowed the ,south1 and the policy and arts of the ,north gradually encroached upon and finally absorbed it4 ,having to investigate the architecture of a region so rich in historic and artistic records1 it may be well1 before considering its monuments in detail1 to glance a little more fully at the historic conditions under which the various styles we shall meet with were produced and developed4 ,we shall thus be the better able to understand and appreciate their place and significance in connection with the growth of the architecture4 ,illustration ,,ii4 ,the history of the littoral of the ,mediterranean goes back to the earliest dawn of maritime enterprise4 ,the coast was visited by the ,phnicians1 those first and adventurous merchants and navigators of the ,levant1 who pushed their commerce even as far as the shores of distant ,britain4 ,carthage was one of the ,tyrian ,colonies1 and so also was ,cadiz1 founded about #aajj ,b4,c4 ,the ,phnicians established many cities and ports on the coast1 such as ,illiberris1 ,narbonne1 and ,marseilles1 and carried on a considerable trade with them4 ,some of these have entirely perished1 while in the remainder only a few traces have been found of their ,phnician origin4 ,the next navigators who explored the ,riviera were the ,greek colonists from ,phoca1 itself a ,grecian colony on the coast of ,asia ,minor1 the inhabitants of which were forced to leave their country by the invasion of the ,persians under ,cyrus4 ,these adventurers1 after establishing themselves in ,corsica1 spread to other parts of the coast4 ,they settled about #fjj ,b4,c41 by treaty with the natives1 at ,massilia or ,marseilles4 ,owing to its fine rock-sheltered harbour1 and from its proximity to the mouth of the ,rhone1 which then formed the highway to the extensive and populous country lying to the northwards1 this colony soon grew into a flourishing seaport4 ,in course of time the ,massiliotes became rich1 and acquired extensive lands around their town4 ,they also spread their canvas over the neighbouring seas1 and established numerous colonies all along the coast1 such as ,narbonne1 ,antibes1 ,nice1 ,monaco1 c4 ,the ,phocans brought with them from their native home1 and introduced wherever they went1 their ,greek tongue1 together with their ,grecian culture and love of ,art4 ,the government of their towns was founded on the pattern of that of ,phoca1 the people choosing a council of #fjj1 a committee of whom formed the executive4 ,they had also schools and colleges for the teaching of grammar and letters1 and the encouragement of science and art4 ,the language1 civilisation1 and culture of the whole of the ,massiliote towns were thus entirely ,greek1 and gave a ,grecian character to the first enlightenment of ,southern ,gaul2 a circumstance which left a distinct trace in the artistic style of the country1 even under the ,empire1 just as in ,sicily and southern ,italy1 the settlement of the ,greek colonists in those countries produced a similar result4 ,the ,massiliotes1 being rivals of the ,carthaginians as merchants and navigators1 naturally took part with the ,romans in their ,punic wars1 furnished them with ships1 and became their allies4 ,in #aed ,b4,c4 the ,ligurian tribes of ,south ,gaul rose against the ,massiliote colonies1 and the latter in their turn applied to their ,roman allies for assistance4 ,this formed the first introduction of the ,roman ,legions into ,gaul4 ,other disputes with the native tribes arose1 and in #abc ,b4,c4 ,c4 ,sextus ,calvinus completed the subjugation of the ,salyes1 and founded the first ,roman settlement in transalpine ,gaul at ,aquae ,sextiae 7now ,aix71 where he had found the warm springs attractive4 ,the road from ,italy into ,gaul by the sea-coast was thus secured1 and a way opened for further conquest4 ,in #aah ,b4,c4 ,q4 ,fabius ,maximus and ,c4 ,domitius ,ahenobarbus defeated the ,avernes and ,allobroges1 and became masters of the ,southern ,celts4 ,a ,roman colony was then established at ,narbo ,martius 7,narbonne71 to secure the country and protect the road into ,spain4 ,during the civil war ,massilia espoused the cause of ,pompey1 a course which led to the town being besieged and taken by ,caesar4 ,massilia was then ,romanized and lost her colonies1 but she still retained her letters and arts1 and her schools continued to flourish under the ,empire4 ,by the year #ej ,b4,c4 the whole of ,gaul had been subdued by ,julius ,caesar4 ,colonies were established by him and his successors at ,arles1 ,orange1 ,vienne1 and all the important ,gallic towns1 and the country was thus brought under ,roman rule and influence4 ,traces of the gradual passage from ,greek to ,roman culture are to be found in the monuments of the earlier centuries of the ,christian era4 ,this is observable in the change from the ,greek to the ,latin language1 the ,greek names assuming a ,latin form and being inscribed in ,roman characters4 ,under ,rome the towns of ,gaul were adorned with the profusion of splendid public buildings universal throughout the ,empire1 every town being provided with its ,forum and ,temples1 its ,theatre1 ,amphitheatre1 ,baths1 ,aqueducts and ,triumphal ,arches4 ,the style of architecture adopted was naturally that of the ,romans1 but in many buildings and sculptures of the early centuries1 a strong ,greek feeling may be detected4 ,this is also the case at ,pompeii1 in ,southern ,italy1 which was likewise originally a ,greek colony4 ,during the second and third centuries1 ,south ,gaul gradually became entirely ,romanized1 and was the favourite province of the ,empire1 with the seat of the prefect at ,trves4 ,in the first brilliant period of the ,empire1 her extensive conquests added to her strength1 both in supplying men for her armies1 and wealth for the embellishment of her cities4 ,hence the magnificent display of public buildings then erected everywhere throughout the ,roman world4 ,but it also tended to her enervation through luxury and superfluity4 ,this gradually encouraged the growing corruption of the ,empire1 and caused continually fresh demands on the provinces to feed the central craving and consumption--while with luxury the strength of ,rome relaxed1 and she became unable in return to extend to the provinces the support they required4 ,this weakness went on1 gradually increasing1 till in the fifth century the country fell an easy prey to the hordes of ,barbarians who then poured in upon it4 ,in the fourth century the ,visigoths had burst over ,southern ,gaul1 and settled in the fertile plains between the ,pyrenees and the ,garonne4 ,that part of the country being well peopled and civilised1 and the conquerors comparatively small in number1 they were in course of time1 to a great extent1 absorbed into the general population4 ,the civilisation and polity of the ,romans thus continued to preserve a comparatively uninterrupted course in the south-west of ,gaul4 ,it is a peculiarity of all the ,greek and ,roman colonies1 as compared with those of modern times1 that they were established in cities4 ,in the cities were centred all the life and movement of the ancient world4 ,the land of course had to be cultivated1 but that was done by bands of slaves led out from the towns4 ,the open country was uninhabited1 and except within a short distance from the towns1 lay waste and uncultivated4 ,the form of government exercised in the various states1 was founded on that of the towns4 ,the supreme power of ,rome herself1 with all her wide-spread command1 was but an extended municipal authority1 and every town was in this respect a repetition of the capital on a small scale4 ,as the conquests of ,rome extended1 this form of government was found inadequate to the control of the numerous nations finally comprised under ,roman sway4 ,the ,empire1 with its stronger grasp and centralised control1 with its multitude of functionaries1 all appointed by and in constant relation with a central will1 alone enabled the existence of ,rome to be continued for some centuries4 ,but when the ,empire also finally decayed and fell1 the old municipal principle again came to the front4 ,as the colonies had been founded in cities1 so when the ,imperial system gave way1 the city again asserted itself2 and in ,southern ,gaul1 where the barbarians had been civilised1 municipal authority prevailed1 and each town became an independent little ,state--the natural tendency of these municipalities being to detach themselves1 and to watch jealously the proceedings of their neighbours4 ,this municipal principle is a leading characteristic of the ,middle ,ages in ,italy and ,southern ,gaul1 and distinguishes these countries from the ,northern provinces4 ,traces of it are still very apparent in ,italy and ,provence1 and contribute greatly to the picturesque character of these provinces4 ,there even yet the soil is to a great extent cultivated by peasants1 who dwell together in crumbling old cities perched on the tops of hills1 and surrounded with ancient walls4 ,daily the men1 women1 and mules descend to their labour in the fields1 till the evening1 when they may be met toiling up the steep and rocky paths to a well-earned rest in their ancestral town4 ,while in the ,southern provinces the ,empire was thus dying from exhaustion1 and the little isolated municipal states of the towns remained the only representatives of civil government left in the land1 in ,northern ,gaul the invasions of the barbarians were much more frequent and numerous1 so that almost every trace of ,roman civilization was obliterated4 ,but in the midst of all this decay and destruction of general government a new organising and centralising power was arising1 in the form of the ,christian ,church4 ,after passing through the fiery trials of the first three centuries ,christianity had been adopted by ,constantine in ,a4,d4 #cac2 and by the end of the fourth century the church had become an extensive and united institution1 with a well organised hierarchy of clergy1 revenues of its own1 and provincial1 national1 and general councils4 ,the vigour of the administration of the church system was conspicuous in the general laxity1 and the control of affairs naturally fell into the hands of the ecclesiastical authorities--the priests and bishops4 ,their jurisdiction was officially recognised1 and under the codes of ,theodosius and ,justinian the control of municipal affairs was remitted to the clergy and bishops1 who were thus for a time in their respective cities the representatives of government and order4 ,from the date of ,constantine till the overthrow of society1 ,barbarism1 ,paganism1 and ,christianity went on side by side4 ,while civilisation remained the schools continued1 ,christians of antique learning and ,pagan students discussed together the same problems of philosophy1 and the ,fathers endeavoured to reconcile them with ,christianity4 ,but as successive waves of ,barbarians rushed over the land1 drowning all before them1 almost every semblance of learning was swept away4 ,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 retreat1 where they might converse on and study in peace those high problems which occupied their minds4 ,these societies1 in the natural course of events1 were by degrees converted into monasteries4 ,the celebrity of the ,eastern ascetics and devotees had penetrated to ,western ,europe1 but the solitary form of religious observance did not at first meet with much encouragement there4 ,societies of recluses were then1 however1 also common in the ,east1 and the ,eastern monastery was the form adopted by the ,western recluses as their model4 ,but monasteries were not at this time religious societies1 nor were the monks in ,holy orders4 ,they were simply associations of laymen who wished to retire from the confusion and turmoil into which all civil government was thrown1 and find peace for study and quiet for contemplation4 ,such was the famous monastery of the ,lrins1 founded early in the fifth century by ,st ,honorat1 on an island off the coast near ,cannes1 which soon became the most celebrated school of learning and piety in ,southern ,gaul1 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 ,britain4 ,it is easy1 however1 to fancy how1 in the midst of the strife and unrest of the fifth and sixth centuries1 such societies tended to become religious1 and thus obtain protection from the ,church4 ,this they were finally compelled to do1 although at the sacrifice of their liberty1 by placing themselves under the authority of the bishops1 where alone they could find rest and safety4 ,for the ,barbarians1 many of whom were already ,christians1 stood in awe of the ,church1 and the ,church strove to secure her ascendancy by maintaining the independence of the spiritual power1 and the incapacity of the temporal powers to interfere with it2 a doctrine which afterwards led to the terrible struggle for supremacy between the temporal and spiritual powers1 represented on the one hand by the ,emperor1 and on the other by the ,pope1 a struggle which lasted so long1 and involved so many cities in the horrors of the factions of the ,guelphs and ,ghibellines4 ,during the fearful reign of anarchy and destruction which prevailed in the sixth and seventh centuries1 when all security for life and property had disappeared1 and the armed hand of the ,barbarian bore down all rule and order before it1 the authority of the ,bishops likewise gave way4 ,their ,sees were invaded by ,goths and ,franks1 who assumed their titles and drew their revenues4 ,the fate of the monasteries was similar4 ,the invaders seized the seats of the abbots1 and the recluses were dispersed4 ,everywhere nothing but decay and disintegration prevailed4 ,no wonder then1 that monuments of this period are rare2 the marvel is that any human structures should have survived the shock of universal ruin and destruction4 ,only a few of the more massive ,roman monuments1 built as if to last for ever1 were able to withstand the tornado4 ,the small and modest ,christian edifices have been almost entirely swept away2 but fortunately a few rare vestiges have been preserved within our district1 sufficient to indicate the nature of the early ,christian ,architecture under the ,empire4 ,by the eighth century the ,barbarian invaders of ,gaul had become somewhat settled in their new possessions1 and had abandoned their original wandering mode of life4 ,a certain nominal supremacy had always been accorded to the ,merovingian ,kings of the ,franks1 but the royal power1 together with the title1 had now passed into the stronger and more active hands of the ,carlovingians1 under whom it grew into a distinct royal authority4 ,at this time a new danger from an unexpected quarter threatened the slowly reviving prospects of the ,west1 and seems for the moment to have had the effect of uniting all the otherwise discordant elements for the purpose of resistance to the common foe4 ,this was the invasion of the ,saracens from the ,south4 ,these warlike zealots had1 after over-running and destroying the ,roman civilisation of ,northern ,africa1 passed over into ,spain1 and in #gai they crossed the ,pyrenees and invaded ,southern ,gaul4 ,the old ,roman cities were at that time in a comparatively settled and prosperous condition1 when their tranquility was thus rudely interrupted4 ,the whole country was devastated by the ,saracen invaders1 the towns were besieged1 and in most cases taken and destroyed4 ,we shall find1 as we proceed1 that there is scarcely one which does not bear the mark of the destructive hand of the ,saracen4 ,the overwhelming flood was1 however1 at length stemmed by ,charles ,martel in #gcb at ,tours1 when the ,moors were completely defeated and driven back beyond the ,pyrenees4 ,this great victory gave repose for a time2 and thinking men being weary of the long night of ,anarchy which had so long oppressed them1 began to look round for some principle by which rule and order might again be restored4 ,any durable and fixed system would be better than the fluctuation and uncertainty so long experienced4 ,after so many changes and so much diversity of government1 the principle of unity naturally presented itself to men's minds4 ,the tyranny of the ,empire was forgotten under the more crushing oppressions of all kinds which had since had to be submitted to2 while its unity and strength were remembered1 and people began to long for what now appeared to be 8the good old times0 of the ,empire4 ,it was agreed that the only satisfactory form of government was one which1 like the ,empire1 should include the whole ,roman world4 ,this was considered to be in accordance with the nature of things4 ,as there is one ,god1 so there should be one ,emperor to represent ,him on earth as temporal ruler1 and one ,pope to represent ,him in matters spiritual as the head of the ,church4 ,and by a remarkable coincidence this idea came to be realised about ,a4,d4 #hjj1 in the person of ,charlemagne1 who extended his sway over nearly the whole of ,western ,europe4 ,what rendered possible at that time the apparent fulfilment of the dream of universal temporal and spiritual government1 was the fact that during ,charlemagne's time these two powers recognised that they could be of considerable service to one another1 and were consequently on very friendly terms4 ,as ,charlemagne was now the supreme temporal ,emperor1 so the ,bishop of ,rome had also fully established his supremacy in the ,church4 ,this had been brought about by various fortunate circumstances--by his occupying the ,see of the great city whose name was still a power1 and where the ,bishop held the old municipal authority and rule which had there been less disturbed by the invasions of the ,barbarians than elsewhere2 by his importance as a suzerain1 being a very extensive proprietor in ,italy and ,gaul2 and by means of the influence of missionaries sent direct from ,rome by the ,pope to ,britain and ,germany1 where the converts1 being thus brought into immediate connection with ,rome1 naturally gave their support to the ,pope as head of the ,church4 ,the ,papal sanction had now become usual1 and was considered necessary by ,kings1 to their establishment on the throne--especially in ,germany1 where ,papal supremacy so fully reigned4 ,but while the ,king required the ,pope's countenance1 the ,pope also was most desirous to obtain the aid of the temporal power1 in order to overthrow the authority of the ,lombards in the ,north of ,italy1 and to obtain possession of the ,exarchate4 ,their requirements thus fitted in with one another1 so that at the coronation of ,charlemagne as ,emperor by ,pope ,leo1 in the year #hjj1 the supremacy and unity of the two heads of affairs1 in matters spiritual and temporal1 seemed to be complete1 and the ,holy ,roman ,empire to be established on a secure and permanent basis4 ,after the time of ,charlemagne1 however1 great disruptions of his empire ensued2 but the idea of a central power took root1 and although not developed according to the original conception1 it led in time to the formation of the various nations which now occupy the different countries of ,western ,europe4 ,the idea of an universal ,holy ,empire deserves special attention in connection with ,architecture4 ,the same causes as led to this conception would also prevail with regard to the art1 and especially the style of ,architecture to be followed in the ,empire4 ,this we shall find there is reason to believe was the case1 and that up to this time1 and even till the tenth century1 the churches were apparently erected in one traditional style1 more or less followed in the whole of the ,western ,empire2 whereas after the above date the architecture diverges into various national varieties in the different countries into which ,europe was then sub-divided4 ,under ,charlemagne a wonderful revival took place in ,letters1 ,arts1 ,schools1 and ,religion--the first dawn after the long night of anarchy4 ,in ,italy1 ,provence1 and ,aquitaine1 where the towns had preserved something of the ,roman municipal rule1 and of the manners1 letters1 and arts of the ,empire1 ,literature and ,art began slowly to improve and revive4 ,the relics of ,roman culture which they possessed1 together with the constant intercourse of the dwellers in the towns with one another1 and the circumstance that here1 as in ,italy1 the ,nobles as well as the ,burghers dwelt within the walls1 all helped to bring about a more speedy revival in the ,south than in the ,north1 where the ,nobles dwelt apart in their isolated castles4 ,the reminiscences of ,roman luxury1 and the warm and voluptuous climate1 while they tended to enervate and weaken1 tended also to the growth of music1 song and literature4 ,national poets arose1 the predecessors of the ,troubadours1 who became so prominent in the thirteenth and fourteenth centuries4 ,this enlightenment1 combined with the nascent chivalry of the eleventh century1 which introduced the worship of ,woman with gallantry and the ,courts of ,love1 formed a striking contrast to the rigid asceticism of the ,burgundians1 and competed strongly with the expansion of the ,monastic institutions4 ,it was the same spirit of freedom and progress which in the following century excited the suspicion and hatred of the clergy1 and gave rise to the dreadful scenes of massacre amongst the ,albigenses of ,aquitaine1 and the horrors of the ,inquisition4 ,architecture naturally participated in the general advancement and showed symptoms of new life4 ,from the ninth century evidences exist of this revival in the monuments still to be found in these countries4 ,charlemagne's relations with the ,east were of a friendly character1 and he is said to have sent to ,byzantium for men of learning and science4 ,amongst these were no doubt ,architects and ,sculptors1 who would thus bring with them the elements of the ,byzantine influence so distinctly manifested in the early churches of the ,rhineland4 ,the revival of the ,holy ,roman ,empire under ,charlemagne1 although it paved the way for the new life which was to follow1 was not in itself that new life4 ,up to this time the shadow of old ,rome was still upon the nations4 ,the ,goths wondered at1 and envied the great central government of the ,empire1 and strove to imitate and revive its power in their own persons2 and for this purpose they caused the ,roman ,laws to be collated1 and they endeavoured to administer them4 ,this too1 as we have seen1 was ,charlemagne's idea4 ,but the new life of the modern world did not look back to ,rome as its model4 ,it was glad to borrow from ,rome all the laws and culture it could make available1 but its central idea is not that of universal empire1 but of separate and independent kingdoms4 ,hence the long struggle in the ,north between the ,austrasians1 who strove to impose upon the provinces their missi and officials from a central head1 and the ,neustrians1 whose ,germanic instincts of individual freedom led them to contend for the independence and liberty of action of the hereditary rulers of the various provinces--the principle which in the end prevailed and determined the condition of modern ,european countries4 ,the dream of an universal spiritual and temporal ,empire was only an attempt to raise the ghost of old ,rome1 but the new principle now being developed of independent kingdoms marks the birth of the new modern life4 ,the revival of the eleventh century was further greatly aided by the ,church1 both secular and regular4 ,the bishops and clergy being the best educated class in the community1 were the frequent advisers of those in authority1 thus leading to the proper position of the ,church being recognised and maintained4 ,the monasteries also underwent the same spirit of revival and reformation4 ,of this the history of the ,abbeys of ,cluny and ,citeaux form a remarkable illustration4 ,the ,abbey of ,cluny was founded about #iji ,a4,d4 by ,guillaume le ,pieux1 duc d',aquitaine1 but ,odon1 the second ,abbot1 was the real creator of the house4 ,he introduced the idea of subordination and order amongst monasteries1 i4e41 that there should be one head ,abbey1 with numerous others subordinate to1 and dependent on it4 ,this plan was also adopted by the ,house of ,citeaux 7the ,cistercians71 founded about #aajj1 and others4 ,the monasteries were1 however1 as yet all subject to the rule of ,st ,benedict--different orders had not hitherto been introduced1 only different controlling centres4 ,such control and superintendence were at this time only too much needed1 all discipline having been lost in the midst of the general disorder4 ,as has already been observed1 many of the abbeys had become mere castles in the hands of lay abbots1 and were filled with armed men4 ,in other cases the clerical abbots acted as lay proprietors1 and commanded troops1 and mixed in the quarrels of the nobles4 ,the ,abb ,maeul governed ,cluny for the forty years preceding #iid1 during which time a large number of monasteries from every part of ,europe1 extending from ,ravenna and ,pavia in ,italy to ,tours in ,france1 and including the ancient monastery of ,st ,honorat de ,lrins in ,provence1 adopted the rule of ,cluny and became subject to its authority4 ,under this reformed rule monastic institutions began to assume a great importance and to exercise much influence in ,western ,europe4 ,in the midst of disorder they were the only representatives of a well regulated government1 and in fact produced the model from which modern society and order sprung4 ,cluny now began to feel its power1 and to long for independence from the authority of the ,bishops1 desiring to hold from the ,see of ,rome alone4 ,abbot ,hugues and his friend ,hildebrand 7afterwards ,gregory ,,vii47 both contended strongly for the independence of the spiritual power--a struggle ending with the final victory of the ,pope over the ,emperor ,henry ,,iv4 ,hugues1 like the other superiors of the monastic institutions1 such as the ,abb ,suger and ,st ,bernard1 took part in all the great affairs of the time 7eleventh century74 ,the ,abb of ,cluny was invited by ,william the ,conqueror to regulate the religious affairs of ,england4 ,in ,hugues' time the dominion of ,cluny extended over #cad monasteries4 ,the ,abbot-,general thus became the equal of any temporal prince1 and owed his allegiance only to the ,pope4 ,he struck his own coinage1 and he appointed abbots to all his subject monasteries1 of whom he occasionally called together a ,council4 ,in the eleventh century the monastery1 besides being a model of centralised organisation1 was the only place of repose for intellectual minds4 ,the monks also resuscitated the culture of the soil-establishing small convents1 or ,obdiences1 in remote and neglected territories1 where they cleared the ground1 drained the marshes1 enclosed fields1 and planted vineyards4 ,they also constructed roads and established bridges and ferries4 ,trades of all kinds were likewise practised and encouraged in the monasteries1 and the arts of the gold and silver smith1 the glazier and glass painter1 the illuminator1 and the carver were specially subjects of the monks' attention4 ,the houses of the inhabitants who carried on these trades clustered round the walls and increased in number with the importance of the monastery4 ,the workmen consisted of tanners1 weavers1 curriers1 and drapers1 who manufactured the produce of the live stock of the abbey4 ,where there were mines on the property1 the necessary labourers were employed2 and all the ordinary trades1 such as those of bakers1 butchers1 shoemakers1 smiths1 c41 were needed and supported4 ,schools were established1 and the education of all provided for4 ,the sick were attended to1 and all travellers were welcomed and entertained4 ,it was natural that the monasteries1 well regulated as they were1 and encouraging all kinds of industries1 should speedily grow rich4 ,but it would be difficult to imagine how wealth could have been better made available for the benefit of the community at that time1 and under the conditions then existing1 than it was in the hands of the ,benedictines4 ,the history of the ,cistercian monasteries is similar to that of the ,clunisiens4 ,in the end of the eleventh century some monks of ,molesmes1 whose monastery had fallen into the greatest laxity1 obtained from the ,papal ,legate permission to found an ,abbey on rules of great strictness4 ,twenty monks established themselves in the forest of ,citeaux1 in the diocese of ,chlon1 on a desert territory surrendered to them by the ,viscount of ,beaune4 ,the monks built an ,oratory and established ,rules--one of which was that they should live by the work of their hands4 ,these monks were soon afterwards joined by ,st ,bernard and his companions1 when the rule of ,citeaux took a great start4 ,in less than twenty-five years after these twenty men began their labours in the marshy forest by reclaiming and cultivating a small patch of ground1 they were represented by #fj1jjj ,cistercian monks spread over every part of ,europe4 ,they were called in by feudal lords from all countries to clear the land1 to establish industries1 to rear flocks and herds1 to drain the marshes1 and cultivate the soil4 ,in a short time ,citeaux ruled over the incredible number of #bjjj houses of both sexes1 each house possessing #e or #f granges4 ,nothing can better illustrate the immense strides made in the ,west during the eleventh century than the great development of these establishments1 and no part of the progress then made had greater influence on ,architecture4 ,it is from this time that we may date the revival of our art1 after the almost total extinction of the ,dark ,ages4 ,it is evident that the very large number of new monasteries and churches now required would have a great effect in stimulating the growth of ,architecture4 ,the position of this and every other art was at that time necessarily in the hands of the monks1 who alone had sufficient knowledge for the designing and decorating of any building4 ,under the monastic influence1 however1 the designs naturally became subject to rule and tradition1 and tended to assume fixed forms1 although these varied somewhat under the regulations of the different orders1 and in different localities4 ,another remarkable phenomenon1 which was both an indication of the new life and religions awakening of the epoch1 and had also a very powerful effect in increasing these movements1 was the ,crusades4 ,the same enthusiasm which prompted thousands to devote their lives to a holy and useful existence in the cloister1 stirred up in others through the eloquence of ,peter the ,hermit and ,st ,bernard1 a resolve to sacrifice everything to the righteous endeavour to rescue the places sanctified by the great events in our ,saviour's ,life from the hands of the ,infidels4 ,amongst the innumerable multitudes who joined in the ,crusades1 and visited the ,east1 there must have been many who were able to appreciate the splendid architecture and decoration of ,santa ,sophia and the other great churches and buildings of the ,levant2 and these travellers would bring back with them fresh ideas which they would endeavour to import into the structures of the ,west4 ,besides1 the eyes of all were opened and their minds enlarged by contact with the culture and refinement of the ,eastern empire1 where the ancient ,greek and ,roman civilisation had continued uninterruptedly during the centuries of darkness and barbarism which had well nigh obliterated them in the ,west4 ,they also saw at ,constantinople the great mart where the commerce between the ,east and ,west was concentrated1 and became acquainted with the rich fabrics and beautiful art of ,persia and ,india4 ,the transport of men and materials to the ,east1 for the prosecution of the war1 likewise gave a great impulse to navigation and maritime enterprise1 while contact with the ,saracens 7then an enlightened and scientific people7 taught valuable lessons to the soldiers of the cross4 ,they especially acquired from them many improvements in the art of the attack and defence of fortifications1 and in the construction of military engines1 the results of which the ,western nobles were not slow to avail themselves of in the great castles which they erected on their return from the ,holy ,land4 ,the buildings of the ,holy places themselves were naturally adopted as models1 and the circular churches of the ,west are probably mostly imitations 7although sometimes remote ones7 of the church of the ,holy ,sepulchre 7which was itself rebuilt by the ,crusaders74 ,it will be further pointed out in dealing with the history of the ,architecture how the ancient ,greco-,roman art had been preserved in ,syria1 and the direct influence it had on the ,architecture of the ,west4 ,such being the general condition of affairs1 and their bearing on the art of the ,west of ,europe up to the twelfth century1 let us now look a little more closely at the progress of events in the province with which we are specially concerned4 ,illustration ,illustration ,,iii4 ,a rapid glance at the political history of the country will further show the extraordinary condition of fluctuation and uncertainty which existed during the dismal period which followed the overthrow of the ,roman rule1 as well as the gradual growth of the new state of things under which the great revival of the twelfth century occurred4 ,we shall also observe how the early renewal of civilisation in the ,south1 aided as it was by the preservation of some relics of old ,roman culture1 ultimately yielded to the more vigorous life and growth of the new political system of the ,north4 ,we have seen that ,aquitaine was occupied by the ,visigoths in the fourth century1 while ,provence was still held by the ,burgundians and ,gallo-,romans4 ,in #dbe ,aetius made a final stand for the ,roman cause1 but was defeated by ,theodoric1 ,king of the ,visigoths1 and the last vestige of the ,empire was swept away4 ,these two powers of the ,south afterwards united their forces against ,attila1 their common foe1 and drove back the ,huns in #dea4 ,in #dhj ,arles was captured by ,euric for the ,visigoths1 who thus became masters of ,provence4 ,in the sixth century the ,franks extended their arms southwards1 and under ,clovis1 and ,gundibald1 ,king of the ,burgundians1 defeated the ,visigoths at ,bougl in #ejg4 ,in #eaa ,theodoric1 ,king of the ,ostrogoths in ,north ,italy1 defeated the army of ,clovis while engaged in the siege of ,arles1 and thus preserved the ,mediterranean coast to ,italy4 ,but ,provence was resigned in #ecf by his successor ,witiges to ,theodoric1 ,king of the ,franks1 who had overthrown the ,burgundian ,kingdom4 ,at the death of ,clothair ,i4 in #efa1 ,provence was divided between his sons1 ,sigebert1 ,king of ,austrasia obtaining ,marseilles1 and ,gontran of ,burgundy1 ,arles4 ,under subsequent kings ,provence was again reunited and again divided4 ,in #gai the ,saracens crossed the ,pyrenees and took possession of ,languedoc4 ,they subsequently united with ,maurontis1 the ,byzantine governor of ,marseilles1 for the purpose of driving out the ,franks1 but were defeated by ,charles ,martel1 who thus united ,aquitaine and ,provence to the ,frank kingdom4 ,these ,southern provinces1 which1 as already mentioned1 were governed by municipal and ecclesiastical organisations1 were too weak either to resist the inroads of the ,saracens1 or to defend themselves against the more vigorous discipline of the ,north4 ,at the division of the ,carlovingian empire1 after the death of ,charlemagne in #hdc1 ,provence fell to ,lothaire1 along with ,burgundy4 ,in #hfc it was seized by ,charles the ,bald1 and in #hgi his brother-in-law ,boson1 governor of ,vienne1 was elected ,king by the synod of ,montale1 and ,provence was thus converted into a separate monarchy4 ,in #icb ,hugo obtained the ,italian kingdom1 and ceded ,provence to ,rudolph ,,ii41 who united the two ,burgundies under the name of the ,kingdom of ,arles4 ,this kingdom existed as a name till #ajcb2 but ,provence had in the meantime been governed by ,princes whose power continually increased1 till1 from being appointed ,governors1 they became hereditary holders of the fief4 ,of these ,princes there were several in the tenth century1 who reigned under the titles of ,boson ,i4 and ,,ii41 ,william ,i4 7who drove out the ,moorish pirates from the ,fraxinet in #ifh7 7as will be referred to in the sequel71 ,rothbold1 ,william ,,ii41 c4 ,in #aaab ,raymond ,branger1 ,count of ,barcelona1 of the house of ,aragon1 married the heiress of ,provence1 and obtained possession of the country4 ,but ,raymond of ,st ,gilles1 ,count of ,toulouse1 one of the great leaders of the first crusade in #ajif1 claimed a part2 and in #aacj possession of ,provence was disputed between his son and ,raymond des ,baux1 of whose family we shall hear more by-and-bye4 ,in #aaha ,raymond ,branger1 who had been invested in ,provence by his brother ,alphonso ,i4 of ,aragon1 died1 and the fief reverted to ,alphonso ,i4 and ,,ii4 till #aaif4 ,in #abji an attempt was made by ,raymond ,branger1 fourth ,count of ,provence1 to destroy the independence of the cities4 ,these had all along preserved their municipal freedom and ,roman form of self-government4 ,the governing body was elected by the citizens1 the chief magistrate being originally nominated by the ,byzantine ,emperor1 but latterly the office became vested in certain families1 or was held by the bishop4 ,in the twelfth century reforms were attempted in this as in everything else1 and the citizens followed in their reforms the example of the ,italian ,republics1 and chose a chief magistrate for life with the title of ,podest4 ,to this officer was entrusted the command of the troops1 and his chief duty was to maintain order in the town amongst the different factions which were incessantly at war with one another4 ,the power of the ,podests was thus considerable1 and the ,count found much difficulty in subduing them4 ,the ,albigenses of ,avignon capitulated in #abbf2 and ,nice1 ,grasse1 ,toulon1 and ,marseilles were also subsequently overcome4 ,the strength of the free towns had been shaken shortly before this by the terrible crusade against the ,albigenses of ,aquitaine4 ,the tenets of the ,christian ,church in this province had always differed somewhat from those of ,rome1 and the jealousy of the ecclesiastics had been excited by the freedom of the life and language of this comparatively enlightened region4 ,the ,pope having now completely established the principle of the supremacy of the ,see of ,rome1 could not endure the idea of any want of conformity to his rule2 and he accordingly encouraged the ,romanists of the ,north to make war on these rebellious heretics4 ,the enthusiasm of the ,crusaders against the ,holy ,land had now worn off2 but a crusade against the ,heretics of ,aquitaine had the charm of novelty1 combined with the advantages of easiness of access1 and the probability of abundance of booty4 ,the crusades against the ,albigenses were led by ,count ,simon de ,montfort1 who attacked and1 after encountering in most cases a gallant and determined defence1 destroyed the towns1 and massacred the inhabitants4 ,at ,bziers alone1 which fell after a protracted siege1 the ,abbot of ,citeaux1 in reporting to ,innocent ,,iii41 expressed regret that he had only been able to slay #bj1jjj heretics2 but it is believed that no less than #fj1jjj were destroyed in that indiscriminate massacre4 ,the horrors of war were followed by the tortures of the ,inquisition1 and in the holy hands of ,st ,dominic and his order all dissent was either exterminated or driven into other lands1 there to sow the seeds which should some day spring up as a crop1 which no ,papal sickle could cut down4 ,raymond ,,vii41 ,count of ,toulouse1 having espoused the cause of his people1 suffered with them and was compelled to do penance and to surrender1 by a definite treaty with ,queen ,blanche in #abbi1 all his possessions in the ,kingdom of ,france to her husband ,louis ,,viii41 and all in the ,kingdom of ,arles to the ,pope's ,legate4 ,only a small portion was allowed him for life1 and he was required to do penance by service in the ,holy ,land4 ,the ,pope1 however1 declined to accept of the ,kingdom of ,arles on account of its burdensomeness owing to famines4 ,he therefore handed it over to ,queen ,blanche1 who entrusted the administration of it to the ,seneschal of the castle of ,beaucaire4 ,it was afterwards formed into the ,principality of ,orange and the ,countship of the ,venaissin4 ,in #abdc ,raymond ,,vii4 of ,toulouse was finally obliged to yield up everything to ,king ,louis ,,ix4 ,the suzerainty of ancient ,aquitaine was thus acquired by the ,crown of ,france1 but ,provence1 east of the ,rhone1 still retained its independence4 ,in #abde the latter passed into the family of ,anjou by the marriage of ,charles of ,anjou1 brother of ,st ,louis1 with ,beatrice1 heiress of ,provence4 ,the towns thought this a favourable opportunity for making an effort to recover their freedom1 and accordingly ,arles1 ,avignon1 and ,marseilles joined in a league against ,charles4 ,arles and ,avignon submitted on his return from the ,east in #abea2 but ,marseilles1 which had resisted ,raymond ,branger1 resolved to maintain its ,republican freedom4 ,four years later1 however1 it was compelled to submit1 when its fortifications were razed4 ,in #abfb the town again rebelled1 but was blockaded and reduced by famine4 ,the ancient liberties of ,marseilles were preserved1 but ,charles substituted in this and the other towns an officer of his own instead of the electoral ,podest4 ,he afterwards acquired ,ventimiglia and the ,maritime ,alps4 ,charles next carried his arms into ,italy1 and in #abff he drove out ,manfred1 and took possession of the two ,sicilies4 ,he died in #abhe1 and left ,anjou1 ,provence and ,naples to ,charles ,,ii41 whose son ,robert 7in #acji7 left a troubled heritage to his grand-daughter ,joan of ,naples4 ,in #acdc ,joan's husband1 ,andrew of ,naples1 having been murdered1 and ,joan being suspected of complicity in the deed1 her husband's brother1 ,louis of ,hungary1 attacked and took ,naples in #acdg4 ,joan fled to ,provence1 and being desirous to raise money in order to recover ,naples1 and also wishing to be acquitted of all connection with the crime of her husband's murder1 she sold ,avignon1 where the ,popes were then resident1 to ,clement ,,vi41 and obtained his acquittal4 ,provence had long enjoyed a popular government with representatives in the three houses of the ,clergy1 ,nobles1 and ,commons1 who had control over the national purse4 ,queen ,joan attempted to cut down these powers1 and appointed an ,italian as ,grand ,seneschal4 ,but the nation revolted against this interference with its ancient constitution1 and ,louis of ,anjou pressing his claim on the province1 supported by an army1 ,joan1 in order to escape from her difficulties1 had to adopt him as her heir4 ,he succeeded to the ,countship in #achb1 but he and his son ,louis ,,ii4 7#achd71 and grandson ,louis ,,iii4 7#adag7 were all unsuccessful in their claims on ,naples4 ,louis ,,iii4 was succeeded in #adcd by his brother ,ren1 the well known poet and painter ,king1 who had also claims on the throne of ,aragon4 ,he died in #adhj1 leaving one daughter1 ,margaret1 married to ,henry ,,vi4 of ,england4 ,ren bequeathed ,provence to his nephew1 ,charles ,,iii4 of ,maine1 who soon after died1 making ,louis ,,xi4 of ,france his heir4 ,in #adhf ,charles ,,viii4 declared the country united to ,france4 ,provence thus became at length part of the kingdom of ,france4 ,but the ,emperor of ,germany still continued his claim of suzerainty upon it1 in which he was supported by the ,constable1 ,charles of ,bourbon4 ,in pursuance of that claim1 ,charles ,v4 of ,spain invaded ,provence in #aecf1 but without success4 ,the country continued to be frequently attacked in the subsequent wars between ,france and ,spain1 but has remained part of ,france since the days of ,louis ,,xi4 ,the boundary of the province on the east remained from that time till our own day1 the river ,var4 ,it was a frontier badly fortified1 and ever open to attack2 and we shall see what efforts were made by ,francis ,i4 to render it secure against the attempts of his enemy of ,spain4 ,in #ahfa the boundary between ,france and ,italy was extended eastwards1 as far as a ravine spanned by the 8,pont ,st ,louis10 a short way beyond ,mentone1 thus including ,nice and ,mentone1 formerly part of ,savoy1 within the ,french territory4 ,in treating of the architecture of this part of the country1 we shall find that it bears in its architecture unmistakable signs of its former ,italian allegiance4 ,illustration ,illustration ,,iv4 ,the foregoing ,sketch of the history of this region shews that its architecture must belong to two entirely distinct epochs--the ,roman period and the ,medival period4 ,it is proposed in the following description of the various edifices to treat of these two periods separately1--taking up first the buildings of the ,roman period in regular sequence as they are met with in descending the ,rhone from ,lyons1 and in the various localities along the ,riviera1 both west and east of ,marseilles4 ,having thus exhausted the ,roman monuments in the province1 we shall return to ,lyons1 and repeat the journey southwards to ,marseilles1 and thence westwards and eastwards along the coast1 taking note of the more important of the many remarkable ,medival structures in which these localities abound4 ,this method will1 we believe1 be found to be much more satisfactory than any attempt to deal with the architecture in chronological order4 ,that plan would be very confusing1 the reader having under it to be constantly transferring himself from one region to another4 ,by the system adopted he will at least always know where he is1 and the situation of the buildings will thus be fixed in the mind4 ,the disadvantage of this method admittedly is that structures of all the ,medival periods are described together as they occur in each locality2 but it is hoped that this disadvantage will be to some extent overcome by the introduction to the ,medival period1 in which the historic sequence and development of the architecture of the country in the ,middle ,ages is considered4 ,following the above arrangement we shall now proceed with the description of the buildings1 commencing with ,,the ,,roman ,,period4 ,in the ,north of ,france there are few remains of ,roman buildings4 ,this probably arises from two causes3--#ast1 ,because before the fifth century ,roman civilisation had not advanced so far in ,northern as in ,southern ,gaul1 and consequently the towns were not adorned with the same profusion of magnificent edifices2--and1 #bnd1 ,because the ,northern division suffered far more destruction than the ,southern1 from the invasions of the ,barbarians4 ,at ,paris some ,roman vaults1 parts of a ,palace or ,baths1 are still preserved in the grounds of the ,muse ,cluny4 ,,autun is celebrated for its two fine ,roman gateways1 one of which 7the ,porte d',arroux7 is decorated with ,corinthian1 and the other 7the ,porte ,st ,andr7 with ,ionic pilasters1 features which afterwards produced a strong influence on the ,medival ,architecture of the province of ,burgundy4 ,autun also possesses remains of two buildings called ,roman ,temples1 a splendid pavement of mosaic1 a fine collection of statuettes1 bronzes and inscriptions1--all bearing testimony to the importance of the town in ,roman times4 ,but we must pass these by without further notice1 as our district lies south of ,lyons4 ,in exploring the remains of ,roman ,architecture in ,southern ,gaul1 one cannot help being struck with the extraordinary and capricious manner in which they have been preserved1--small towns like ,orange and ,nimes being full of ,roman work1 and important ,roman cities like ,marseilles and ,narbonne having nothing left but the fragments collected in their ,museums4 ,avignon1 the ancient ,avenio1 was1 before the ,roman occupation1 one of the most important cities of the tribe of the ,cavares2 and under ,imperial rule was no doubt adorned with splendid ,temples1 ,amphitheatre1 ,theatres1 and other public buildings like those of which the remains are still to be seen at ,arles and ,nimes4 ,but of all such structures there is practically not a fragment now left at ,avignon4 ,a large number of ,roman antiquities from that town and vicinity have1 however1 been collected in the ,muse ,calvet1 so called after the physician who founded it by bequeathing in #ahaj his fine private collection to the city4 ,the museum contains some good ,greek sculpture1 and a large number of coins1 medals1 and bronzes4 ,at ,,lyons there are a few subterranean remains of aqueducts1 but no ,roman ,architecture4 ,some time after leaving ,lyons1 the railway1 which follows the course of the ,rhone1 enters a narrow pass amongst the mountains1 where there is little room for more than the river and the road between the precipitous and rocky banks4 ,the scenery is very grand1 and the prospect is especially fine at a bend of the river where the ancient town of ,,vienne1 rising high upon a bold promontory surmounted by its ruined castle1 bursts upon the view4 ,the town itself is most interesting4 ,vienne was the ancient city and capital of the ,alobroges before the time of ,csar4 ,under the ,romans it attained great splendour4 ,csar embellished and fortified it1 and ,augustus and ,tiberius bestowed favours on it4 ,it was also the seat of a ,prtor1 and had a ,senate and ,council1 five legions1 and a celebrated school4 ,the city increased to such an extent that it became necessary to extend it on the other side of the ,rhone4 ,vienne was divided into three towns3--,vienne the strong1 containing the citadel2 ,vienne the rich1 the town proper2 and ,vienne the beautiful1 on the right side of the ,rhone 7now called ,st ,colombe71 where many fine works of art have been found4 ,during the later ,empire ,vienne continued to be a place of great importance1 not unfrequently the residence of the ,emperors1 and played a prominent part in the numerous revolutions of the times4 ,it was also the cradle of ,christianity in the ,west1 which1 as tradition relates1 was there founded by ,st ,paul on his way into ,spain4 ,the ,archbishops of ,vienne became for a time ,primates of ,gaul4 ,but it was soon to encounter the usual series of disasters which overtook the ,roman towns of ,southern ,gaul1 being conquered by the ,burgundians in #dch1 ravaged by the ,lombards in #eeh1 and destroyed by the ,saracens in #gcg4 ,boson1 ,king of the new ,kingdom of ,burgundy and ,provence1 made ,vienne his capital4 ,but the second ,kingdom of ,burgundy perished in anarchy1 and ,vienne became the capital of a feudal province ruled by a suzerain called the ,dauphin of the ,viennois4 ,the town stands on the western slope of a hill facing the river1 with two steep heights above it1 viz41 that of ,salonica1 crowned with the ruins of a ,medival ,castle1 and the ,mont ,pipet1 whose summit is surrounded with an enclosing wall and towers1 which occupy the position of1 and may have formed the citadel for1 the ,roman garrison1 but the buildings have been altered in later times4 ,vienne possesses several interesting ,roman relics1 the most important of which is the temple dedicated to ,augustus and ,livia 7,fig4 #a74 ,this building has in its time been dreadfully abused4 ,illustration3 ,,fig4 #a4 ,,temple ,,of ,,augustus ,,and ,,livia1 ,,vienne4 ,it was formerly converted into a church1 and shockingly disfigured4 ,the columns surrounding the cella were blocked up with common masonry1 and1 as if this was not ,barbarism enough1 the fluting of the columns was scraped off to make them flush with the line of the enclosing wall4 ,the edifice has now been carefully and judiciously restored2 and as a complete specimen of a temple of the ,romans in ,gaul is only surpassed by the 8,maison ,carre0 at ,nimes4 ,it is about #hj feet long by #ej feet wide4 ,in front are six ,corinthian columns1 crowned with entablature and pediment1 and on each side six detached columns with two pilasters in rear attached to the cella4 ,the whole is placed on a stylobate1 to which twelve steps ascend in front4 ,the temple stood in a ,forum1 some of the pavement of which has been recently uncovered1 and the foundations of the colonnade which surrounded it laid bare4 ,illustration3 ,,fig4 #b4 ,,roman ,,forum1 ,,vienne4 ,a large number of antique relics are here collected--amongst others1 portions of shafts1 and bases of columns of gigantic size1 which must have belonged to a building of immense proportions4 ,the admirably preserved and well known group of two children struggling for the possession of a bird is one of the finest objects in the collection1 which also includes many interesting fragments of sculpture and architecture4 ,vienne possessed at least one ancient theatre1 some relics of which still exist in the ranges of steps forming the seats of the auditorium4 ,remains of underground aqueducts and ,roman ways are also to be seen in the neighbourhood4 ,of the arcade of the ancient ,forum there now only remain two arches and part of a vault 7,fig4 #b74 ,the ,corinthian columns are half buried in the soil1 and the entablature has been heightened with a medival upper storey1 but the colossal proportions of the original building are still very striking4 ,near this are some massive sub-structures and a portion of an immense staircase1 the stones of which still fit as well as the day they were built4 ,illustration3 ,,fig4 #c4 ,,the ,,pyramid1 ,,vienne4 ,a little way south of the town1 and on the level ground near the river1 stands a remarkable though unfinished monument called the 8needle0 or 8pyramid0 7,fig4 #c74 ,the upper part consists of a tall and partly hollow square pyramid4 ,the base is pierced with four arches1 each flanked with two engaged columns1 the capitals of which are only roughly blocked out4 ,the ,romans were in the habit of building thus1 and executing the sculpture afterwards4 ,the masonry is beautifully jointed and put together without cement2 but the blocks have been cramped with iron1 and the holes made for the purpose of extracting these cramps are unfortunately only too apparent here1 as in so many other ,roman edifices4 ,there is no inscription or other indication of the purpose for which this monument was erected1 but it has most probably been commemorative1 and the name of ,alexander ,severus has been generally connected with it4 ,prosper ,mrime is of this opinion1 and adds that 8the interruption of the work might be explained by one of the revolutions so frequent in the ,empire1 which made men forget or denounce the memory of the person to whom divine honours had previously been paid40 ,illustration3 ,,fig4 #d4 ,,vienne ,,restored4 ,the existing remains show that ,vienne must have been a town of great importance and splendour in ,roman times4 ,an attempt has been made by an architect of the district to exhibit in a drawing an illustration of what ,vienne was like in the days of its glory1 of which a reproduction is given in ,fig4 #d4 ,this restoration1 although to a great extent imaginary1 at least serves to give some idea of the splendour of a ,roman city4 ,the next ,roman edifices of importance in descending the ,rhone are found at ,,orange1 the ancient ,arausio1 the capital of the ,cavares4 ,it was taken by ,csar1 and became an important ,roman colony4 ,on approaching the town by the railway1 one is struck by the appearance of an immense pile of building which rears itself high above all the other structures of the place1 but is at too great a distance to allow its features to be distinguished4 ,on closer inspection this turns out to be the proscenium wall of the famous ,theatre of ,orange4 ,everyone is acquainted with the general outline of the ,roman amphitheatre1 but the form of the theatre is probably not generally so well known4 ,the seats were arranged in a similar manner to those of the amphitheatre1 and were almost invariably cut out of the side of a hill1 but they extended only round a semicircle4 ,these constituted the auditorium1 the diameter of the semicircle opposite them being occupied with a high wall which enclosed the theatre and formed the scena1 in front of which was the stage where the actors appeared4 ,this wall or scena was generally elaborately adorned with architectural features1 including a profusion of marble columns with their entablatures1 niches with statues1 c4 ,dressing-rooms and other apartments for the actors were either within the scena1 or in spaces at the ends4 ,the theatre of ,orange corresponds with this description4 ,the seats1 rising in tiers1 are hollowed out of a hill side1 and where natural support was awanting1 at either end1 it was supplied by building walls and vaults in continuation of the rock-cut seats4 ,the proscenium wall 7,fig4 #e7 is of great size1 and is a splendid specimen of ,roman construction1 being #cce feet long by about #aab feet high1 and is built with large carefully fitted blocks without cement4 ,this example is valuable1 as the proscenium portions of ,illustration3 ,,fig4 #e4 ,,roman ,,theatre1 ,,orange4--,exterior4 ancient theatres are generally destroyed and the materials removed4 ,externally the wall of the scena presents a very simple appearance1 but has an imposing effect from its size4 ,the ground floor is designed with a series of arches having pilasters between them4 ,there is a large central entrance1 and two smaller side doors arranged symmetrically1 and all square-headed4 ,these probably corresponded with the internal entrances1 the central one being known as the ,royal doorway1 because the principal actor1 called the king1 entered by it4 ,the first floor is quite plain2 the next floor has an arcade surmounted with an entablature1 above which is a row of large corbels1 the use of which is doubtful4 ,above these is a great gutter1 then another row of corbels1 and the summit is crowned with a projecting cornice4 ,the six corbels at each end of the upper row are pierced1 as if to form sockets to receive the feet of poles from which a velarium or great awning might be stretched over the theatre 7as was the case at the ,colosseum in ,rome and other similar structures71 but if so intended they could never have been used for that purpose1 owing to the projection of the upper cornice4 ,prosper ,mrime thinks that the highest portion of the wall above the level of the upper corbel course has been an addition or early restoration1 which has rendered the lower range of corbels useless1 as well as the upper ones1 owing to a change of plan and the introduction of a wooden roof1 instead of a velarium1 for the protection of the actors4 ,at either end of the proscenium great blocks of buildings contained staircases1 halls1 dressing-rooms for the actors1 places for the machinery1 c4 ,the interior of the scena 7,fig4 #f7 was decorated with three storeys of columns of polished granite and white marble1 now entirely broken down1 but of which a large quantity of fragments is still visible1 along with various carvings ,illustration3 ,,fig4 #f4 ,,roman ,,theatre1 ,,orange4--,interior4 and other works4 ,these are collected in the proscenium1 and form an interesting exhibition1 giving some idea of the former richness of the decoration4 ,the upper part of the scena carried the roof above referred to4 ,the beams were embedded in the solid masonry1 and projected over the proscenium1 the apertures formed in the walls to receive them being distinctly visible4 ,this roof has evidently been one source of the destruction of the building1 as the calcined and blackened appearance of the upper part of the walls shews that it has suffered from a great fire1 the materials for which could only have been furnished by a wooden roof over the proscenium4 ,the sketch 7,fig4 #f7 shews some of the ranges of seats cut out of the rock1--those at the bottom being in a fair state of preservation2 and also some of the built portion of one of the wings which united the great proscenium to the part of the auditorium cut out of the hill behind4 ,in the ,middle ,ages this theatre1 as often happened with the massive buildings of the ,romans1 was converted into a fortification1 and formed an outwork of the castle erected by the ,duke of ,orange on the summit of the hill above4 ,but so solid is its construction1 being composed after the ,roman manner of building1 of great blocks carefully fitted together without cement1 that it has been able to endure for at least #aejj years1 almost without change1 all the destructive influences both of man and the elements4 ,immediately adjoining the theatre on the west was a hippodrome1 the outline of which is quite discernible from the high ground above4 ,it seems to have run nearly the whole length of the present town1 and remains of it may be traced at intervals among the houses4 ,the length and comparative narrowness of the structure shew that it was intended for horse and chariot races1 and not for gladiatorial combats and similar spectacles4 ,of this immense building almost the only architectural features now remaining are a large arch across one of the streets1 locally1 but erroneously1 called a triumphal gate1 and some portions of an arcade incorporated with the modern houses4 ,almost everywhere in ,orange antique fragments are to be found1 and several statues and mosaics have been discovered4 ,but by far the finest relic in an artistic point of view is the well known ,triumphal ,arch 7,fig4 #g74 ,it stands at the northern entrance to the town1 and1 considering the hard usage it has received1 it is in a wonderfully good state of preservation4 ,the arch is about #gj feet long and #gj feet in height4 ,such a massive building was too tempting as a fortress to be passed over in the ,middle ,ages1 and we accordingly find it used for that purpose by ,raymond des ,baux1 who played an important part in this country in the thirteenth century4 ,the northern faade is best preserved4 ,the structure1 as was usual in large monuments of this nature1 is pierced with a principal central arch and two smaller side arches1 and is adorned with four attached ,corinthian columns between the arches supporting an entablature with a central pediment4 ,the east flank has also four similar columns placed very close together4 ,the archivolts and frieze are enriched with sculptured figures1 and the spaces over the side arches contain trophies of arms4 ,the upper panel over the central arch is filled with a large bas-relief full of figures1 but it is hard to say what scene is represented4 ,the shields are ornamented with crescent-like forms1 and on one of them the name of 8,mario0 can still be read1 while diverse names were formerly legible on others4 ,illustration3 ,,fig4 #g4 ,,triumphal ,,arch1 ,,orange4 ,many are the theories and disputations to which these words and ornaments have given rise1 but nothing positive has been made out with regard either to the date or origin of the ,arch4 ,it has been ascribed to ,tiberius1 and its date fixed ,a4,d4 #ba4 ,but its style and ornament forbid this conclusion4 ,mrime thinks that the great analogy of style between the various ,triumphal ,arches of ,provence1 viz41 those at ,orange1 ,st ,remy1 and ,carpentras 7to be afterwards referred to71 renders probable the hypothesis which supposes them to have been erected at the same epoch and for the celebration of the same event1 viz41 the victories of ,marcus ,aurelius in ,germany4 ,the profusion of the ornament1 the form of the arms1 and the incorrect and pretentious character of these monuments agree well with the architecture of the second century4 ,mrime also draws attention to the maritime trophies at ,orange1 and points out how picturesquely the rostra of the ships1 the masts1 oars1 c41 are grouped4 ,he believes these probably refer to naval conflicts on the ,danube4 ,mr ,ruskin also points to the execution of the sculpture of this arch as a good example of sketching in sculpture2 the shields and other arms and ornaments being surrounded with a deeply cut line1 which defines their outline clearly as an artist would do with his pencil in sketching them4 ,he considers such objects as unworthy of any more elaborate treatment4 ,the work of restoration has been executed with great care and success4 ,the west side has been almost rebuilt1 but with plain stone1 applied merely for the purpose of preserving the rest4 ,no attempt has been made to imitate the old work1 and what remains of the ancient structure is not scraped and polished up1 as so often happens in ,french restorations1 whereby the value of the monument as an example of ancient art is entirely destroyed4 ,not very far from ,orange1 as above mentioned1 another ,triumphal ,arch is found at ,,carpentras4 ,it is much simpler in design than that at ,orange1 having only one arch supported by fluted pilasters with composite caps4 ,the whole of the upper parts above the arch are destroyed4 ,some sculptures still survive on the ends1 representing captives chained to trophies4 ,the very bold projection of the bas-reliefs is remarkable1 and also the fact that in the sculpture distant objects are marked with a sunk line round them4 ,this style of emphasising shadows and outlines1 and also the method of doing so by means of holes drilled round objects is common in the sculpture of the lower ,empire4 ,part of another single arch1 apparently also an arch of triumph1 has been preserved at ,,cavaillon1 but it is very sadly mutilated1 and has been restored at an ancient period1 when stones carved with ornaments1 mouldings1 and enrichments have been all mixed up in the masonry4 ,at ,,st ,,remy 7which is easily accessible by railway from ,tarascon7 there are also the ruins of a triumphal arch1 together with a well-preserved and most interesting mausoleum 7,fig4 #h74 ,these monuments are the sole surviving remains of the ,gallo-,roman town of ,glanum ,livii1 a flourishing colony under the ,romans1 surrounded with walls and adorned with temples1 aqueducts1 and public buildings1 of which some faint traces only now exist4 ,the chief employment of the inhabitants was to supply stones from quarries in the neighbourhood for the buildings in ,arles and elsewhere4 ,the town was destroyed by the ,goths in #dhj4 ,the triumphal arch has only one opening1 which is rather low in proportion1 and is flanked by fluted pillars of which the caps are gone4 ,on each side of the arch are well sculptured bas-reliefs representing captives in chains accompanied by women4 ,the flanks have niches1 but no statues remain4 ,mrime admires the archivolt of the archway1 which he calls a garland of fruit and flowers sculptured with the same perfection of imitation1 with the same taste and ,illustration3 ,,fig4 #h4 ,,triumphal ,,arch ,,and ,,mausoleum1 ,,st ,,remy4 variety of details1 as is observed in the ,gothic period4 ,the arch is about #dj feet long by #ah feet wide and #be feet to the under side of the vault4 ,the mausoleum stands a few yards from the arch4 ,the main part is square1 the lower portion forming a pedestal set upon a base1 which measures about #bb feet each way1 and the upper portion being an open story with four ,corinthian engaged columns at the angles4 ,the whole is crowned with a circular top composed of ten ,corinthian pillars1 the entablature of which supports a cupola originally covered with palm leaf scales4 ,the height of the monument is about #fj feet4 ,the podium is ornamented with fine bas-reliefs1 which ,mrime describes as representing--7,south7 a hunt2 7,east7 a ,battle of ,amazons2 7,west7 the death of ,patrocles2 7,north7 a ,cavalry engagement4 ,the figures of the upper storys are also richly carved4 ,under the dome stand two draped statues4 ,the following inscription is engraved on the architrave of the north side3 ,,sex4 ,l4,m4 ,,ivliei4 ,c4,f4 ,,parentibus4 ,,sveis4 ,sextus1 ,lucius1 ,marcus1 ,julii1 ,curaverunt fieri parentibus suis--7,sextus1 ,lucius1 ,marcus1 of the ,julii1 have caused this monument to be constructed to the memory of their relatives74 ,various dates are assigned by different authors to these monuments2 but probably ,mrime is right in considering the arch at least of about the same date as that of ,orange4 ,this mausoleum and similar monuments1 as will be hereafter noticed1 have evidently had a considerable influence on the forms of the early ,medival church steeples of ,provence4 ,,arles4--,we have now arrived at the capital of ,roman ,gaul--the famous city of ,arelate or ,arles4 ,it is supposed to have been founded by the ,greeks from ,massilia as a trading centre1 and had become an important town before the time of ,csar4 ,the situation occupied was a very advantageous one1 being at the point of the ,delta of the ,rhone1 where the bifurcation of the river commences4 ,the town is also supposed to have been in communication with an interior navigable ,lagoon in the time of the ,romans1 so that commodities could be conveyed by water with great facility in all directions4 ,arles thus formed a valuable mercantile centre4 ,the population is believed to have reached #ajj1jjj4 ,here ,csar had the galleys constructed which he required for the siege of ,massilia4 ,after taking that town he sent ,tiberius to establish a colony at ,arles4 ,with ,constantine ,arles was a favourite city1 and he made it the capital of ,gaul4 ,the town was at that time divided by the river into two sections1 a part being on each side4 ,these ,constantine united by a bridge of boats4 ,an abundant water supply was brought by aqueducts from the mountains1 and conducted across the river by means of syphon pipes of lead1 several of which have been found with the name of the maker stamped upon them1 and are now to be seen in the ,museum4 ,ausonius calls ,arles the 8,gallula ,roma ,arelas10 and praises its hospitable ports1 which received the riches of the ,roman world1 and spread them in turn to the cities of ,gaul and ,aquitania4 ,so important a city could not escape the successive attacks of the ,goths1 ,franks1 and ,saracens4 ,by these invaders her splendid edifices were all nearly destroyed1 as was entirely the fate of those at ,avenio and ,massilia4 ,but ,arles was not quite so unfortunate as the last named cities1 and still possesses some imposing though sadly ruined remnants of her former greatness4 ,of the existing remains by far the most important is the ,amphitheatre4 ,the walls forming the complete circuit and a large part of the seats of the interior are still preserved4 ,the exterior 7,fig4 #i71 according to the usual design of this class of erections1 consists of two arcades superimposed on one another--the arches being separated by attached columns4 ,in this instance the arches are sixty in number on each story4 ,the attached columns of the lower arcade are square pilasters with ,doric capitals1 and those of the upper range are round and of the ,corinthian order4 ,illustration3 ,,fig4 #i4 ,,amphitheatre1 ,,arles4--,exterior4 ,the design may possibly have originally included an attic story2 but this1 if it ever existed1 which seems to be doubtful1 as not a single stone of it has been found1 has entirely disappeared4 ,mrime points out that the mouldings and enrichments of the remainder are all carefully finished1 which would not likely have been the case had the building not been carried up to its full height1 as the ,romans were in the habit of executing all that class of carved work after their buildings were completed--the stones for the ornament being only roughly blocked out at first4 ,we shall meet with a quantity of this preparatory work in the ,amphitheatre of ,nimes1 where it has been left unfinished4 ,the ,amphitheatre of ,arles1 as was to be expected in the capital1 is the largest building of its class in ,gaul4 ,it is built after the ,roman manner1 with enormous blocks of carefully cut stone set without cement1 and the staircases1 passages1 c41 are strongly vaulted4 ,illustration3 ,,fig4 #aj4 ,,amphitheatre1 ,,arles4--,interior4 ,the plan1 as is usual in ,roman ,amphitheatres1 is that of an ellipse1 its longitudinal axis measuring #dei feet1 and its transverse axis #cda feet4 ,the seats1 which were arranged in forty-three rows 7,fig4 #aj71 provided accommodation for #bf1jjj spectators4 ,there are four principal entrances1 at the ,north1 ,south1 ,east1 and ,west1 and eight other smaller doorways4 ,originally this amphitheatre was probably built by ,caligula or ,hadrian4 ,in the ,middle ,ages it was transformed into a fortress1 and became the stronghold of some chief1 or the citadel of the inhabitants4 ,four towers were at that time erected on the top of the building--three of which still remain4 ,the amphitheatre is said to have been restored by ,charles ,martel after his victories over the ,saracens2 and some ancient stones have certainly been used to repair the podium or barrier between the arena and the auditorium 7as may still be seen74 ,mrime discusses the question1 how were the spectators in this and similar buildings protected from the wild beasts which fought with one another or with gladiators by a podium such as this1 not exceeding #h or #aj feet in height8 ,had the podium been high enough to afford safety1 it would have prevented a large part of the audience1 especially in the back rows1 from seeing what passed on their side of the arena2 an inconvenience which would certainly never have been endured2 and his idea is1 that lions or similar animals which could spring must have been confined with chains or in cages1 and that only animals which do not leap1 such as wild boars1 might be freely baited in the open arena4 ,the 8,chteau des ,arenes10 as the amphitheatre was called1 was almost entirely invaded and choked up with the houses of the poorer inhabitants till #ahbe1 when it was resolved to clear out the building1--a work which required six years for its accomplishment4 ,the structure is now in course of 8,restoration40 ,besides the amphitheatre ,arles also possesses some remains of its ,roman ,theatre4 ,these are1 however1 extremely scanty1 consisting chiefly of the north and south entrance doorways1 and two lofty marble pillars with ,corinthian caps 7,fig4 #aa74 ,the latter formed part of the ornamentation of the scena1 and1 when considered along with the great wall of the scena at ,orange1 may help to give some idea of the generally gorgeous aspect of that feature of the ,roman ,theatre when perfect4 ,the plan of the orchestra1 and a few rows of ruined seats1 can still be discerned4 ,illustration3 ,,fig4 #aa4 ,,roman ,,theatre1 ,,arles4 ,a large number of marble fragments1 composed of portions of columns1 capitals1 entablatures1 c41 have been collected in the precincts of the theatre1 and impress the spectator with a sense both of the great magnificence of the building when complete1 and of the terrible and long continued series of disasters to which it has owed a demolition so complete4 ,it should1 however1 not be omitted to mention that it was first dismantled by the ,bishops1 who carried off its marbles to decorate their churches4 ,the remains of three parallel walls1 with a space between them1 under the level of the proscenium1 have given rise to various theories as to their use4 ,the most likely view seems to be that the apertures were used for lowering the curtain into before the performances began1 as was then the custom1 instead of raising it1 as is done in modern times4 ,the theatre is supposed to have been seated for #af1jjj spectators4 ,several fine sculptures1 now in the museum of ,arles or the ,louvre1 have been dug out of the ruins of this structure4 ,arles possesses the only ancient ,obelisk in ,gaul4 ,it stands in the 8place10 opposite the entrance to the cathedral1 and is set on the backs of four lions1 raised upon a pedestal4 ,it was elevated to this eminence in #afgf1 after having lain for long in the bed of the river4 ,the shaft is of grey granite1 #dg feet high1 but it is not of an elegant form1 and tapers too rapidly towards the summit4 ,it originally formed the spina of a ,roman circus1 where it was found in #achi4 ,in the front wall of the ,htel du ,nord 7in the ,place d'hommes7 are inserted the fragments of two ,roman granite columns with ,corinthian caps1 and part of a pediment 7,fig4 #ab74 ,but unfortunately the traveller1 while enjoying the hospitality of the patron of the 8,nord10 and sleeping with his head perhaps within a few feet of these remains1 cannot have the satisfaction of imagining himself a dweller in a real ,roman edifice1 as it is evident that they are not in their original position1 but have been brought from a distance at some remote time and set up here4 ,there are a few remnants1 close to the river1 of a building said to be the ,palace of ,constantine1 including a brick tower called 8,la tour de la ,trouille40 ,this is a palace which has had many and varied occupants--passing from its ,roman masters down to the ,kings of the ,ostrogoths and ,visigoths1 the ,kings of the ,franks1 and the ,kings of ,arles1 the 8,holy ,roman ,emperors0 7when they came here to be crowned ,kings of ,arles71 and the ,counts of ,provence4 ,illustration3 ,,fig4 #ab4 ,,place ,d',,hommes1 ,,arles4 ,in ,roman times there was a space to the east of the town used as a cemetery1 and called the ,elysii ,campi1 or ,champs ,elyses1 now the 8,alyscamps40 ,this necropolis was by tradition supposed to have been specially consecrated by our ,saviour himself1 and consequently became a very favourite place of burial4 ,princes and dignitaries of ,church and ,state desired to rest here4 ,bodies committed to the river 7along with the suitable burial fees7 were sure to reach the ,alyscamps4 ,it was celebrated by the poets ,dante and ,ariosto1 and became of world-wide fame4 ,chapels and churches were erected in the vicinity1 there being no less than nineteen at one time4 ,but the translation of the body of ,st ,trophime1 ,a4,d4 #aaeb1 from the ,alyscamps to the cathedral of ,arles1 seemed to take away the prestige of the former1 and from that time it gradually decayed4 ,illustration3 ,,fig4 #ac4 ,,the ,,alyscamps4 ,during its palmy days in the early centuries1 this cemetery had become greatly enriched with splendid monuments and sarcophagi1 partly heathen and partly ,christian1 but all designed and executed after the ,roman or ,grecian manner4 ,at the ,renaissance these ancient classic monuments were specially prized and admired1 and many of them were removed4 ,sarcophagi were distributed as specimens of early ,christian art to ,rome1 ,lyons1 and other towns2 the place was gradually deserted and destroyed1 and the monuments were finally turned to common and ignominious uses such as cattle troughs and bridges over the ditches in the fields4 ,now the few remaining tombs have been collected and placed on each side of the road leading to the chapel of ,st ,honorat 7,fig4 #ac71 where they produce from their position and their classic forms a striking resemblance to the burial places of the ,romans1 which lined the wayside at the entrances to their cities1 such as the ,appian way at ,rome1 and the approach to ,pompeii4 ,illustration3 ,,fig4 #ad4 ,,from ,,arles ,,museum4 ,a large number of the finest sarcophagi have fortunately been preserved in the ,arles museum4 ,some of them certainly belong to ,pagan times1 but most of them are of later date4 ,many are adorned with bas-reliefs1 representing the hunt of the ,stag or ,wild ,boar1 ,apollo and the ,muses1 and other classic and allegorical subjects4 ,illustration3 ,,fig4 #ae4 ,,tomb ,,of ,,cornelia1 ,,arles4 ,a museum has been established in the disused ,gothic ,church of ,st ,anne1 in which some fine examples of classic sculpture are preserved4 ,besides the ,pagan sarcophagi above referred to it contains some ,roman or rather ,greek sculptures of considerable purity and beauty2 the ,grecian descent and culture of the country being distinctly observable in these monuments--just as the same ,greek feeling prevails in the paintings and sculpture of ,pompeii4 ,the fragment of a statue of a female dancer 7,fig4 #ad7 is particularly graceful in pose and in the execution of the drapery4 ,the sarcophagus 7,fig4 #ae71 with an inscription and two well carved festoons1 is called the ,tomb of ,cornelia4 ,fig4 #af shews a finely carved oak wreath and vase on the monument to the 8good ,goddess10 and a beautifully sculptured though mutilated bust of the ,empress ,livia4 ,fig4 #ag represents a fragment of very spirited carving of foliage said to be from the frieze of the ,arc de ,triomph1 an amphora and a ,corinthian capital4 ,illustration3 ,,fig4 #af4 ,,from ,,arles ,,museum4 ,the ,museum also includes a large number of early ,illustration3 ,,fig4 #ag4 ,,from ,,arles ,,museum4 ,christian monuments4 ,that in ,fig4 #ah1 representing scenes from the life of our ,saviour1 exhibits figures carved in the ,roman manner1 and wearing the ,roman costume1 but degraded in style1--evidently the work of the ,low ,empire4 ,christ occupies the central compartment1 and four wide arches contain figure subjects1--those on the extreme right and left representing the ,magdalene and ,pilate1 while the two central compartments contain saints bearing palm branches4 ,illustration3 ,,fig4 #ah4 ,,from ,,arles ,,museum4 ,the arcade on this sarcophagus is supported on pillars with composite caps and bases1 and shafts ornamented with flutings and twists1 similar in character to the shafts of the early medival cloisters4 ,the archivolt is a veritable architrave with leaf enrichment carried round the arch1 and filled in with a scallop shell4 ,it thus forms a distinct and instructive example of the manner in which the late ,romans dispensed with the straight architrave1 and adopted the arch springing directly from the caps of the columns1 as will be more fully explained further on4 ,it will then be shewn how this monument illustrates the transition from the leading features of the ,greek trabeated style to those of fully developed ,roman ,architecture1 and also the mode in which ,roman art was continued into ,christian times4 ,most of the early ,christian sarcophagi are carved with ,biblical subjects symbolical of the new birth1 the great ,sacrifice1 the ,resurrection1 the ,last ,judgment1 c41 such as the creation of ,adam and ,eve1 ,moses striking the rock or raising the serpent1 ,jonah and the whale1 ,daniel and the lions1 the parables and miracles of our ,lord1 c4 ,these form as interesting a series of early ,christian sculptures1 combined with late ,roman features1 as is anywhere to be found4 ,on the east side of the town are the remains of some parts of the ,roman walls1 built in their usual massive manner4 ,these consist of portions of the gate of the town1 by which the ,aurelian way entered1 flanked by ruined round towers4 ,illustration3 ,,fig4 #ai4 ,,nimes 7,nemausus74 ,situated at no great distance from ,arles1 and at the base of the hills which bound the plain of the ,rhone1 ,nimes formed the capital of the ,volces ,arecomiques 7or inhabitants of the flat country74 ,in ,b4,c4 #aba it submitted voluntarily to ,rome1 and a few years ,b4,c4 ,augustus planted a colony there4 ,being enriched with baths1 c41 by ,agrippa1 ,nimes soon became an important town surrounded with walls and towers1 and provided with all the usual public buildings4 ,it had reached the height of prosperity when it was ravaged by the ,vandals in #djg4 ,in #dgb it fell under the power of the ,visigoths1 who established themselves in the town1 and made the amphitheatre their fortress4 ,after suffering the usual course of sieges and destruction by the ,saracens and ,franks1 ,nimes early declared itself a ,republic4 ,in #aahe it came under the suzerainty of the ,count of ,toulouse1 in which condition it continued to flourish till it finally passed to ,france under ,louis ,,viii41 along with the other domains of the ,count of ,toulouse after the ,albigensian wars4 ,illustration3 ,,fig4 #bj4 ,,amphitheatre1 ,,nimes4 ,although ,nimes was a comparatively obscure town in the days of the ,empire1 the remains of its ,roman monuments are the finest in ,southern ,gaul4 ,the ,amphitheatre 7,fig4 #ai7 is not quite so large as that at ,arles1 nor is the interior 7,fig4 #bj7 so well preserved1 but the exterior is more complete4 ,it measures #dcg feet by #ccb feet1 with thirty-two rows of seats which contained about #bj1jjj spectators4 ,the amphitheatre is now well seen1 owing to the removal of the paltry buildings which had invaded it both within and without4 ,like all such ,roman works it is constructed with the most massive materials1 built without cement1 and all bound together with solid stone lintels and arches4 ,fig4 #ba1 a view in the corridor on the first floor1 gives some idea of the colossal strength of the masonry4 ,but these great stone lintels1 massive as they are1 indicate a vicious form of construction1 many of them being cracked and shattered by the weight of the arches resting upon them4 ,the exterior is of the usual design of such edifices having two arcades superimposed one on the other1 with upright pilasters1 or engaged columns1 between the arcades supporting horizontal entablatures4 ,each arcade has sixty arches4 ,the pilasters of the ground tier are square1 and have no base1 while the engaged columns of the upper tier are round and of the ,doric order2 above the latter is the attic1 partly demolished1 but still containing #abj bold consoles with holes to receive the masts which supported the velarium or awning4 ,there are four principal entrances at the four cardinal points2 that of the ,north ornamented with a cornice resting on two bulls' fore quarters4 ,similar ornamental bulls were introduced in the ,temple which stood where the ,cathedral is now built1 and on the fine gate of ,augustus of this city4 ,some therefore think it a kind of coat of arms given by the ,emperors to the town4 ,others imagine that these features were adopted in order to flatter the ,emperor ,augustus1 some bulls' heads having been sculptured on the house in which he was born4 ,a few sculptures are still visible on the amphitheatre1 including two gladiators1 and the ,roman wolf4 ,a very large part of the ornament is left in block1 only the western division being finished1 the carving of the remainder never having been completed4 ,the podium surrounding the arena is low1 as at ,arles1 thus confirming ,mrime's views as to the provisions which required to be adopted for the safety of the audience4 ,illustration3 ,,fig4 #ba ,the interior has been greatly restored1 so as to make it available for a large modern audience1 and the amphitheatre is now used1 amongst other exhibitions1 for the annual branding of the young bulls of the ,camargue1 which1 from the lively description of it given by ,alexandre ,dumas1 seems to be a stirring spectacle1 not unworthy of this classic arena4 ,in ancient times the lowest or first series of seats was set apart for the senators2 the second series for the knights2 the third for plebeians2 and the top rows for the slaves4 ,the last being the most quarrelsome it was considered desirable to endeavour to prevent squabbling by marking off each person's seat4 ,this was effected by means of lines cut in the stone1 some of which are still visible in situ4 ,some years ago there existed in the first precincts divisions similar to those of boxes in modern theatres4 ,the celebrated ,maison ,carre at ,nimes 7,fig4 #bb7 is probably the purest piece of ,roman work to be found north of the ,alps1 and cannot fail strongly to impress the beholder1 especially if he here sees for the first time a genuine ,roman temple4 ,the design doubtless owes much of its beauty and purity to the ,grecian spirit of the locality4 ,the building is small1 being only about #hj feet by #dj feet4 ,the portico1 with its ten ,corinthian columns1 and enriched pediment1 is very fine2 but the effect of the flank view1 in which the columns attached to the cella are visible1 is not so satisfactory4 ,the temple is surrounded by thirty columns in all1 including those of the portico1 which stand free1 and the engaged columns of the flanks and rear4 ,this is what is called the pseudo-peripteral plan--the true peripteral temple having the columns detached so as to form an ambulatory all round the cella4 ,the former is the arrangement usual in ,roman temples1 which1 according to ,fergusson1 never follow the genuine peripteral type4 ,it is1 ,illustration3 ,,fig4 #bb4 ,,maison ,,carree1 ,,nimes4 however1 worthy of note1 that the ,,plan of this building with its deep porch is rather ,italo-,etruscan than ,greek1 and thus adheres to the traditional type observed by the ,romans4 ,the cornice is perhaps rather over-enriched and is indicative of a late date1 when classic art was in decadence2 but the frieze is beautifully designed1 and the style as a whole is remarkably pure and elegant4 ,various ingenious attempts have been made to decipher the letters of the bronze inscription 7which were originally fixed on the frieze of the portico71 by means of the holes formed by the bolts which attached them to the stone work4 ,the reading which seems most probable from its agreeing with the style of the building1 indicates that it was dedicated to two nobles distinguished with the title of 8princes of youth40 ,it is as follows3-- ,m4 ,,caesari ,,augusti ,f4 ,,cos4 ,l4 ,,caesari ,,augusti ,f4 ,,cos4 ,,designato ,,principibus ,,juventutis4 ,this inscription necessarily places the ,temple in the age of the ,antonines1 since the only princes known to whom the above names and title of ,principes ,juventutis will apply1 after the sons of ,agrippa1 were ,marcus ,aurelius1 and ,lucius ,verus1 adopted sons of ,antoninus ,pius4 ,from excavations around the edifice it has been ascertained that the ,temple formed a centre from which colonnades extended on either hand4 ,it thus probably stood at the end of a ,forum1 the colonnades around which enclosed shops and places of business or pleasure4 ,this edifice has passed through many vicissitudes2 and it is marvellous how it has survived all the various uses or abuses to which it has been subject4 ,it was naturally in the course of events first changed from a ,pagan ,temple into a ,christian ,church2 in the eleventh century it formed the council chamber of the municipal body2 and at a later time it was degraded into a stable1 when the flutings of the columns were grated off to allow carts to pass between them4 ,it then became attached to an ,augustinian ,convent1 and was used as a mausoleum and place of burial4 ,more recently it was occupied as the ,hall of meeting of the revolutionary tribunal1 and still later as a corn market4 ,now it has been put in good order1 and contains the local museum of antiquities4 ,this ,museum comprises some good sculpture1 especially a fine statue of ,venus 7,fig4 #bc71 and numerous antiquarian fragments1--many for want of room being ranged round an enclosure in the open air4 ,portions of ,roman mosaics and foundations of an earlier ,roman building have been discovered under the soil of the ,maison ,carre1 thus shewing that it has been erected at a later period than the first occupation of the site by the ,romans4 ,illustration3 ,,fig4 #bc4 ,,statue ,,of ,,venus4 ,according to ,mrime the style accords with the time of the ,antonines1 when the decadence had begun1 and when richness and multiplicity of details replaced the simple majesty of the first century4 ,he also points out various irregularities in the structure which would never have been tolerated in the earlier period1--such as1 that the columns are not equally spaced1 that there is an unequal number of modillions on the opposite sides1 that the caps are too low1 and the shafts of the columns too long 7being #aj diameters in height74 ,but notwithstanding these defects the ,maison ,carre is a building of which ,nimes and ,france may well be proud4 ,illustration3 ,,fig4 #bd4 ,,nymph,,um1 ,,nimes ,the ,nymphum or ,temple of the ,nymphs at ,nimes 7,fig4 #bd71 with its accompanying fountain1 is another charming and quite unique structure4 ,the fountain bursts forth in great abundance at the base of a hill called ,mont ,cavalier4 ,it is enclosed in a space which was formerly a ,roman ,bath1 and is then led away through wide open conduits or canals1 all lined with stone and faced with pilasters4 ,the whole is situated in a pretty public garden to which the fountain gives a special character4 ,in this garden too1 are found the ruins of the above temple1 formerly called of ,diana1 which1 however1 is now supposed to have been a ,nymphum1 or ,temple dedicated to the ,nymphs1 and forming part of the ,baths4 ,the interior contains twelve niches of good design1 and the roof was constructed with large stone arches or transverse ribs1 between which the space was filled in with a plain waggon vault or flags of stone4 ,this kind of vaulting was also adopted1 as will be further explained afterwards1 in the construction of the early ,christian churches of ,syria1 and had undoubtedly great influence on the design of the first vaulted churches of ,provence4 ,the ,nymphum now contains a museum of busts and statues4 ,this temple is shewn1 by an inscription1 to have been built along with the ,baths in the time of ,augustus4 ,the variety and elegance of its details are further evidence of the ,grecian taste of the people of the district4 ,the aqueduct from the ,pont du ,gard terminated in a reservoir near this point4 ,the ,tour ,magne 7,fig4 #be71 on the top of the hill above the ,fountain of the ,nymphs1 is a ,roman building1 the object of which has given rise to much discussion1 without any definite conclusion being arrived at4 ,it seems1 however1 most likely to have been a mausoleum4 ,the plan is octagonal1 and the walls are built with rough ashlar4 ,the structure is hollow1 and from #ij to #ajj feet high4 ,it was attached to the walls of ,augustus1 and in later times was converted into a fortress by the ,count of ,toulouse4 ,the general resemblance of the design of this monument to that of ,augustus at ,la ,turbie1 which we shall meet with further on1 is very striking4 ,two of the ,roman gates of ,nimes remain4 ,the ,porte d',auguste1 founded ,b4,c4 #af1 has a double arch for vehicles1 and two side openings for foot passengers flanked by two towers4 ,like the ,roman gates of ,autun these two towers contained stairs leading to the walls1 and formed posts of observation4 ,the other gate1 the ,porte de ,france1 lies to the west of the amphitheatre1 and has one wide archway4 ,illustration3 ,,fig4 #be4 ,,la ,,tourmagne1 ,,nimes4 ,illustration3 ,,fig4 #bf4 ,,le ,,pont ,,du ,,gard4 ,,pont ,,du ,,gard 7,fig4 #bf74 ,this magnificent specimen of ,roman engineering is situated at a distance of about #ac miles ,n4,e4 from ,nimes1 on the way to ,avignon1 and can now be reached by rail4 ,it formed part of an aqueduct 7partly in tunnel and partly in open canal7 of about #be miles in length1 which brought an ample supply of water to ,nimes4 ,this work is said to have been built by ,m4 ,agrippa1 son-in-law of ,augustus1 #ai years ,b4,c4 ,it has thus for #aijj years defied all the attacks of man1 both barbarian and civilised1 as well as the elements1 to which so many other ,roman monuments have succumbed1 and still stands almost as perfect as at first4 ,the arcades abut at either end on the slope of the hills at the base of which flows the river ,gardon4 ,the aqueduct measures #afj feet in height1 and #hhb feet in length on the top4 ,it is composed of three stages1 all built with enormous blocks of stone placed together without cement1 and presents probably the most stupendous example of the solidity of ,roman workmanship in ,gaul4 ,but it is roughly and irregularly constructed1 as if utility alone had been considered1 and no regard paid to beauty2 the arches are unequal in span1 and the structure itself is bent in its length4 ,the arches are constructed1 those of the two upper arcades with three1 and those of the lower arcade with four distinct courses in the breadth of the structure4 ,these courses are composed of stones of immense size1 placed side by side1 but not otherwise joined together4 ,above the upper tier lies the conduit for the water1 #e feet high1 and #b feet wide1 covered over with immense flags1 which even the ,goths seem to have despaired of being able to destroy4 ,the conduit is lined with strong ,roman cement1 which still remains sound and good4 ,the projecting blocks observed on the flanks and under the arches were intended to receive scaffolding for the execution of repairs1 should these ever be required in a work so simple and substantial4 8,what a grand faith10 exclaims ,mrime1 8must the constructors of this aqueduct have had in the eternal duration of the ,roman ,empire1 when they made provision for repairing this gigantic and enduring work60 ,the bridge placed alongside the lower arches is of modern construction1 having been erected in #agdc4 ,leaving ,arles for ,marseilles we traverse a country as bare and uninteresting as an ,african desert4 ,to the right1 on the western side of the ,rhone1 lies the great plain of the ,camargue1 the delta of the river1 composed of mingled salt mud and stagnant pools1 the result of the contest between the waters of the ,rhone and the sea2 the former constantly pouring down immense volumes of dbris1 and the latter1 obeying the impulse of the wind1 as constantly driving it back upon the land4 ,but the railway1 keeping on the eastern side of the river1 runs through a different but not less remarkable plain called the 8,crau40 ,this consists of an immense accumulation of shingle1 composed of water-worn and rounded stones of all sizes--the fabled scene of the fight of ,hercules with the ,ligurians1 when ,jupiter rained down these stones to provide the hero with ammunition4 ,this extensive plain was a barren wilderness until a system of irrigation was introduced by the construction of the ,canal de ,craponne1 whereby the water of the ,durance is brought down for its fertilisation4 ,having at last crossed the ,crau we arrive at ,,st ,,chamas1 where the eye is relieved by the bright and peaceful prospect over the ,etang de ,berre1 an extensive branch of the ,mediterranean almost entirely surrounded with land4 ,st ,chamas is a quaint old town1 with some of its houses hollowed out of the rock and traces of ancient ramparts4 ,about half-a-mile distant may be seen an interesting ,roman ,bridge called the ,pont ,flavia4 ,it is constructed with the usual solid masonry1 and spans the river ,touloubre with one arch1 which is abutted by the rocky banks4 ,the entrance at either end to the roadway over the bridge is through an arch1 decorated with ,corinthian columns and entablature4 ,these archways are well preserved and are illustrated in ,fergusson's 8,handbook of ,architecture40 ,the columns are surmounted with lions1 and the frieze bears an inscription shewing that the structure was erected by one of the ,flavii4 ,some distance north from this1 on the slope of the chain of the ,verngues1 which divides the valley of the ,durance from that of the ,rhone1 are to be found the relics of a small ,corinthian temple1 originally preceded with a peristyle of four columns in front1 and pilasters of return on each side1 of which1 however1 only one single pillar now survives4 ,this was doubtless the site of the ancient ,ernaginum4 ,in early ,christian times this temple seems to have been converted into a church1 and a circular-headed window opened in the wall of the cella4 ,a chapel dedicated to ,st ,csaire was in the tenth century erected against the north wall1 with a door into the main church1 now built up4 ,the temple is well illustrated in ,texier and ,pullan's 8,byzantine ,architecture10 and is said to be 8full of the sentiment of pure ,greek art40 ,the carving of the capital1 as shewn in ,texier's drawing1 is in the best style4 8,the proportions of the entire column1 which are excellent10 says ,texier 8and the foliage of the capital1 which seems to have been inspired by that of the monument to ,lysicrates1 prove that this little building1 concealed amongst the mountains of ,provence1 was the work of a ,greek artist of the colony of ,massilia40 ,it has already been pointed out how capriciously the ,roman remains have been preserved in ,southern ,gaul4 ,while a small provincial town like ,nimes possesses so many splendid examples1 the great and ancient cities of ,marseilles and ,narbonne have scarcely a single relic of their ,greek or ,roman civilisation left4 ,at ,marseilles some fragments of walls with an archway and some subterranean vaults under the ,church of ,st ,sauveur are the only remains of the splendid edifices which no doubt once adorned this ancient and important city4 ,all along the coast between the ,rhone and the ,pyrenees1 many towns existed and flourished under the ,empire1 but there is now scarcely a fragment of ,roman work to be found in the whole province4 ,leaving therefore for the present this south-western district1 we shall now follow the great ,aurelian way which conducted from ,spain and ,gaul eastward into ,italy4 ,this road passes through the celebrated ,riviera1 the favourite winter resort of the delicate from every country in ,europe1 and even from ,america4 ,it consists of a narrow strip of land between the lower spurs of the ,alps and the sea2 but this level strip is frequently interrupted by branches or roots sent down from the mountains which run out as ,capes into the ,mediterranean1 enclosing in their arms beautifully sheltered sunny bays1 each having a town or village of its own4 ,the ,roman road clung to the mountains1 the engineers finding it easier to span with bridges the higher rugged ravines of the torrents than the broad channels of the rivers near their mouths1 where the shingly and shifting foundation was found insecure4 ,of the towns and stations which existed along this route in ,roman times1 some vestiges may still be traced4 ,,toulon1 now the great naval arsenal of ,france in the ,mediterranean 7formerly ,telo ,martius71 contains no ,roman buildings2 but some miles to the eastward1 on the road by the coast leading to ,hyres1 the ruins of an ancient ,roman town called ,,pomponiana have been discovered and partly excavated--exposing to view portions of the walls of houses1 vaults1 walls of enceinte1 frescoes1 fragments of sculpture1 aqueducts1 baths1 c4 ,the wall of a quay presents the peculiarity of being built above a basement formed of large cubes of stone1 superimposed1 but not united with cement1 which seems to be of ,cyclopean work4 ,moving eastward we pass ,,le ,,luc 7,forum ,voconii7 in the middle of the fertile 8garden of ,provence10 where one ,roman sculpture of a boar hunt has been preserved2 and following the course of the river ,argens1 with the rocky mountains of ,les ,maures on the right we arrive at ,,fr,,jus1 an important sea-port in ,roman times1 and then known as ,julii ,forum4 ,this town is supposed to have been first occupied by the ,phnicians1 and afterwards by the ,greek colonists4 ,it was enlarged and improved by ,julius ,csar and ,augustus4 ,it then possessed a valuable harbour at the mouth of the river ,argens1 to which ,augustus sent the fleet of galleys which he took from ,anthony at the battle of ,actium2 but the sediment of the river has now silted up the harbour1 and formed a flat plain of about a mile in breadth between the ancient port and the sea4 ,the protecting walls of the harbour1 with a solid obelisk at the end1 which no doubt marked the entrance1 still remain1 but are now high and dry on the plain4 ,adjoining these are the walls of a strong fort or castellum for the protection of the port1 built with ,roman masonry of small sized cubic stones4 ,the 8,porte dore10 is an archway close to the railway1 built with similar masonry1 divided with courses of brick work1 now greatly restored and renewed4 ,it is ,illustration3 ,,fig4 #bg4 ,,amphitheatre1 ,,fr,,jus4 supposed to have been the gate between the port and the town4 ,some ruins of the baths have been discovered adjoining this4 ,considerable remains of the ancient ,roman city walls1 enclosing five times the extent of the present town1 still remain4 ,close to the railway station relics of the 8gate of ,gaul10 and other ,roman works are observable4 ,following these from the railway station towards the left1 the ruins of the ,roman ,amphitheatre 7,fig4 #bg71 through which the public road passes by a picturesque archway1 are soon reached4 ,the interior is fairly preserved1 together with the arches which sustained the seats1 staircases1 c41 but the exterior walls and arcades 7if the building ever had an ornamental exterior1 which is doubtful7 are now completely awanting4 ,the ,amphitheatre is #cge ft4 long by #bgc ft4 wide4 ,the east side rests on the slope of a hill1 so that little building was required in that position1 but the west side of the structure is raised from the level plain4 ,continuing round the old walls of the town to the eastward1 we find in a garden the ruins of a ,roman ,theatre4 ,the dimensions of this building1 which was of small size compared to those we have met with at ,orange and ,arles1 are quite traceable1 but the scena is gone all but the foundations1 and only some walls and ruined arches of the auditorium remain above ground4 ,a little further round the walls1 traces are observed of the great aqueduct which brought the water of the river ,siagnolles to ,frjus from a distance of above #bj miles4 ,on turning the north-east angle of the walls1 the ruined piers of the aqueduct are seen stretching across the plain4 ,at the above point the conduit is in a canal owing to the height of the ground4 ,on reaching the main road leading from ,frjus to the eastwards1 the aqueduct takes a sudden bend to the east1 and follows the road for a considerable distance4 ,at this bend was an entrance gate of the town1 called the gate of ,rome1 a portion of which still exists4 ,from here a branch canal took the water to the port4 ,in its long course the aqueduct is sometimes in cutting1 and sometimes carried on lofty piers and arches #hg feet wide4 ,those near the town 7,fig4 #bh7 are amongst the finest specimens1 but some portions in the more remote valleys also still retain their arches1 and at one place the aqueduct is carried in two parallel canals on separate arches4 ,illustration3 ,,fig4 #bh4 ,,aqueduct1 ,,fr,,jus4 ,between ,frjus and ,cannes1 the ,roman ,via ,aurelia passes inland through the chain of the ,esterelle mountains1 whence the ,romans obtained much of the granite and porphyry found in their monuments4 ,at ,cannes and neighbourhood there are a few ,roman relics4 ,a bridge over one of the small streams which descend from the hills through the town is said 7but this is doubtful7 to be of ,roman origin4 ,a delightful walk of an hour from ,cannes over the hills leads by ,vallauris to ,,clausonne1 where the well preserved remains of the ,roman aqueduct 7,fig4 #bi7 which conveyed the water supply to ,antibes are still to be seen4 ,illustration3 ,,fig4 #bi4 ,,aqueduct ,,of ,,clausonne4 ,at ,,antibes1 the ancient ,roman ,antipolis1 there are no ,roman remains2 but according to ,m4 ,lenthric1 a stone has been found here with a ,greek inscription1 giving proof of the ancient worship of the ,hellenes in this region in the fifth century ,b4,c4 ,at ,,vence1 the ancient ,ventium1 a town some seven miles inland1 a number of ,roman inscriptions are built into the wall of the ,cathedral1 and two granite columns are preserved1 which are supposed to have been anciently ,illustration3 ,,fig4 #cj4 ,,cimi,z 7,looking ,n4,e47 presented to the town by the city of ,marseilles 7see ,part ,,vi47 ,crossing the wide and dangerous channel of the ,var 7formerly the boundary between ,france and ,savoy7 we arrive at ,nice4 ,illustration3 ,,fig4 #ca4 ,,cimiez 7,looking ,s4,w47 ,,nice 7or ,nizza71 although now the most important town on the ,riviera1 possesses no ancient buildings4 ,in ,roman times ,cemenelum 7now ,cimiz71 the chief city of the ,maritime ,alps1 stood on a lofty site about three miles up the river ,paglione from the modern town4 ,this ancient city has almost entirely disappeared1 its only relics being the ruins of a small amphitheatre 7,figs4 #cj and #ca71 through the centre of which the public road now passes1 and some excavated hypocausts in the garden of a villa adjoining4 ,the amphitheatre measures #bad feet long by #agh feet wide1 and it has been calculated that it was capable of containing about #hjjj spectators4 ,the form of the arena and the slope of the first series of seats can be distinctly seen1 but otherwise the building is a complete ruin4 ,a few of the perforated corbels for the support of the poles which carried the velarium may1 however1 be still observed on the exterior4 ,but the want of architectural features is to some extent compensated by the grandeur of the views obtained from the walls1 comprising the whole of the coast from ,bordighera on the east1 to the ,cap d',antibes on the west4 ,proceeding in that direction1 a drive along the magnificent ,cornice-road soon brings us to the ancient boundary between ,gaul and ,italy at ,illustration3 ,,fig4 #cb4 ,,monument ,,to ,,augustus1 ,,la ,,turbie4 ,,la ,,turbie 7,turbia or ,tropha71 a small town standing on an inland pass formed by a notch in the mountains1 which here rise in great precipices directly from the sea4 ,on this neck a trophy was built in commemoration of the victories of ,augustus over the ,alpine tribes4 ,the monument 7,fig4 #cb7 has been of great size1 and is built with large blocks of stone4 ,it probably stood on a square base1 on which was erected the great circular mass above4 ,it was adorned with statues1 and a colossal figure of the emperor crowned the top4 ,the design would thus resemble a great many of the splendid mausoleums erected about that time in ,italy4 ,as above noticed this edifice bears a strong likeness to the ,tour ,magne at ,nimes4 ,the massive ,roman work is still traceable in the lower parts filled in with rubble between4 ,fragments of an inscription have been found in the ruins commemorating the triumphs of the divine ,emperor and ,high ,priest ,augustus4 ,in medival times this monument was1 as usual1 converted into a fortress1 as the work of the upper part still shews4 ,it is executed in inferior masonry1 and the cornice is ,italian in character4 ,the fortress was blown up by ,marshal de ,villars in the seventeenth century4 ,the gateways of the town 7see ,part ,,vi47 and other structures have been built with massive stones from the ruins of the trophy1 which1 as so often happens1 has been used as a convenient quarry4 ,a splendid view of the coast is obtained from the summit1 including ,monaco1 ,monte ,carlo1 ,mentone1 and point after point to the eastward leading into ,italy4 ,but though we now stand on the borders of ,italy1 we should still have far to travel through the land ere we encountered such a fine series of ,roman structures as those we have just been contemplating4 ,not till we reach ,verona1 or ,rome itself1 are monuments to be found comparable with the amphitheatres of ,arles and ,nimes1 or the theatre of ,orange2 and there is probably no temple even in ,rome so complete and striking in its unity and spirit as the ,maison ,carre at ,nimes4 ,but our way lies not across this border4 ,we must now turn back and follow in the later edifices the course of ,roman ,art after the ,fall of the ,empire1 and the growth and development of the new styles which sprung from it4 ,illustration ,illustration ,v4 ,the transition from the architecture of ,rome to that of medival times forms one of the most interesting and instructive epochs in our art4 ,the whole history of ,roman art is that of a transition from the external trabeated style1 with its horizontal entablature1 which was common to the early races of ,greece and ,italy1 to the complete development of the internal arched architecture1 which was the final outcome of ,roman constructional forms4 ,the leading features of that ,italo-,greek architecture contain a reminiscence or survival of the primitive elements of wooden construction1 from which they were doubtless traditionally derived1 although in the course of time their origin had been lost sight of4 ,thus the upright pillars with their flutings are idealised descendants of the ,egyptian column1 which again represents a bundle of reeds tied together4 ,the horizontal entablature is derived from the beams laid across the heads of the pillars1 in accordance with the earliest and most natural mode of wooden construction4 ,the pediment is the evident continuation 7both in place and time7 of the couples and ties of a wooden roof of the simplest and most primitive design2 while the side cornice represents the projection of the eaves1 and the triglyphs and modillions are the imitative survivals of the ends of the cross beams or ties and the sloping rafters of the wooden roof4 ,for centuries this trabeated principle prevailed in ,rome2 but together with it there existed a disturbing element1 which at first appeared to be small and insignificant1 but which nevertheless contained the elements of the greatest revolutions in architecture which the world has yet seen4 ,that little feature was the arch1 the distinguishing principle of true stone construction--the seed containing the germ from which1 through ,roman cultivation1 have sprung all the great families of medival architecture1 whether ,byzantine1 ,gothic1 or ,saracenic4 ,the earlier architecture of the ,romans was doubtless chiefly derived from that of the ,etruscans1 who1 like the ,greeks1 followed the trabeated principle4 ,this origin is distinctly traceable in the plans of the ,roman temples1 which are never truly peripteral1 or surrounded with a detached colonnade1 like those of the ,greeks1 but have a deep portico at one end only1 in front of the cella4 ,of this arrangement we have seen a beautiful example in the ,maison ,carre at ,nimes4 ,but the ,central ,italians must have early received some impressions from the ,hellenic art of ,magna ,grecia1 and the way would thus be opened for the introduction at a later period of the finer developments of ,greek architecture which were so universally followed during the ,empire4 ,meanwhile the arch1 the antagonistic element to the trabeated principle1 was gradually progressing2 and from its primitive obscure use in substructures1 conduits1 and similar engineering situations1 it had forced itself into notice above ground1 and had gained recognition in the elevations as a proper architectural element4 ,hence arose the combination1 so conspicuous in the architecture of the ,romans1 of trabeated features1 such as pilasters and entablatures1 with the arched method of construction which they had adopted from an early period1 and of which they ultimately shewed themselves such masters4 ,the amphitheatres and the triumphal arches of the empire well illustrate this mixture of arched construction1 as shewn in the round-headed wall openings1 combined with trabeated decoration1 in the form of horizontal entablatures supported on engaged columns or pilasters4 ,this mixed style long prevailed1 and examples of it are to be found in every part of the ,roman world4 ,but in later times1 when purity of taste had begun to decay1 the ,romans gradually gave fuller scope to their noble constructive powers1 and allowed them to find a worthier expression in their designs4 ,this took place chiefly in their engineering works1 such as the ,pont du ,gard1 and in their interior architecture1 as1 for instance1 in the great halls of the ,baths of ,diocletian and ,caracalla1 the ,basilica of ,constantine 7or ,maxentius7 and other similar works1 in some of which immense intersecting vaults were successfully executed4 ,the simple barrel or tunnel vault is of very ancient origin1 and was adopted by the ,romans from the earliest times4 ,they also freely employed round intersecting vaults for covering spaces of all sizes up to the great examples above referred to4 ,but the most astonishing feat of the ,romans in connection with vault construction is their adoption and application of the dome4 ,in the ,pantheon at ,rome we have an example of that species of vault introduced at once in its perfect form in the largest example in the world4 ,the portico of this temple belongs to the age of ,augustus1 and it is therefore thought by many that the rotunda and dome are of the same date4 ,it is very remarkable that no smaller ,roman domes of earlier date are to be found1 and that this style should1 as it were1 be born in perfect manhood without having passed through the stages of infancy and growth4 ,these no doubt existed1 although we have as yet been unable to trace them4 ,possibly1 as ,professor ,baldwin ,brown suggests1 the dome is of eastern origin1 and its enlarged construction may have been worked out in some of the ,hellenistic cities1 such as ,alexandria1 where the earlier examples have now perished4 ,along with the introduction of the above new and splendid development of vaulting in their interiors1 the ,romans still adhered in the decoration of their exteriors to the ,italo-,grecian portico1 with its entablature and pediment4 ,it was not till the time of the ,lower ,empire that these elements came to be modified and slowly abandoned4 ,the stages by which the trabeated forms were by degrees stripped off can1 however1 be distinctly traced4 ,the arches and vaults employed in the baths1 tombs1 c41 no doubt conduced to that result4 ,in these the arch became the important feature internally1 and naturally in course of time it assumed a more prominent position externally also4 ,archivolts1 or curved architraves running round the arches1 such as were in common use in buildings like the ,colosseum1 had gradually intruded themselves amongst the ,greek pilasters and entablatures of the exterior elevations2 while in later edifices1 such as the palace of ,diocletian at ,spalatro1 the straight architrave was omitted1 and only the arched one retained4 ,the early ,christian sarcophagi shew the same important step4 ,in these a common design consists of an arcade containing the figure of an apostle in each arch1 and these arches or archivolts spring directly from the caps of the columns1 without any straight architrave being employed4 ,of this a good example has been given above1 page #fc4 ,in all transitional styles it is difficult1 and indeed scarcely possible1 to draw the line where one style terminates and another begins4 ,this is especially difficult in connection with the passage from ,roman to medival architecture4 ,the latter was in fact for centuries not a different style but simply a continuation of that of the ,empire4 ,after the adoption of ,christianity the purposes to which the ,christian buildings were applied was certainly very different from that of their prototypes1 but the architecture was the same4 ,the circular domed edifices raised by the ,romans as mausoleums were imitated by the ,christians in their circular baptisteries2 while the style of construction employed in the great basilica or pillared hall lighted by a clerestory1 was exactly copied in the nave or large vessel of the ,christian ,church4 ,the continuity of style is complete2 there is no break4 ,the same ,corinthian or ,ionic pillars1 the same entablatures1 the same roofs and vault are used in both4 ,so close is the resemblance between the ,christian circular baptisteries 7several of which we shall meet with in ,provence7 and ,roman circular monuments1 that the former are generally regarded as ,roman temples converted to ,christian uses4 ,the early churches are usually called basilicas1 and have hitherto been supposed to be derived from the ,roman basilica4 ,but ,professor ,baldwin ,brown1 in his recent interesting and learned work 8,from ,schola to ,cathedral10 endeavours to prove that this is not the case4 ,the basilica had no doubt the form of a pillared hall with central and side aisles1 the former lit by a clerestory1 but it had no apse1 or if there was one it did not occupy the prominent position of that feature in the early churches4 ,the origin of the apse1 which was an essential feature in all churches1 containing as it did the seat of the ,bishops in the centre and those of the presbyters on either side1 is attributed by ,professor ,baldwin ,brown to the memorial cellae erected by ,pagans and ,christians alike in the cemeteries4 ,these often assumed a domed or apsidal form1 and were much resorted to on saints' natal days1 for commemorative festivals and religious ceremonies1 held in the cemeteries above the spot where the martyr's bones reposed in the catacomb below4 ,at a later time1 when these relics had been transferred to crypts below the altars of the churches1 the apse was a feature naturally introduced to complete the resemblance to the original tomb4 ,as regards the nave1 the scholae or halls of meeting of private societies are regarded by ,professor ,baldwin ,brown as the principal model of the early church4 ,under the emperors the ,christians were allowed to form burial guilds1 and these1 like other guilds1 had their scholae4 ,the schola often had an apse containing the seat of the president2 and the above author is of opinion that the large churches built after the conversion of ,constantine are rather enlarged scholae than copies of basilicas4 ,however this may be1 the type of the early ,christian church or basilica presented to view an elongated hall with two or four rows of pillars1 dividing it into three or five aisles1 with a lofty triumphal arch at the end of the central nave1 leading into a wide open space raised some steps higher than the nave1 and in which stood the altar4 ,beyond this was the invariable apse with its semi-domed ceiling adorned with mosaics1 and containing1 elevated by a few steps above the floor1 the throne of the ,bishop1 and the seats of the ,presbyters4 ,the whole building was covered with an open wooden roof4 ,some of these early churches have been preserved or restored in ,rome--such as ,san ,paolo fuori le ,mura1 ,sta ,maria ,maggiore and ,san ,clemente4 ,there is every reason to believe that the above was the usual form of early churches in the ,west4 ,at ,ravenna1 which was the principal city in ,italy during the ,lower ,empire1 being the seat of the ,exarch1 the representative of the ,emperor in the ,west1 there are fine examples of the various kinds of early ,christian religious edifices1 dating from the fifth to the seventh century4 ,the great ,church or ,basilica1 used for the assembly of the whole congregation1 is represented in ,st ,apollinare ,nuovo4 ,it has the usual row of columns on either side of the nave1 separating it from the side aisles1 and supporting a flat upper wall splendidly decorated with mosaics1 the whole being ornamented with ,roman details4 ,the upper portion of the wall is pierced with clerestory windows1 and at the east end is the great apse4 ,the ,baptistery or ,ceremonial ,church is as usual octagonal and is domed4 ,here also the walls are covered with fine mosaics4 ,another extremely interesting building at ,ravenna is the church of ,san ,vitale4 ,this edifice 7whether designed as a monument or as a church is uncertain7 is octagonal and domed1 very much after the style of the temple of ,minerva ,medica and similar ,roman structures4 ,san ,vitale has a special interest from its having formed the model adopted by ,charlemagne for the church which he erected at ,aix-la-,chapelle1 to serve also as his own mausoleum4 ,it thus constitutes an example of a ,roman design reproduced in ,ravenna1 under the late ,empire1 as a ,christian structure1 and again serving as a model for a medival mausoleum as late as the eighth century4 ,this shows distinctly the continuity of ,roman design and its direct influence on the art of later times4 ,the above three edifices at ,ravenna present fully developed examples of the three chief buildings required in connection with the church services up to the ninth century1 viz41 the church1 the baptistery1 and the mausoleum4 ,as we proceed we shall meet with proofs that the same classes of edifices were in use and were carried out in a similar manner in other parts of the ,western ,empire4 ,the circular or octagonal baptistery is of frequent occurrence in ,southern ,gaul4 ,examples of circular churches are also not awanting1 but there is every ground for believing that the basilican form of church1 like that of ,st ,apollinare1 was the plan most generally adopted in ,western ,europe4 ,at ,ravenna1 an early circular tower or campanile1 generally similar to the square ones at ,rome and elsewhere1 still exists4 ,this is a feature the origin of which has not yet been accurately determined4 ,the prevailing opinion1 however1 now is that these towers were at first erected as places of observation and defence1 being in that respect somewhat similar in their conception to the round towers of ,ireland4 ,as in ,san ,vitale1 one form of a ,roman octagonal-domed building is followed1 so at ,san ,lorenzo in ,milan another design of a somewhat similar character is carried out1 showing that the basilican form1 although general1 was not universal4 ,in consequence of the destruction caused by the invasions of the ,barbarians1 by fire or otherwise1 very few edifices now exist in ,western ,europe of the time between ,justinian and ,charlemagne4 ,during all that time of disaster in the ,west1 the ,eastern ,empire still maintained itself in splendour1 and gave encouragement to architecture and the fine arts4 ,from an early time the ,byzantine architects showed a preference for the dome over the intersecting vault1 and it is possible to follow in the still existing edifices1 the mode in which the domical form of roof was gradually worked out1 until in the great church of ,sta4 ,sophia1 erected under ,justinian1 in the sixth century1 the largest and noblest building of the style was successfully completed4 ,in the details of the style of the ,lower ,empire1 as practised in the ,east1 there is considerable evidence of ,greek taste4 ,the sharp thistle-like sculpture of the foliage is designed in a manner not unlike that of the ,corinthian capitals of the ,choragic ,monument of ,lysicrates at ,athens4 ,the ,byzantines also excelled in flat and delicate carving1 such as that generally executed in ivory or fine wood1 and in ornamental metal work and jewellery4 ,when the ,west began to revive1 this ,byzantine art naturally produced some influence on it4 ,a very remarkable example of this occurs in the church of ,st ,mark's at ,venice1 erected about ,a4,d4 #iej1 which in every feature--in plan1 in distribution of parts1 in the use of the dome1 and in its mosaic decorations1--is a distinct importation from ,constantinople4 ,but the art of the ,east was destined to produce1 at a later period1 a much stronger effect1 as we shall afterwards see1 in ,provence and ,aquitaine4 ,besides the domical structures of ,constantinople1 another series of ,christian buildings which had a great influence on ,western architecture exists in the ,east4 ,a large number of churches have been brought to light in ,syria by the work of ,count ,melchior de ,vog4 ,these correspond in general features with the early churches of the ,west4 ,they comprise a central nave and side aisles1 separated by rows of piers1 with nave arches thrown longitudinally between them4 ,the nave is also crossed transversely with arches cast between the piers1 and these are abutted by arches thrown over the side aisles4 ,the latter1 in order to resist the thrust of the central arch1 require to be placed at a considerable height4 ,the side aisles are thus rendered unnecessarily lofty1 and are therefore divided into two storys with a floor which forms a gallery4 ,the nave piers and their transverse arches are placed pretty close together in order to carry the great flag stones of which the roof is frequently composed1 and which are supported upon them4 ,although the roof is in some cases flat1 the general system of construction of these ,syrian churches is very similar to what is found in the oldest churches of ,southern ,gaul2 and which1 as already mentioned1 was also used in the ,nymphum at ,nimes4 ,there can be little doubt but that the ,syrian structures were carefully studied by the numerous monks who visited the ,east in the eleventh century1 while ,palestine was in the hands of the ,crusaders1 and that they were thereby helped forward in the enterprise which was then absorbing the attention of the ,western architects1 viz41 how to roof their churches with stone vaults4 ,hitherto the ,western basilicas had been roofed with timber4 ,a few examples of these early basilicas have escaped the universal destruction1 and serve to indicate what the other churches which existed before the eleventh century were like4 ,the ,basse uvre at ,beauvais is a well known specimen4 ,it has a row of square piers on each side of the nave1 separating it from the side aisles and carrying1 on round arches1 the upper walls containing the windows of the clerestory--the whole being covered in with a wooden roof4 ,it was probably terminated to the east with a semicircular apse1 and at the west with a narthex or porch4 ,these early churches were no doubt all of very simple construction1 the only ornaments being the marble columns and carved work which in some localities were available from ,roman buildings4 ,where these existed the style adopted naturally followed the ,roman forms1 but in districts where they were absent the style gradually passed into the ,romanesque1 under the influence of the new elements imported by the ,northern invaders4 ,we have seen how ,charlemagne attempted to follow a ,roman structure in his great church at ,aix1 and that is a distinct indication of the general tendency4 ,the chief object at this period of transition was to produce an effective internal design1 the exterior being invariably very simple4 ,in this also the system by which ,roman architecture had been developed continued to be carried out4 ,when the new political conditions of the different divisions of ,europe had become somewhat settled1 these principles were worked out separately and independently in each country and province1 and produced a great variety of styles1 all comprehended under the general title of ,romanesque4 ,they were in reality all derived from ancient ,roman architecture1 but by their very variety they indicate the new spirit which was now beginning to express itself4 ,as above mentioned the great desideratum in the eleventh century was a simple form of stone roof4 ,the earlier wooden roof had been found so liable to destruction by fire1 that great efforts were now made to provide a fire-proof covering4 ,at ,san ,miniato1 near ,florence1 there still stands a very fine basilica of the beginning of the eleventh century1 which shews one method in which this was attempted to be done1 and which recalls the mode of construction of the ,syrian ,churches above referred to4 ,san ,miniato is divided into three long bays in its length by circular stone arches1 springing from clustered piers1 thrown across the nave1 each bay being again subdivided by three longitudinal archivolts resting on simple pillars4 ,the above great transverse arches do not1 as in the ,syrian examples1 carry the roof1 which is in this instance of wood1 and is thus not quite fireproof2 but even if the timbers were destroyed by fire1 the three transverse arches would tend to bind the structure all together1 and prevent further ruin4 ,illustration3 ,,fig4 #cc4 ,,san ,,miniato4 ,in the church of ,notre ,dame du ,pr at ,le ,mans in the north-west of ,france1 there is another example of a similar form of roof1 constructed in the middle of the eleventh century4 ,in ,provence the system of vaulting generally adopted was of a more complete character1 derived in all probability1 as already mentioned1 from the ,roman system 7as used in the ,nymphum at ,nimes71 and perhaps also aided by the examples of the vaulted churches seen by the ,crusaders in ,syria4 ,when the revival of the eleventh century took place1 the ,provenal churches were usually erected on the basilican plan1 which doubtless was the traditional one4 ,these churches are small1 but they generally embrace a central nave with two side aisles1 each terminated to the eastward with an apse4 ,the roof is almost invariably composed of a pointed barrel or tunnel vault1 with strengthening transverse ribs springing from the caps of pilasters carried up from the nave piers1 as for instance in ,st ,trophime at ,arles4 ,the side aisles are also arched1 each with one half of a pointed vault thrown against the upper part of the nave wall1 so as to abut the central vault4 ,the roof consists of tiles laid directly on the extrados of the arches1 after the ,roman manner1 so that there is here nothing liable to suffer from fire4 ,there is1 however1 it will be noticed1 one remarkable divergence from the ,roman model1 in which the vaults and arches are always round4 ,in ,provence they are invariably pointed4 ,this form of vault1 as mentioned by ,mrime1 ,fergusson1 and others1 was adopted1 not from choice but as a necessity1 or at least a convenience of construction4 ,the pointed form was found to have several advantages over the round4 ,it was easier of construction1 a matter of great consequence in those rude times2 it exerted less thrust on the side walls1 and was therefore more stable2 and it fitted better the slope of the tiled roof covering4 ,it is evident that the roof of the side aisles1 in order properly to abut the central vault1 had to be carried up to a considerable height4 ,this height being more than was necessary in the aisles1 is sometimes divided into two storys1 the upper one forming a gallery--an arrangement which was frequently adopted in ,lombardy and the ,rhineland1 and also1 as we have seen1 in the ,syrian churches above referred to4 ,one great objection to the ,provenal system of vaulting is that the churches are very dark--a clerestory being obviously impossible consistently with safety4 ,numerous expedients were adopted to provide more light1 such as by introducing windows in the gables1 and by heightening the side walls so as to admit of a small clerestory over the roof of the aisles4 ,but the latter was found to be a very unsafe course1 and at the best only clerestory windows of very small size could be introduced1 so that the long barrel vaults still remained dark and gloomy4 ,in ,aquitaine an entirely different system of vaulting was accidentally introduced1 and threatened at one time to spread itself over the whole of ,southern ,gaul4 ,the story of the importation of this style1 and the various modifications arising out of it1 is somewhat strange and remarkable4 ,owing to the pirates who infested the ,straits of ,gibraltar1 the trade from the ,levant with the ,west of ,france and ,britain1 was carried on by means of caravans1 which conveyed the goods across the country1 from the ,mediterranean to the ,bay of ,biscay4 ,the goods landed at ,marseilles or ,narbonne were thus carried by ,limoges to ,la ,rochelle and ,nantes1 where they were again shipped for the ,north of ,france and ,britain4 ,the town of ,perigueux1 situated in the centre of ,aquitaine1 at that time probably the richest country in ,gaul1 became the head-quarters of the ,venetian merchants1 by whom this traffic was chiefly carried on4 ,these ,venetians1 as they had in the tenth century imported the plan and decorations of ,st ,mark's at ,venice1 from the ,east1 so they soon afterwards resolved to carry the same model with them into ,aquitaine4 ,at ,perigueux they erected a church exactly after the plan of ,st ,mark's1 being in the form of a ,greek cross1 crowned with one dome over the central crossing1 and four domes over the four arms of the cross4 ,the general idea of this church of ,st ,front at ,perigueux is undoubtedly borrowed from ,st ,mark's1 but the execution seems to have been entrusted to a native artist2 for1 although the conception is ,eastern1 the style of workmanship1 is that of the locality4 ,in the original the arches and domes are spherical1 while here they are polygonal and pointed1 which we have seen was the ,provenal system of construction4 ,the pendentives which fill up the angles under the domes are rudely executed in horizontal corbelling1 not dressed as portions of a spherical vault1 as they would have been by a scientific ,eastern architect4 ,the church of ,st ,front at ,perigueux had great influence on the subsequent architecture of ,aquitaine and the ,west of ,france4 ,the plan of ,st ,mark's was not followed in other examples1 the old traditional basilican plan being preferred and adhered to2 but the dome raised upon pendentives1 as introduced at ,st ,front1 became the common form of vaulting in ,aquitaine and the ,west of ,france in the eleventh and twelfth centuries4 ,in the churches thus constructed the side aisles are frequently omitted1 and the building consists of a single hall1 roofed with a series of domes resting on transverse arches1 which are abutted with large internal buttresses4 ,we thus find in ,aquitaine and the ,south generally two important derivations from ,st ,front1 viz41 #ast1 the domed system of vaulting1 and #bnd1 the single or aisleless nave1--the latter being sometimes vaulted with domes and sometimes with groined arches4 ,as late as the thirteenth century the influence of the dome made itself felt in the churches of ,aquitaine1 ,poitou1 and ,anjou2 while the influence of the plan of the single aisleless nave continued to be prominent in the churches of ,languedoc long after the dome was abandoned1 and even after the ,gothic of the ,north had invaded the ,southern provinces4 ,it thus happens that early churches such as the ,cathedrals at ,toulouse 7,fig4 #cd7 and ,frjus 7see ,part ,,vi47 present a mixture of these ideas1 being sometimes found designed on the plan of the aisleless hall1 but at the same time roofed with groined vaulting4 ,the buttresses in all these single nave churches are frequently internal1 and form deep recesses1 which are utilised as side chapels4 ,at a distance from ,perigueux as a centre1 domes are sometimes used1 as is the case1 for instance1 in ,auvergne1 but in ,provence the dome is generally limited to the space over the crossing4 ,in the latter locality the ,byzantine influence exhibits itself in a different direction1 being chiefly confined to details and subordinate features4 ,but here another factor comes into play4 ,the presence of the ,roman monuments still existing in ,provence has evidently tended to impress a ,roman character on the architecture of the district4 ,so strikingly indeed does some of the ,provenal architecture resemble ,roman work1 both in general design and detail1 that it has frequently been maintained that it is actually the work of the ,lower ,empire4 ,the style of ,provence in the twelfth century differs on this account considerably from that of the other ,romanesque styles4 ,the revival which took place all over ,europe in the eleventh and twelfth centuries occurred in ,provence also1 but the result there was somewhat peculiar1 the effect of the ,roman remains being to produce in many of the features of ,provenal architecture a closer resemblance to the ,romanesque style of ,rome and ,italy than to that of the ,rhineland and the ,north4 ,illustration3 ,,fig4 #cd4 ,,toulouse ,,cathedral4 ,the towers and campaniles of ,provence also either correspond in design with those of ,italy or are imitated from ,roman monuments in the country4 ,the circular baptisteries1 of which a good many examples survive1 are like those in ,rome1 constructed with columns and caps from ancient buildings1 or are wrought in imitation of them4 ,sculpture also abounds in ,provence1 being inspired by the abundant remains of ancient work in this favoured province of the ,empire4 ,along with the imitations of ,roman work1 there is also1 as already remarked1 a considerable infusion of ,byzantine influence4 ,this1 according to ,viollet-le-,duc1 may be observed in the polygonal form of the apses2 in the polygonal cupolas supported on a series of corbelled pendentives2 in the flat arcades employed to decorate the walls2 in the mouldings with small projection and numerous members2 in the flat and delicate ornament2 and in the sharp and toothed carving of the foliage4 ,other writers1 however1 are of opinion that too much weight has been attributed to the influence of ,byzantine art1 and that almost all the above elements may be accounted for by the ,roman traditions of the locality4 ,it is doubtful in how far the ,roman buildings which survived in ,provence and the imported classic taste of ,byzantium were beneficial to the arts in that country4 ,they no doubt gave an impetus and motive which would otherwise have been awanting1 and thus assisted the ,provenals in making the early start they did in the revival of their architecture4 ,but on the other hand they acted prejudicially to that revival1 in impressing on it the stamp of the classic trabeated style1 which in their absence it would have escaped1 and might probably have been developed in the freer and more natural manner which occurred at a later date in the ,north4 ,the early use of the pointed arch in the vaulting of the ,provenal churches is another striking feature of the architecture of the district4 ,much has been written about the origin of the pointed arch and the date of its introduction into ,western ,europe4 ,in the ,north of ,france its first use occurred in the twelfth century1 and it was at one time maintained that the ,provenal churches1 from their having pointed vaults1 must necessarily be later than that date4 ,there is now1 however1 no question as to the greater antiquity of many of the ,southern buildings1 thus proving that the use of the pointed arch was adopted in the ,south considerably earlier than in the ,north4 ,we have already seen that that form of arch was first used in ,provence as a constructional expedient1 and not from any preference for the pointed form4 ,the original idea may possibly have been derived from the ,moors in ,spain1 amongst whom the pointed arch was common from early times1 and was employed as a decorative feature4 ,in ,provence its use was limited to the vaulting1 the round arch being preferred for all the ornamental parts of the architecture1 and it continued to be so employed till the thirteenth century4 ,it is a striking circumstance1 observes ,mrime1 that at the moment when the round arch was entirely abandoned in the ,north the pointed arch experienced the same disgrace in the ,south4 ,in the ,north the pointed arch became the decorative form1 when in the ,south the round arch was preferred4 ,the position of the pointed arch is thus completely reversed in the ,north and in the ,south4 ,the greater part of the vaulted constructions of the thirteenth century in the ,south are exclusively round1 the advancement in skill1 both in execution and in the use of materials1 having rendered that form more generally available4 ,numerous examples of this employment of the round arch will be found in the following pages4 ,the ,roman and ,byzantine influences were naturally strongest where the ancient remains and ,eastern ornaments were most frequently met with4 ,as we retire from the ,mediterranean northwards and westwards the ,roman buildings become less numerous and the signs of ,byzantine commerce diminish4 ,in those various countries different styles were naturally developed4 ,these are divided by ,viollet-le-,duc into the schools of ,toulouse1 ,poitou1 ,auvergne1 ,burgundy1 c41 all having distinct characteristics in plans1 elevations1 form of towers1 ornament1 sculpture1 and every detail4 ,of these various schools the ,burgundian was1 during the twelfth century1 in advance of all the others1 not only in the size and magnificence of its buildings1 but also as regards progress in design--efforts being there made to free the ornaments from the conventional and stereotyped patterns of classic art4 ,viollet-le-,duc endeavours to account for this advancement in ,burgundian architecture by the suggestion that it possibly arose from the study of the paintings of ,byzantine ,,mss41 which were numerous in the monasteries1 and therefore more frequently under the eyes of the monks than the purely architectural forms of buildings4 ,these paintings preserve considerable freedom of treatment both as regards natural expression in the features and dramatic action in the figure1 and are much less bound and fixed by traditional and conventional rules than the architectural forms and ornament4 ,the artist monks of the ,burgundian convents were thus led to look to nature as their model in sculpture1 and their attention was gradually turned to natural objects as their guide in the representation of foliage1 as well as figures4 ,this process1 in course of time1 opened the way for an entire departure from ancient precedent1 and led to the wonderful development of the natural school of the ,royal ,domain1 which took place in the end of the twelfth and beginning of the thirteenth centuries4 ,at the head of the ,burgundian school stood the great ,benedictine ,abbey of ,cluny4 7,see ante1 p4 #bj74 ,the church of this ,abbey was the largest building of its time1 although unfortunately not one stone of it now remains upon another4 ,cluny had numerous dependencies and offshoots which were all animated with the same spirit1 and spread a taste for richness and magnificence in architecture1 wherever they were planted4 ,but the period we are now considering was one of awakening and expansion1 not only in the direction of architectural art1 but also in every department of intellectual and religious development4 ,it is not therefore to be wondered at that all men were not actuated by the same feeling of admiration for splendid buildings and paintings4 ,many of the religious rather sympathised with the severity of the old ascetics4 ,it appeared to these reformers that all this sumptuous and splendid mode of life was not in accordance with the fundamental principles of their religion1 and they longed to return to the simplicity of the primitive church4 ,amongst those who raised their voices most strenuously in this behalf1 was the great ,st ,bernard1 who even went the length of separating from the ,clunisians1 and devoted his energy to the encouragement of the new order of the ,cistertians1 which was destined to play an important part in the future history of the ,church and its architecture4 ,of the severe rules of this order1 those relating to the erection of buildings1 were amongst the most stringent4 ,these were required to be of the simplest form1 and to be entirely free from ornament and decoration of every kind4 ,at first this maxim was strictly adhered to in all the buildings of the ,cistertians1 which are therefore of the baldest possible description1 as the numerous examples hereafter illustrated in ,provence and elsewhere show4 ,but this very severity of style seems to have had great influence in clearing the way for the introduction of a new and more natural art1 by sweeping away the last remains of the ancient traditional forms1 and leaving the course clear for the invention of novel ornamentation derived from natural objects4 ,this may be regarded as the second phase of ,provenal art4 ,the first comprised all those primitive structures1 the style of which was founded on ,roman or classic design4 ,but this second phase discarded all such ornament1 and retained only the structural elements which had up to this time been developed4 ,these of course included the use of the pointed arch1 which is always employed in the vaulting and all the important structural features1 while the round form is frequently retained in the minor arches4 ,of this bare but vigorous style no finer example can be cited than the ,abbey of ,thoronet 7to be afterwards described71 but the whole country abounds 7as we shall find7 with examples1 both large and small1 of this reformed or second period of ,provenal architecture4 ,after a time the ,cistertian strictness was gradually relaxed4 ,the more ornate style of the ,clunisians was found to be more in accordance with the feelings and taste of the times2 and the ,cistertians ultimately came to vie with them in the beauty and richness of their edifices4 ,but1 as above pointed out1 the traditional ,roman and ,byzantine elements were entirely banished1 and a new and natural system of ornament adopted4 ,up to the date which we have now reached the progress of the great monastic centres of ,burgundy and the cities of the ,south had been in advance of that of the ,royal ,domain1 and the ,northern provinces generally4 ,but from the end of the twelfth century many circumstances combined to reverse that position4 ,the country of the ,franks had become settled--the restless spirit of that people1 which had found expression in the ,crusades1 had exhausted itself2 the idea of the one great and holy ,roman ,empire had passed away1 and the various countries of modern ,europe were gradually consolidating themselves and forming separate nationalities4 ,the ,feudal system1 which tended to break up all general authority1 was gradually being subjected to the growing power of a central supreme ruler4 ,trade and commerce were reviving4 ,the towns and corporations which had grown up under the fostering care of the monasteries1 or under the shadow of the great castles of the nobility1 were now assuming a more prominent and independent position4 ,they perseveringly pressed their claims on their superiors1 whether lay or ecclesiastical1 and were by slow degrees obtaining charters and liberties4 ,the ,bishops whose sees were connected with the towns encouraged the citizens in this course1 with the view of strengthening their own power and importance1 so as to enable them to keep pace with and if possible overcome the great influence of their rivals the monasteries4 ,this growth of the popular element in the towns naturally led to the employment of laymen in connection with the designing and execution of the works of the cathedral and other ecclesiastical edifices attached to the various sees4 ,the monks1 who had hitherto been the sole possessors of the requisite knowledge and practical skill1 had by their schools1 and by the guilds of tradesmen which they had encouraged1 sown the seeds which were now springing up in a form they had not looked for1 and producing a crop of lay artists1 who were soon to leave their old masters behind4 ,the monastic system of carrying on everything according to rule had long held architecture in bondage4 ,under the new impulse all conventional rules were abandoned1 and the artists trusted to the inspiration of nature for their guidance4 ,hence it followed that whether in planning1 in construction1 or in ormamentation1 the forms so long reverently followed by the architects of the monasteries1 were speedily dropped by the lay artists of the towns1 and a new art sprung up with the most marvellous rapidity4 ,to the new school of artists nothing which would naturally and logically suit their requirements came amiss4 ,the round arch was the traditional form of the ecclesiastics1 but1 the lay architects of the ,north finding 7as the builders of the ,south had long previously done7 that the pointed arch was more flexible and amenable to their requirements1 forthwith adopted it4 ,this enabled them to overcome what had hitherto been the great difficulty with the round arch1 viz41 to erect intersecting vaults over spaces of any form1 whether square or oblong1 and at the same time to keep the apex of all the vaults at any desired height4 ,the transverse arches and the wall arches being thus pointed1 soon led in the most natural manner to the window arches within the latter being also made of a pointed shape1 so as to conform to the outline of the wall arch1 and by an easy transition the pointed arch was soon adopted for all the wall openings as the most flexible1 and most in accordance with the spirit of the new style4 ,in like manner the old conventional forms of decoration1 derived from ,byzantine carvings and ,,mss4 or from ,roman remains1 were entirely abandoned1 and inspiration in decorative design was sought in the natural flowers and plants of the soil4 ,the intellectual development1 no less than the artistic1 of this great period of revival was boldly represented in its architecture4 ,the timid forms of traditional construction were soon left behind1 and scientific methods were introduced4 ,the clumsy mode of sustaining the central vault by the half vault of the side aisles was superseded by the bold and beautiful form of the flying buttress1 loaded with pinnacles where needed to secure stability4 ,this scientific invention enabled the architects to dispense with heavy walls and to bring the whole pressure of the vaults on to points1 where they were discharged by the flying buttresses4 ,the side walls were only required as enclosing screens1 not as supports1 so that there was free scope and every inducement for the expansion of the windows1 which rapidly progressed till the whole building became1 in striking contrast to the dark and gloomy structures of the monastic regime1 an edifice of marvellous lightness and elegance1 illuminated from floor to vault with walls of glowing glass4 ,the rapid and extensive development of the ,gothic style of the ,north is one of the most remarkable facts in the history of architecture4 ,within the century following the first appearance of the style in the pointed vaulting of the abbey church of ,st ,denis1 erected under the ,abb ,suger in #aadd1 this style reached its highest point4 ,during that period it found expression in most of the great cathedrals of the ,north of ,france1 such as ,paris1 ,chartres1 ,sens1 ,amiens1 ,beauvais1 c4 ,this occurred contemporaneously with the long and brilliant reign of ,philip ,augustus1 under whom the royal power became consolidated1 and the royal domain extended to an extraordinary degree4 ,as the royal domain extended1 its ,gothic architecture extended with it1 and even passed beyond it1 and produced a striking effect on the provinces1 such as ,provence1 not yet absorbed into the kingdom of ,france4 ,of this we shall meet with several remarkable examples1 as in the cathedrals of ,carcassonne and ,narbonne1 where the designs are pure ,northern ,gothic1 and were furnished by a northern architect4 ,but these and similar structures always strike one as having the appearance of exotics2 they are evidently imported plants1 not native to the soil4 ,there are also1 as we shall see1 many other buildings in the ,south in which some of the features only of the ,gothic style are adopted1 and which exhibit various attempts to ingraft its details on the native art4 ,but even this is not successful1 the buildings having neither the lightness and elegance of the ,gothic1 nor the massive grandeur of the native style4 ,in later times1 when ,provence and a great part of the ,riviera had passed into the kingdom of ,france1 its period of vigour and independence had faded away1 and its architecture only presents a picture of the various foreign influences under which it lay4 ,this is seen in the examples of the flamboyant work of the ,french1 and in the ,italian ,gothic introduced by the ,genoese1 who were long masters of the ,riviera4 ,all other architecture1 however1 soon yielded to the revival of the classic style1 which here1 amongst so many ,roman relics1 found a congenial soil4 ,the great development of ,gothic architecture in the ,north was not limited to churches and other ecclesiastical structures1 but extended to every species of building4 ,for it is one of the leading characteristics of ,gothic1 that it is available for every variety of architectural requirement4 ,it is a free and natural style1 not subject to the arbitrary rules of monastic or academic systems1 but ready to apply itself in the simplest and most direct manner to all human wants in the way of building4 ,the ,gothic lay architects therefore naturally directed their skill to the proper development of ,domestic and ,castellated ,architecture1 as well as ,ecclesiastical and ,monastic4 ,of the former1 many most interesting examples are to be seen in the ,southern towns2 and of the castellated architecture1 we shall meet with not only such splendid examples as the ,pope's ,palace at ,avignon1 and the great castles of ,villeneuve and ,beaucaire2 but we shall also have an opportunity of examining1 at ,carcassonne and ,aigues ,mortes1 the towns which possess probably the completest and best preserved specimens1 now extant1 of the military architecture of the ,middle ,ages4 ,that kind of architecture was1 as was natural1 especially in the ,south1 to a considerable extent founded on that of the ,romans4 ,this will be more fully explained and illustrated1 when we come to treat of the fortifications of ,carcassonne1 which are partly ,roman or of ,roman foundation4 ,in the ,north the early fortresses consisted of earthen mounds1 protected by palisades and ditches4 ,such were the defences of the native ,gauls1 which ,csar found so boldly defended4 ,to these succeeded the strong towers of masonry1 of which the ,norman keep is the well known type4 ,stone-built towers of that description gradually superseded the wooden fort set upon the top of an earthen 8motte0 or mound which formed the central stronghold of the earlier fortresses4 ,masonry then1 step by step1 took the place of wood in the defences2 first1 as we have seen1 in the keep1 and then in the enclosing walls4 ,as the science of attack improved1 the latter were made stronger1 and were further fortified by the construction in connection with them of numerous strong towers4 ,these were generally round in the ,north and square in the ,south4 ,the means of active defence were chiefly from the parapet4 ,at first the parapets of the walls and towers were armed in time of war with wooden enclosures1 called 8hoards0 or 8brtches10 projected on short wooden beams4 ,these enabled the defenders to overlook and protect the base of the works1 which were then the weak points of the fortifications1 and were liable to attack by sapping or mining4 ,the assailants carried out this kind of assault by rolling up their sappers to the walls in 8cats0 or 8sows0 7small wagons strongly constructed and defended on the top with bags of wool and wet hides71 which could only be destroyed by great stones and beams1 hurled down from the projecting 8hoards0 above4 ,the sockets for this wooden armature of the walls still exists unaltered in the thirteenth century fortifications of ,carcassonne and ,aigues ,mortes4 ,by degrees the wooden hoards were abandoned1 being found liable to destruction by the fire balls or 8,greek fire10 which the crusaders had learned the use of in the ,east4 ,parapets of masonry were then substituted for them1 projected on bold stone corbels1 which left intervals between the parapet and the face of the wall1 called0 machicolations10 through which the defenders could rain missiles on the assailants4 ,in the fourteenth century these corbelled parapets are amongst the most prominent and picturesque features of the castles and fortifications of the period4 ,in course of time the stone parapets were further improved and heightened into several storys1 the lower ones being covered1 and the upper forming an open crenellated walk4 ,in the fifteenth century this system reached its height1 and produced in the lofty towers and walls1 crowned with their numerous boldly overhanging works1 some of the most magnificent works of the military architecture of the ,middle ,ages4 ,we shall have occasion to refer to the various systems of defence adopted in the different castles and towns to be visited1 when attention will also be drawn to the differences of the systems adopted in the ,north and ,south4 ,we shall also find a remarkable application of castellated features in the churches of the ,south1 where1 after the twelfth century1 almost every ecclesiastical structure is carefully fortified4 ,this produces in the churches of the ,south one of their most striking peculiarities1 and gives them1 instead of the light and gracefully aspiring character of the ,northern ,gothic structures1 a reflection of the grim and stern aspect of the feudal castle4 ,the peculiar church architecture just referred to1 no doubt derived its origin from the constant state of alarm and disturbance in which the ,southern provinces were kept by the ,albigensian wars1 and the attacks of the ,moors and ,corsairs by sea and land4 ,some place of refuge and defence was required by the harassed inhabitants1 who naturally fled to the church and fortified themselves therein4 ,frequently the cathedrals were comprised within the precincts of the ,bishop's ,palace1 which was fortified like a feudal castle4 ,the cathedral being the largest building was eagerly seized upon as an important part of the fortifications1 and even when the design was in ,northern ,gothic1 had externally at least to adopt many of the defensive features of the ,south4 ,of this remarkable illustrations occur at ,narbonne1 ,bziers1 and ,frjus4 ,we have now rapidly sketched the various steps by which ,roman architecture was gradually transformed1 from being in its decorative features an imitation of the classic trabeated style1 into an embodiment of the true principles of arcuated or genuine stone construction1 as exhibited in the fully developed ,gothic of the thirteenth century4 ,we have seen that this was by no means a simple process1 and that it was only accomplished by the ordeal of the destructive though purifying dissolution of the ,dark ,ages1 whence the true spirit of ,roman construction emerged1 cleared to a great extent of the extraneous elements with which it had been so long encrusted4 ,but although the true features of arcuated architecture now slowly began to be developed1 they were both aided and retarded by the surviving relics of ,roman art which existed in the ,west1 as well as by the influence of the classic taste which continued to prevail1 although in a modified and expanded condition1 in the ,east4 ,the country through which we are about to travel is remarkably favourable for the study of the effects of these various influences4 ,we have already seen how rich it is in genuine ,roman structures4 ,in our further progress we shall note how these examples served as models for the revival of the architecture2 for so closely were the ancient designs frequently followed that the new structures were almost complete resuscitations of the style of the ,lower ,empire4 ,we shall also have many opportunities of observing the influence of the modified classic art imported from ,byzantium4 ,thence came the dome which forms one of the most important elements in the medival architecture of ,aquitaine and the ,south1 as well as numerous details and ornaments which served as the foundation or motive for much of the architectural decoration of the ,west1 especially in ,provence4 ,how strongly these influences produced their impress on the architecture of the region we are to traverse1 will be apparent2 and it will probably be agreed by all that although the art of ,provence was thereby advanced at first1 the chief tendency of these classic reminiscences was to encourage an adherence to traditional forms1 which prevented such a free growth and development as was afterwards displayed in the ,northern districts1 where the classic elements were less abundant4 ,but in one respect at least the architecture of ,provence deserves our gratitude and admiration1 for1 amidst all its classic surroundings1 it boldly adopted and adhered to the true principle of arcuated construction1 and introduced the use of the pointed arch4 ,although in its earlier stages this important feature was accompanied and encumbered with the revived details of ,roman work1 still1 as we shall see1 in its later phase1 it entirely and completely discarded them2 and in the twelfth century1 under the guidance of the ,cistertians1 ,provence produced a simple and natural style of arcuated architecture in which every feature is regulated by strict adherence to the genuine principles of stone construction4 ,of this simple but strong and impressive style we shall meet with many fine examples4 ,up to this time the ,provenal architects had led the way1 but the period had now arrived when their principles were to be taken up and carried out with the boldness and energy of the ,northern kingdom of ,france1 then in its youthful prime4 ,the lay architects of the ,north1 seizing on the ,provenal principle of the pointed arch1 which they at once perceived to be so flexible and easy of application to every requirement1 soon developed from it the magnificent system of the perfected ,gothic of the thirteenth century4 ,this was at once felt and acknowledged on all hands to be an immense step in advance of anything hitherto attempted in the ,west1 and was speedily allowed to overshadow1 and finally to supersede all other varieties of medival development4 ,of this result numerous illustrations will occur in the course of our journey2 but we shall also observe how tenaciously the original forms of construction and plan were adhered to in the ,south1 even after the ,northern ,gothic had been accepted as supreme in all minor details4 ,illustration ,,vi4 ,having now glanced rapidly at the general history and various phases of the architecture of ,provence during the ,middle ,ages1 we shall recommence our journey at ,lyons1 and visit the various places on our route southwards to ,marseilles1 and thence westwards and eastwards along the ,riviera1 where architectural subjects are to be found1 giving a more detailed account of each in its turn1 and specially noting those of the ,,medi,,val ,,period4 ,at ,,lyons the traveller is at once introduced to the local style in the ,church of the ,ainay1 which however is much modernised and restored4 ,some portions of the walls may be as old as the tenth century1 but the consecration of the existing building 7barring subsequent restorations7 took place in #aajg4 ,the four granite columns of the choir are possibly antique4 ,the church has the ,basilican form1 with central nave and side aisles4 ,the square lantern over the crossing1 which forms a dwarf tower externally and cupola internally1 is peculiar to this part of the country4 ,the square tower at the west end 7,fig4 #ce7 with its successive stages of small windows1 has a far-off resemblance to the ancient brick campaniles of ,italy--a resemblance which we shall find more strikingly illustrated in more ,southern examples4 ,the peculiar incrustations in red and other coloured stones1 which have a pleasing and ,eastern effect1 are a feature of common occurrence in the churches of the ,auvergnat1 not far distant from ,lyons towards the south-west4 ,the pointed doorways are modern1 but are reproductions of a restoration of the twelfth century4 ,illustration3 ,,fig4 #ce4 ,,the ,,ainay1 ,,lyons4 ,the cathedral is a fine specimen of the mixed style of this part of the country1 the choir being partly ,romanesque of the end of the twelfth century4 ,the flat arcades of the interior 7,fig4 #cf71 composed of large trefoiled arches1 resting on fluted pilasters1 are very characteristic of the ,burgundian style4 ,the idea of these pilasters is derived from those of the ,roman gates at ,autun4 ,in the cathedral there as well as at ,tournus1 and other towns of ,upper ,burgundy1 such pilasters are of frequent use4 ,the form of the clerestory windows seems to have been borrowed from these arcades4 ,the choir has an apse1 but no aisle running round it1 as invariably happens in the ,north4 ,externally it presents a curious gallery with twisted shafts and inlaid coloured stones1 like those of the ,ainay4 ,the towers at the transepts are a remarkable feature4 ,the nave is ,nothern ,gothic work of the thirteenth and fourteenth centuries1--but the vaulting is sexpartite1 a form entirely abandoned in the ,north at that date4 ,some of the carving on the west front is very vigorous and fine1 recalling the splendid work on the portals of the north and south transepts of ,rouen4 ,illustration3 ,,fig4 #cf4 ,,arcades ,,in ,,cathedral1 ,,lyons4 ,altogether this building presents in the choir and transepts a singular mixture of the styles of ,upper ,burgundy1 with those of the ,rhine on the ,east1 and ,auvergne on the ,west2 while the nave is an example of a transplanted design of ,nothern ,gothic4 ,in descending the ,rhone the valley soon narrows1 and we pass into the gorges amongst the mountains4 ,on one of the rocky heights which jut out into the valley1 the ancient spires of ,vienne1 and the summit of ,mont ,pipet1 crowned with its ,roman citadel1 stand boldly out against the sky4 ,the town occupies a strong position and commands the pass1 hence it was occupied as a fortress by the ,allobroges from early times4 ,afterwards an important city under the ,romans 7as already mentioned in ,part ,,iv471 it continued so during the ,middle ,ages4 ,but it suffered severely from the attacks of invaders1 being first ravaged by the ,lombards1 and afterwards by the ,saracens4 ,in the ninth century ,boson1 ,king of ,burgundy and ,provence1 made ,vienne his capital4 ,after the fall of that kingdom1 the city declined1 and became the possession of the ,dukes of ,albon1 who governed under the title of ,dauphins of ,viennois1 till #acdi1 when ,humbert ,,ii4 ceded the country to the ,king of ,france4 ,illustration3 ,,fig4 #cg4 ,,st ,,andr-,,le-,,bas1 ,,vienne4 ,the towers of the two most ancient churches1 viz41 ,st ,andr-le-bas and ,st ,pierre 7,figs4 #cg and #ch71 are very fine examples of the campanile-like designs of the ,south1 and strikingly resemble that of the ,ainay at ,lyons4 ,the former is ornamented with the arcading so characteristic of the churches of the ,rhine and ,lombardy1 some of the miniature arches resting on corbels carved with grotesque heads4 ,the tower of ,st ,pierre has the large trilobed arch1 also common in the region to the eastward4 ,st ,pierre is very ancient and shews masonry constructed somewhat after the ,roman manner1 with courses of brickwork dividing the rubble4 ,the west entrance is preceded by a porch or narthex in an early style4 ,st ,andr-le-bas was the chapel of the ,duke of ,burgundy4 ,this church has a single nave 7in the style of the south-west provinces71 with groined vaulting and heavy buttresses1 but the interior has been completely restored4 ,an inscription fixes its date as #aadb4 ,there are also some remains of a fine cloister adjoining4 ,illustration3 ,,fig4 #ch4 ,,st ,,pierre1 ,,vienne4 ,the cathedral of ,st ,maurice is1 like that of ,lyons1 a mixture of different styles1 and has few of the merits of any4 ,it was begun in the eleventh century1 and not completed till the sixteenth4 ,the plan is that of a basilica with an apse at the east end of the choir4 ,there are a central nave and side aisles1 but the latter stop at their eastern extremity with square ends1 and are not continued round the central apse4 ,the eight eastmost pillars of the nave belong to the twelfth century1 and are partly decorated with fluted pilasters in the style of ,upper ,burgundy4 ,the caps are 8historied10 or carved with ,illustration3 ,,fig4 #ci4 ,,st ,,maurice1 ,,vienne4 figures after the ,romanesque style2 while the arches are pointed and ornamented with billet mouldings4 ,above and below the triforium gallery is a course of red stone containing sculptures of all sorts of subjects1 like the inlaid work of ,auvergne4 ,the vaulting is of the fourteenth century4 ,in the sixteenth century the proportions of the cathedral were found defective1 the building being considered too short for its length1 and several bays were then added to the west end in the florid ,northern style of the period4 ,the west portal 7,fig4 #ci71 with its richly carved tracery and sculpture1 standing as it does at the top of a lofty flight of steps1 rendered necessary by the slope of the ground to the westward1 must have been a fine example of its style before the statues and carving1 which so profusely adorned it1 were destroyed during the wars of religion1 by the ,baron des ,adrets1 in #aefb4 ,the cathedral is #cjj feet long by #ajj feet wide1 but1 owing to the mixed character of its design1 it is somewhat heavy in effect4 ,a remarkable example of a double round tower of ,renaissance art 7,fig4 #dj7 stands close to the ancient ,forum1 and several specimens of antique houses of all ages are to be seen in the busy and picturesque streets4 ,illustration3 ,,fig4 #dj4 ,,house ,,in ,,vienne4 ,the next town of importance reached is ,,valence1 which1 however1 is not very rich in architectural subjects4 ,the cathedral 7,st ,apollinaire7 is of the twelfthcentury1 and shews some special features indicative of the influence of the style of ,auvergne1 such as an arcade on the outside of the nave1 with alternate round and straight sided arches4 ,the caps of the nave piers are very ,corinthian in character1 and the roof is a tunnel vault4 ,the apse is round1 and is strengthened with buttresses in the form of small shafts1 a feature very common in ,auvergne4 ,but this and the other churches have all been reconstructed in ,renaissance times4 ,the ,maison-des-,ttes 7,fig4 #da71 near the ,place des ,clercs is a well preserved and telling specimen of a florid domestic faade of #aecd4 ,illustration3 ,,fig4 #da4 ,,maison-,,des-,,fetes1 ,,valence4 ,in descending the ,rhone the traveller cannot fail to notice that the precipitous mountains which bound the plain on the west side of the river are frequently crowned with the shattered remains of medival castles4 ,of these one of the most striking is the ,,castle ,,of ,,crussol 7,fig4 #db7 opposite ,valence4 ,this great castle1 now reduced to a mere fragmentary heap of ruins1 was formerly the stronghold of the family of ,crussol1 ,ducs d',uzs4 ,it forms a fine feature in the landscape1 and commands a splendid view of the course of the ,rhone and the valley of the ,isre1 with the ,alps to the eastward4 ,but it is now so ruined that a closer inspection is somewhat disappointing to the architect4 ,a few miles lower down the very interesting ruins of the ,,monastery ,,of ,,cruas are seen on the same side of the river4 ,this may be conveniently reached by the railway on that side1 or from ,montlimar4 ,the latter course forms a beautiful drive1 without taking the traveller going south far from his direct line4 ,crossing the ,rhone by the bridge of boats not far from the station1 the ruins of what once was the powerful castle of ,rochemaur meet the view1 crowning the rocky height in front1 and extending great walls of enceinte down to the village at the base4 ,the detached tower forming the keep1 which could only be approached by a draw-bridge1 now stands a shattered ruin on its isolated peak4 ,illustration3 ,,fig4 #db4 ,,castle ,,of ,,crussol4 ,a drive of a few miles along a level road1 above which on the left rise great masses of basaltic rock forming fantastic figures not unlike the ruins we have just passed1 brings us to the village of ,,cruas1 where we discover two architectural subjects of some importance4 ,on the hill above the village stand the ruins of the ancient monastery1 now greatly dilapidated1 and having the space between the walls choked up with the steep and irregular streets of a small town4 ,the monastic buildings have almost entirely disappeared1 the materials having doubtless served for the construction of the shabby houses which now occupy their place4 ,some portions of the enclosing walls1 however1 still survive1 together with one very interesting edifice1 which remains ,illustration3 ,,fig4 #dc4 ,,abbey ,,of ,,cruas ,,from ,s4-,w4 ,illustration3 ,,fig4 #dd4 ,,monastery ,,church1 ,,cruas4 tolerably entire4 ,this is the ancient chapel of the abbey1 originally a building of the twelfth century1 but which in the fourteenth century was engulphed by the enclosing walls and fortifications then erected1 and heightened so as to be converted into a keep 7,fig4 #dc74 ,the interior has1 however1 been preserved untouched1 and shews the simple style of the ,cistertians of the twelfth century 7,fig4 #dd74 ,the plan consists of a single nave with plain pilasters set against the side walls1 from which spring the flat transverse arches which strengthen the round tunnel vault4 ,the east end is terminated with a semi-circular apse roofed with a spherical dome1 and ornamented with the small arcaded pattern so common at that period4 ,on the left or northern side wall arches are introduced1 as if for a side aisle1 but there is no appearance of any aisles ever having existed4 ,the plain round arched west doorway still exists1 and the line of the original gable above it is distinctly observable in the masonry 7see ,fig4 #dc74 ,the keep built round and over the church is of remarkable design4 ,large round buttresses have been added at the outer angles1 with square buttresses at the sides1 and both are carried up so as to receive the arches which support the parapet on the top4 ,these arches spring from bold corbels projecting from the buttresses1 and are set well forward from the face of the walls1 so as to leave a space between the main wall and the parapet4 ,this space forms a long opening or machicolation1 by means of which the base of the walls could be defended against hostile operations4 ,we shall see by and by that this is the same form of machicolation as was adopted in the ,pope's ,palace at ,avignon1 and elsewhere in the ,south4 ,the parapet is crenellated1 and1 from the beam holes still visible in the walls1 we may infer that it was provided with wooden hoardings for defence4 ,the church in the village at the base of the hill 7,fig4 #de7 has also some points of special interest4 ,it is of early twelfth century design1 and has a vaulted subterranean crypt with numerous sculptured caps4 ,the upper church has a square tower at the west end1 and a transept with three circular apses opening out of it to the east1--the central apse forming the choir1 and the side apses lateral chapels4 ,over the crossing rises an octagonal lantern1 containing a dome crowned with a smaller circular lantern4 ,the ,illustration3 ,,fig4 #de4 ,,church ,,at ,,cruas4 whole composition and style of ornamentation strongly recall the architecture of the ,rhineland and ,lombardy4 ,the thin strips of pilasters on the apses and lantern1 with small arcade-enrichment between1 together with the general form of the lantern1 strikingly recall the churches of ,bonn and ,cologne4 ,the western tower again is similar to those we have left behind at ,vienne and ,lyons4 ,this church1 like many others we shall encounter1 illustrates what has above been stated as to the universality of the one style which prevailed over the 8,empire10 before it was broken up into separate nationalities4 ,soon after leaving ,montlimar with its frowning citadel1 in which there are some ancient ,romanesque details1 and a great tower of the fourteenth century called the 8,tour de ,narbonne10 we observe on the opposite side of the ,rhone the picturesque town of ,,viviers1 clustering on a pyramidal rock1 and appropriately crowned with the cathedral and spire4 ,the church is of the fourteenth century1 a single nave without aisles4 ,it is said that the crowded and narrow streets contain some old houses1 but the place is apparently more picturesque than architectural4 ,we now approach the country in which the peculiar elements of the ,provenal style become distinctly apparent4 ,about four miles north-east from ,pierrelatte1 the ancient town of ,garde ,adhmar may be seen towering aloft on the crest of a bold promontory about #ejj feet high4 ,this town contains a ,romanesque church with an eastern and western apse1 after the ,german fashion1 a rather remarkable feature here1 but showing1 like the ornaments already referred to1 an influence from the ,rhine4 ,the side aisles are vaulted with quarter-circle arches1 and the exterior is finished with a small belfry and steeple4 ,about six miles to the south-east of ,pierrelatte lies the village of ,,st ,,paul-,,trois-,,ch,,teaux1 where another very remarkable church is found4 ,the town was of some importance from ,roman times downward1 and retained its bishop's see till the ,revolution4 ,several fine ,roman sculptures have been found in the locality1 and are preserved in the ,calvet museum at ,avignon2 and a few remains of ,roman structures and columns are still to be seen4 ,but the most interesting edifice in the town is the ancient cathedral of the twelfth century4 ,as this is the first building we have met with which is characteristically ,provenal in style1 so it is also one which preserves in a very distinct and marked manner the traditional ,roman ,illustration3 ,,fig4 #df4 ,,st ,,paul-,,trois-,,chateaux4 ,part of ,exterior 7from ,rvoil74 features of that style4 ,the annexed geometric view of one of the exterior bays 7,fig4 #df47 shews how close is the imitation in the ,provenal architecture of the twelfth century of that of the ,roman structures which no doubt then existed on the spot4 ,the pilasters1 crowned with their complete entablature of architrave1 frieze1 and cornice1 and filled in with an intermediate arcade1 might be part of a ,roman amphitheatre 7such as those at ,nimes and ,arles72 and indeed it is supposed that traces of an ancient amphitheatre have been discovered at ,st ,paul4 ,every detail might belong to the ,lower ,empire4 ,the ornaments of the cornice are directly imitated from the modillions and leaf enrichments of ,roman work2 and the egg and dart1 and other classic details are freely used throughout4 ,the interior ornament is equally ,roman in design4 ,the east end is terminated with an apse1 which has eight fluted columns4 ,the two side aisles are covered with half wagon vaults1 and the nave1 which is unusually high1 with a simple tunnel vault4 ,this locality brings us for the first time into contact with a tradition of which we shall find many traces in various parts of ,provence1 viz41 that the ,gospel was introduced into this country by the family of ,lazarus1 and some other contemporaries of ,christ1 who had been driven hither by persecution4 ,at ,st ,paul the story goes that the first bishop was the blind man whose sight was restored1 and who assumed the name of ,restitutus4 ,about three miles from ,st ,paul may be seen the monument of this saint1 said to be of very ancient and curious construction4 ,it is partly built into the church1 and is ornamented with a remarkable frieze1 containing a rude representation of the last supper4 ,the station of ,la ,croisire is the nearest to a very remarkable specimen of medival construction1 the ,,pont ,,st ,,esprit4 ,this celebrated bridge was planned and begun in #abfe by ,jean de ,tensanges1 the abbot of the order of ,cluny1 in the district of ,st ,savourin du ,port1 which belonged to the abbey4 ,it was thirty years in building1 but we have proof that the work was well planned and skilfully executed1 in the fact that it subsists till the present day4 ,the length of the bridge is about #cjjj feet1 and the width of the roadway is #af feet4 ,there are twenty-two arches1 all semi-circular in form1 and constructed with carefully wrought courses of arch stones1 forming separate rings set together side by side1 but not bonded into one another4 ,this mode of construction was probably borrowed from the bridge of ,st ,bnezet at ,avignon1 which again derived it from the ,roman ,pont du ,gard4 ,over the piers are smaller arched openings to allow the water of the high floods of the ,rhone to pass freely through4 ,like the ,pont ,st ,bnezet at ,avignon the ,pont ,st ,esprit does not run straight across the river1 but is bent at an obtuse angle against the current so as to resist its pressure4 ,the bridge was fortified at both ends by castles erected by the suzerains on the opposite sides of the river4 ,these remained till the seventeenth century1 when one of them was brought into connection with the citadel of the town constructed by ,louis ,,xiii4 ,this was the last bridge erected by the 8,frres hospitaliers pontifes0 7of whom we shall hear more at ,avignon74 ,after the thirteenth century neither ,communes nor ,nobles found it necessary to apply to the monks for their aid as architects and engineers4 ,by that time the lay architects had superseded them1 in the manner above described 7,part ,v47 ,passing next close under the rocky heights crowned with the picturesque ruins of the castles of ,montdragon and ,mornas1 the massive wall of the theatre of ,orange rising high above the plain arrests the eye4 ,a little further on the ramparts and gates of the small walled town of ,,courth,,zon are visible close to the railway2 soon after passing which1 the bold outline of the great ,palace of the ,popes discovers itself to view towering on its rock above the town of ,,avignon4 ,on nearer approach1 the city walls and gates1 surmounted with bold corbels and machicolations1 and the numerous towers and spires of the churches1 unite to give a striking first impression of the city4 ,as it is chef-lieu of the department of ,vaucluse1 and the ,see of an ,archbishop1 ,avignon is a town of some business and prominence4 ,the traveller will here find better accommodation than he generally meets with in the country towns4 ,this may therefore be regarded as a good place to establish one's headquarters for a few days1 both for the purpose of seeing the very splendid monuments of the town1 and also as a convenient centre from which excursions may be made to the interesting ,provenal churches of early date1 which abound in the vicinity4 ,although ,avignon was an important ,roman colony1 it has already been remarked how barren it is in ,roman remains4 ,after the fall of ,rome1 it passed successively through the hands of the ,burgundians1 the ,franks1 and the ,visigoths3 it was twice taken by the ,saracens 7#gcj and #gcg71 and twice delivered by ,charles ,martel4 ,afterwards it became part of the ,kingdom of ,arles1 and subsequently capital of the ,marquisate of ,provence4 ,in the twelfth century the community declared itself a free and independent city1 and erected new walls and fortifications4 ,avignon ranged herself on the side of the ,albigenses2 and1 as previously mentioned1 she was besieged and taken1 and in #abea became subject to the ,count of ,provence4 ,in #acjh an event happened which had a very important bearing on the subsequent history of the city4 ,pope ,clement ,v41 finding his position in ,italy insecure amidst the dreadful factions which rent that country1 judged it prudent to retire to ,avignon1 where he would be under the protection 7if also under the power7 of the ,king of ,france4 ,avignon thereafter continued for more than a century the ,holy ,see1 and during that time seven ,pontiffs and two ,anti-,popes reigned in this new ,rome4 ,as already narrated1 ,pope ,clement ,,vi4 purchased the suzerainty of ,avignon and the control of the ,venaissin from ,jeanne1 the ,queen of ,naples and ,countess of ,provence1 in #acdh4 ,successive ,popes used every exertion to render the place secure1 and especially built themselves1 on the ,rocher-des-,doms1 the immense ,palace1 which still forms the most prominent feature of the town4 ,the walls and fortifications were begun in #acdi1 and finished in #acfh4 ,when the ,popes returned to ,rome1 ,avignon was governed for them by a ,legate1 who was displaced in favour of the ,republic in #agig4 ,the ,palace of the ,popes is well situated for defence4 ,it stands on the top of an abrupt rock1 round the base of which1 on the north1 sweeps the deep and rapid current of the ,rhone4 ,the rock is perpendicular all round the east and south sides1 and is thus cut off from the town2 while on the west1 where alone the site is approachable1 the access is steep1 and is protected by the lofty and menacing walls of the ,palace 7see ,plan1 ,fig4 #di74 ,the ,church of ,notre ,dame des ,doms 7,a7 occupies the summit of the rock1 and is of much older date than the ,pope's ,palace4 ,the porch of this church 7,fig4 #dg7 is extremely interesting as an example of ,provenal architecture so strikingly ancient in character as to have been long held to be a classic structure of the ,lower ,empire4 ,it exactly resembles a ,roman design in its general idea1 forming1 as it were1 a compartment of a classic edifice1 with a fluted ,corinthian column at each side1 and an arched doorway or opening between4 ,on the columns rests an entablature1 and the whole is crowned with a triangular pediment4 ,the ,corinthian capitals1 the cornices with egg and leaf enrichments1 the mouldings1 imposts1 c41 are all strikingly ,roman in character4 ,the inner doorway to the church is similar4 ,mrime points out that the size of the stones used in this porch does not correspond with ,roman work1 being smaller than ,roman large work and larger than ,roman small work4 ,also that the stones of which the columns are composed are ,illustration3 ,,fig4 #dg4 ,,church ,,of ,,notre ,,dame ,,des ,,doms ,,and ,,palace ,,of ,,the ,,popes1 ,,avignon4 wrought with tails bonded into the wall 7alternating right and left71 which he regards as contrary to classic practice4 ,the bull's-eye of the tympanum is also not ,roman1 but might be an addition4 ,it is probable that the sides of the porch were originally open4 ,the date of this porch has been the subject of much discussion2 but it seems most likely that it belongs to the early part of the eleventh century4 ,it was at that date that architecture began slowly to revive2 and this is probably one of the first efforts4 ,designers would then naturally fall back on the classic forms1 of which examples were abundant around them4 ,there are many instances in which the early medival architecture can be traced to ,roman structures found in their vicinity4 ,we have already met with one striking example at ,st ,paul-trois-,chteaux2 and it was previously shewn how the gates of ,autun influenced the architecture of a large district1 in which pilasters1 copied from those of the ,porte d',arroux1 are universally used instead of round shafts4 ,we shall also presently see how the dome-topped campaniles of ,provence are also copied from ,roman monuments1 such as that at ,st ,remy2 and how in almost all the churches throughout ,provence ,roman columns1 caps1 cornices1 mouldings1 and enrichments are freely imitated4 ,but these imitations are generally incomplete1 and invariably contain defects or omissions1 which shew that they are imperfect copies1 and not real ,roman work4 ,such imperfections affect the details rather than the general style4 ,in the instance before us1 it is stated that the cornice of the antique part of the tower above the porch is copied exactly from that of the attic of the ,arch at ,orange4 ,the interior of ,notre ,dame des ,doms is an example of an early ,provenal church1 but not a very favourable one1 as it has been frequently altered and added to4 ,the choir is of #afga1 and the lateral chapels are of the fourteenth century1 while ,renaissance balconies in marble have been added in front of the gallery1 over the side aisles4 ,in the choir is a remarkable chair of the twelfth century1 in white marble1 which was the seat of the ,pope2 and the tomb of ,john ,,xxii4 7,fig4 #dh71 in one of the side chapels1 is a fine specimen of the imported ,northern ,gothic style4 ,the tower1 partly destroyed in the fifteenth century1 was repaired in #adcj2 and the colossal statue of the ,virgin was added in #ahei4 ,the walls of the interior were once decorated with frescoes by ,simone ,memmi1 but they are now almost obliterated2 and the interior is so dark1 that the few fragments remaining cannot be seen4 ,illustration3 ,,fig4 #dh4 ,,monument ,,of ,,pope ,,john ,,xxii4 ,originally the church consisted of a single nave1 without aisles1 vaulted with a pointed barrel-vault1 strengthened with transverse ribs and internal buttresses1 being1 as above explained1 one of the arrangements common in ,provence4 ,the east end terminated with an apse1 the bay in front of which is vaulted in a remarkable manner4 ,a dome is frequently introduced in this position2 but in the present instance1 owing to the width of the bay being small compared to the width of the church1 a square space on which to raise the dome could not readily be obtained4 ,to ,illustration3 ,,fig4 #di4 ,,plan ,,of ,,the ,,palace ,,of ,,the ,,popes1 ,,avignon1 from ,viollet-le-,duc's ,dictionnaire4 accomplish this1 successive arches are thrown across between the transverse ribs1 rising with the curve of the latter and advancing over one another1 till the central space becomes a square1 on which a lantern1 with eight ,roman-looking columns1 is raised and supports an octagonal dome above4 ,in the twelfth century the rock1 on the summit of which stands the ,church of ,notre ,dame des ,doms1 was covered with habitations and gardens1 which were dominated by the ancient castles of the ,podest and the ,bishop4 ,pope ,clement ,v41 on his first arrival at ,avignon1 occupied the ,convent of the ,dominicans2 and ,john ,,xxii41 in #acaf1 lived in the building which existed in his day where the ,pope's ,palace now stands4 ,in #accf ,benedict ,,xii4 demolished what his predecessors had erected1 and rebuilt the northern part of the existing ,palace 7,plan1 ,fig4 #di--;from ,viollet-le-,duc's ,dictionnaire71 being the side next the ,cathedral1 on a grand scale1 from plans by the architect ,pierre ,obreri4 ,his works terminated at the 8,tour de ,trouillas10 or the great donjon 7,b7 at the ,n4-,e4 angle1 and is marked by another immense tower 7,b7 at the west end of the range1 called the 8,tour de la ,gache40 ,the south face 7,e7 of the northern courtyard1 and the southern walls of enceinte were constructed under ,pope ,clement ,,vi4 ,it was also he who acquired the suzerainty of ,avignon and the ,comtat ,venaissin from ,queen ,jeanne in #acdg4 ,the southern front of the palace was completed by ,pope ,innocent ,,vi41 including the great ,chapel1 or ,consistorial ,hall 7,g71 a building about #agj feet long by #ej feet wide1 roofed with pointed and groined vaulting4 ,the great tower 7,h7 adjoining to the south contains the sacristy1 c4 ,urban ,v4 levelled the space which forms the ,cour d'honneur 7,d71 excavating the platform out of the solid rock4 ,owing to the slope of the ground1 this court is about one story lower than the older northern court4 ,the same pontiff further erected the east wing1 and added the seventh tower1 called the ,tour des ,anges4 ,gregory ,,xi4 left ,avignon and returned to ,rome in #acgf4 ,avignon was thus occupied by the ,popes from #acaf to #acgf1 or sixty years1 during which time there reigned six ,popes4 ,they were all ,southern ,frenchmen1 a circumstance which probably had considerable influence on the style of the architecture1 which is undoubtedly quite that of ,provence1 and has small affinity with the style then in use in ,italy1 notwithstanding that the name of the architect ,obreri sounds somewhat ,italian4 ,the construction1 mouldings1 vaults1 and defences1 are all in the style of ,southern ,french work1 and do not recall ,italian features4 ,the only ,italian details are the paintings on the vaults and ceilings1 said to have been executed by ,giotto and ,simone ,memmi4 ,of these there are unfortunately only a few fragments left4 ,the vault of the great ,consistorial ,hall was completely painted1 but the building having been cut up into several floors in order to convert it into barracks 7in which occupation it still remains71 the faded and damaged condition of the paintings can well be conceived4 ,the ,anti-,popes ,clement ,,vii4 and ,benedict ,,xiii4 occupied ,avignon from #acgi to #adjc4 ,the latter was besieged in the palace by ,general ,boucicaut in #acih4 ,the ,pope fled1 but the palace did not capitulate till #adaa4 ,the buildings suffered severely from fires which occurred in #acgh and #adac4 ,the principal entrance to the palace is on the west side1 and opens from an esplanade which commands the surroundings1 and was formerly divided into several baileys or courts1 with walls1 towers and gates4 ,the entrance gateway was defended with two portcullises1 with folding gates and double machicolations4 ,it had originally an advanced work in front1 which was replaced in the seventeenth century by a crenellated wall4 ,the appearance of the building1 whether it be regarded externally or from the courtyard1 is grand and imposing from its vastness and height4 ,the towers and walls are1 even in their present crippled condition1 most commanding from their magnitude1 the former being about #aej feet in height1 while the walls rise to about #ajj feet4 ,on entering the great courtyard 7,d71 evidence presents itself of the difference in level between it and the older northern court 7,c71 in the rugged foundation on which the south front of the latter stands1 the rock having been cut down1 as above mentioned1 to the level of the lower court4 ,the frowning machicolations of that side1 which look somewhat out of place in a ,cour d'honneur1 are explained when we remember that under ,pope ,benedict ,,xii4 this formed the exterior of the south face of the palace1 before the south courtyard was added by ,clement ,,vi4 and ,innocent ,,vi4 ,the most striking feature of the architectural details of the palace is the machicolations of the parapet4 ,these consist in long grooves opening between the inside of the parapet and the external face of the walls1 the parapet being carried on pointed arches thrown between buttresses which project at intervals 7see ,fig4 #dg74 ,this form of machicolation 7which we have already observed at ,cruas7 is much used in the southern provinces1 perhaps from the prevalence of such works in the churches1 most of which were fortified1 and where the buttresses which existed for other reasons1 were found convenient1 and were thus utilized4 ,these long machicolations have the advantage of allowing beams1 and other lengthy missiles to be thrown down on assailants2 but the frequently recurring broad buttresses or wall spaces1 which have no defence immediately over them1 are a drawback4 ,in the ,north these long grooves are very rarely used2 a continuous series of machicolations between bold corbels being the form almost invariably preferred4 ,at ,avignon the towers were crowned with the latter kind of defences1 as the relics of the broken corbels still shew4 ,the ,cour d'honneur communicates freely with every part of the structure4 ,to the right1 on entering1 is observed the arcade which contains the great staircase leading in two flights to the principal apartments on the first floor4 ,two posterns open from this courtyard1 and these are carefully masked in the re-entering angles by buttresses1 and defended with a portcullis4 ,a staircase also leads to the upper courtyard4 ,the most ancient part of the palace is the ,tour de ,trouillas1 at the north-east angle1 an immense mass which towers above all the other works and formed the ,keep4 ,the ,pope's apartments in the time of ,urban ,v4 were on the first floor of the buildings surrounding the ,cour d'honneur4 ,from the landing of the great staircase1 which gave access to the principal apartments1 passages were carried round the building in the thickness of the wall next the courtyard4 ,these were carefully constructed and finished with pointed and groined vaults4 ,they communicated with the various rooms1 and also with several staircases which connected the different floors1 and led to the defences on the roof4 ,the apartments of the south court were also joined to those of the north court by these passages4 ,the great kitchen was situated on the first floor of the building next the keep4 ,it has a high pyramidal vault1 which gives it a mysterious look1 and perhaps led to its being long regarded as the chamber of torture and hall of execution of the ,inquisitors4 ,the banqueting hall was in the north court1 near the kitchen and the keep4 ,the smaller tower 7,m7 in the centre of the east flank 7now called the ,salle de la ,justice7 contains in two floors some admirable paintings of the fourteenth and fifteenth centuries1 which are in a fair state of preservation4 ,the entire building is of the most massive masonry--the whole of the basement being vaulted and constructed so as to defy destruction4 ,commencing with the great keep at the north-east angle1 and proceeding round the palace by the west1 south1 and east1 the towers occur in the following order3--north-east--,tour de ,trouillas2 north-west--,tour de la ,gache1 followed by the ,tour de ,st ,jean1 ,tour de ,st ,laurent1 ,tour de la ,cloche1 ,tour des ,anges1 ,tour d',estrapade4 ,one circumstance specially noticeable about the design of the palace of the ,popes is the entire absence of effort after symmetry in the elevations1 such as is generally aimed at in the case of the large palaces or halls of the late ,gothic and ,renaissance periods4 ,here the various blocks of building are simply placed where they are required1 and the different levels and irregularities of the ground are made available in the most natural and convenient manner1 with the result that the effect is delightfully varied and impressive from every point of view1 and at every turning4,a ,the rock on the north side is almost perpendicular1 but here also the access had a defence called the ,tour ,st ,martin1 which is now removed4 ,from this point slopes led down to the gate of the chtelet which protected the bridge over the ,rhone4 ,the walls1 with their gateways1 which still encircle ,avignon1 were erected between #acdh and #acfd during the residence of the ,popes in the city4 ,these walls 7,fig4 #ej47 do not represent a very important defensive work1 even for the time when erected2 they are neither sufficiently high nor are the towers of suitable construction for a really strong enceinte4 ,they are rather an outwork in front of the palace1 which was itself a citadel of impregnable strength4 ,illustration3 ,,fig4 #ej4 ,,portion ,,of ,,city ,,wall1 ,,avignon4 ,west side4 ,at ,avignon1 as in the ,south generally1 and also in ,italy the towers are square1 and they are constructed with the side next the town left open1 so that in case of being taken by an enemy they could not be held against the inhabitants4 ,they are not built1 as the towers on the walls of enceinte of the great castles were1 of size and strength enough to stand an independent siege4 ,the large square towers occur at pretty wide intervals1 and intermediate smaller turrets are occasionally introduced to strengthen the curtains between them4 ,these are composed of two plain buttresses with a pointed arch thrown across between them near the parapet1 behind which there is a long machicolation on the same principle as those of the ,palace4 ,at the base of the wall1 and between these buttresses1 a bold slope or talus is introduced1 with the double object of thickening the wall at a point where it might be attacked by sap1 and also to intercept any stone balls or other projectiles thrown from the machicolation1 and cause them to ricochet obliquely against 8cats0 or other engines brought up to assail the wall4 ,the talus would of course be designed in every case of such a slope as might be best suited for defence1 according to the nature of the lower part of the fortifications1 whether a ditch or a rocky escarpment4 ,the walls of ,avignon were entirely surrounded with a wet ditch above #bj yards wide1 and #ae feet deep below the crest of the counter-scarp4 ,the ditch was supplied with water from the ,rhone1 the ,sorgue1 and branches of the ,durance4 ,of the two last rivers the former joins the ,rhone above and the latter below ,avignon4 ,the bottom of the ditch was paved to enable the sludge to be cleaned out4 ,the ditches have now been completely filled up1 and the spaces outside the walls converted into a public promenade4 ,the towers1 as above remarked1 are for the most part of the square form generally adopted in the ,south1 as distinguished from the round form which was usually employed in the ,north4 ,the latter was considered safer1 from its not presenting1 like the square towers1 any flat surface unprotected by the adjoining curtains against which miners could operate in comparative safety4 ,the parapet is carried on very bold corbels of four and five courses in height1 with pointed arches between them4 ,the corbels at the angles being set diagonally1 have a rather greater projection than those at right angles to the wall1 and have therefore an additional course in the height4 ,the arches adjoining the angles would naturally be wider than those on the faces1 but to obviate this the corbels next the angle ones are slightly inclined towards them1 so as to equalise the width of the openings4 ,this is the general rule in all square towers of this description4 ,the gates of the town are simple arched passages passing through square towers1 being a type of gateway of frequent occurrence in the ,south4 ,they are not protected with flanking towers or angle turrets1 such as are invariably employed for greater security in the ,north4 ,the gate-towers were defended with chtelets on the outer side of the fosse4 ,of these1 the 8,porte ,st ,lazare0 on the north-east side of the town is the best preserved4 ,this had a forework attached to the gateway which protected the drawbridge4 ,the latter descended on a landing which formed a detached square barbican1 fortified with a parapet and angle turrets1 and surrounded with a ditch4 ,from this outwork another drawbridge in one of the sides1 and therefore at right angles to the main gateway1 gave access to the exterior roadway4 ,this gateway was destroyed by an inundation of the ,durance in #aceh1 and was reconstructed in #acfd by ,pierre ,obreri1 the architect of the ,papal ,palace4 ,the gateways of ,provence1 such as those of ,orange and ,marseilles1 were usually similar in design to those of ,avignon4 ,at ,carpentras and ,aigues ,mortes examples still exist of gateways pierced in square towers without flanking towers or turrets4 ,,pont ,,st ,b,,nezet4--,the two opposite banks of the ,rhone were generally in ancient times in the hands of different superiors4 ,thus1 in the fourteenth century1 while the ,comtat ,venaissin on the east belonged to the ,popes1 the opposite side of the river formed part of the kingdom of ,france4 ,in order to protect the different domains castles were erected at both ends of the bridge which connected them4 ,illustration3 ,,fig4 #ea4 ,,pont ,,st ,b,,nezet ,,and ,,chapel ,,of ,,st ,,nicholas1 ,,avignon4 ,the bridge of ,st ,bnezet 7,fig4 #ea71 which united ,provence with the west side of the ,rhone opposite ,avignon1 is said to have been built by ,petit ,benit1 a shepherd of the ,vivarais1 who believed himself inspired with a mission to carry out this great project4 ,benit became the chief of a society of 8hospitaliers10 instituted in the twelfth century for the purpose of building bridges1 establishing ferries1 and assisting travellers4 ,he had already constructed a bridge at ,maupas1 when in #aagh he instigated the great undertaking of bridging the ,rhone opposite ,avignon4 ,this he began in #aagh and finished in #aahh4 ,the bridge was almost #ajjj yards long1 and the roadway is about #af feet wide including the parapets4 ,like the ,pont ,st ,esprit it forms an obtuse angle against the stream1 and the centre rests on a flat island in the middle of the river4 ,there were #ah arches in all1 including those on the island4 ,the piers are of a long low form1 and their sharp beaks project a considerable way up and down the river beyond the bridge1 giving the whole1 as seen from the heights of the ,rocher des ,doms1 very much the appearance of a bridge of boats4 ,the alternate piers seem to have had recesses for allowing vehicles to pass1 and all had archways above the level of the beaks to allow the passage of the flood waters of the ,rhone which are sometimes excessive4 ,the arches are slightly elliptical1 or egg-shaped1 which renders them stronger at the apex than the semicircle would be4 ,they are constructed with four rings of arch stones in the width of the bridge1 formed with carefully cut voussoirs--each ring being separate from1 but placed close alongside of1 the others4 ,this idea was probably derived from the system adopted in the ,roman ,pont du ,gard 7as above explained71 which is not far distant4 ,the bridge was cut for defensive purposes in #acie1 during the siege of ,avignon4 ,it was probably thereafter imperfectly repaired1 and in #afjb three of the arches fell2 in #afcc two other arches gave way1 and in #afgj two more4 ,it is now reduced to the three arches adjoining the chtelet on the side next the town4 ,on the pier nearest the land still stands a picturesque chapel dedicated to ,st ,nicholas 7,fig4 #ea74 ,the floor of this chapel being on the level of the top of the pier was considerably below that of the roadway of the bridge2 but the building was so contrived that passengers on the bridge could see down through an arcade into the interior4 ,access to the chapel was provided by steps corbelled out on one side of the bridge4 ,at a later period the structure has been raised and modernised4 ,illustration3 ,,fig4 #eb4 ,,tower ,,of ,,villeneuve4 ,the passage of the bridge was defended on the right bank by the ,,tower ,,of ,,villeneuve1 7,fig4 #eb71 erected in #acjg by ,philippe le ,bel1 under his architect ,rodolphe de ,meruel4 ,like most of the work of this period1 the walls are faced with stones square-dressed1 but with the surface left rough4 ,the tower is finished with the usual bold corbelling1 machicolations1 and angle bartizans1 and is surmounted by a lofty watch-turret4 ,it will be observed that the style of this ,french tower is that of the ,north1 and differs materially from the towers of ,avignon above described4 ,illustration3 ,,fig4 #ec4 ,,oratory ,,in ,,castle ,,of ,,st ,,andr4 ,in order more completely to protect this part of his domains1 ,philip constructed1 in the end of the thirteenth century1 the important fortress of ,,st ,,andr1 immediately opposite ,avignon1 and close to the small town of ,villeneuve-lez-,avignon4 ,this citadel enclosed a large space occupying the summit of a rocky hill1 and comprised numerous buildings1 including a monastery4 ,the extent of the fortress may be conceived1 when it is noticed that enclosed within the walls1 in different parts of the large space of vacant ground1 may still be seen a convent1 with its gardens1 and a small town4 ,a portion of the more ancient buildings still survives in the form of a small oratory 7,fig4 #ec7 of the twelfth century1 with polygonal apse1 having a circular arcade1 and a cornice containing modillions after the classic manner4 ,this great castle had but one gate1 which opened to the southwards1 on the only accessible side of the site4 ,that gateway 7,fig4 #ed7 is a splendid specimen of military architecture1 having a vaulted archway #ac feet in width1 with finely moulded jambs and arches 7,fig4 #ef74 ,on either side is a large round tower1 crowned with a machicolated parapet 7,fig4 #ee74 ,the vaulted passage through the gatehouse was defended at each end with a portcullis and folding gates4 ,the apartments in the towers with round fronts1 are large and finely vaulted with pointed groins1 and the floors are all paved4 ,the platform on the top is also of pavement resting on the vault below4 ,the whole building is thus put out of danger from fire4 ,illustration3 ,,fig4 #ed4 ,,castle ,,of ,,st ,,andr1 ,,villeneuve-,,lez-,,avignon4 ,plan of ,entrance ,gateway4 ,illustration3 ,,fig4 #ee4 ,,castle ,,of ,,st ,,andr1 ,,villeneuve-,,lez-,,avignon4 ,exterior of ,gateway4 ,illustration3 ,,fig4 #ef4 ,,castle ,,of ,,st ,,andr4 ,interior of ,gateway4 ,illustration3 ,,fig4 #eg4 ,,castle ,,of ,,st ,,andr4 ,fireplace in ,gatehouse4 ,over the central gateway1 and above the towers1 rises a large square turret1 which was also vaulted and flagged on the top1 and provided with a machicolated parapet4 ,this platform1 as well as those over the towers1 were thus well adapted to receive the large catapults1 mangonels1 and other military engines in use in the fourteenth century4 ,the diagonal walls which fill up the angles next the walls of enceinte contained staircases1 c41 and are set at an angle so as to present a front against assailants approaching from the flanks4 ,the round wells of the staircases were continued above the roof with round enclosures1 which were visible above the parapet in the form of crenellated turrets4 ,illustration3 ,,fig4 #eh4 ,,castle ,,of ,,st ,,andr4 ,walls of ,enceinte4 ,the rooms in the gatehouse are well finished in ashlar work1 and have ornamental chimneys1 of which ,fig4 #eg is a specimen4 ,that over the entrance gateway contained the apparatus for working the portcullis4 ,these chambers have been used as political prisons at various times2 and the unfortunate occupants have relieved their weary hours by carving all kinds of memoranda on the walls and floor1 amongst which religious symbols and pictures mingle with armorial bearings1 initials1 and scraps of verse4 ,these carvings are often well executed1 and they form a very interesting1 although melancholy exhibition4 ,illustration3 ,,fig4 #ei4 ,,guard-,,room ,,on ,,wall1 ,,st ,,andr4 ,some remains of the outer barbican which protected the approach to the gateway may still be observed4 ,the walls of enceinte of ,st ,andr present some interesting and picturesque details4 ,the great round tower at the south-west angle 7,fig4 #eg7 and the plain curtains adjoining it are very characteristic of the period1 and have more of a ,northern than a ,southern aspect4 ,illustration3 ,,fig4 #fj4 ,,remains ,,of ,a ,,guard-,,room ,,on ,,wall1 ,,st ,,andr4 ,the interior of the walls1 with their parapets and parapet walks1 are in good preservation1 and form fine illustrations of these features4 ,in the long stretch of the north wall1 in which there are no towers to protect the parapet walks or to contain guard-rooms or posts for reliefs of sentries1 small chambers were formed at intervals for that purpose on the top of the wall 7,figs4 #ei1 #fj74 ,these now present a very quaint appearance1 and are suggestive of many a cold and weary watch4 ,they were only large enough to hold half-a-dozen men1 but they constituted points which guarded the circulation on the 8chemins de rondes40 ,they were provided with a fireplace and loops to the exterior1 and had little spy-holes looking along the parapet walks4 ,the latter are widened towards the interior of the walls with corbelling1 and follow the slope of the ground1 with steps at intervals4 ,illustration3 ,,fig4 #fa4 ,,church ,,of ,,villeneuve-,,lez-,,avignon4 ,there are several interesting architectural relics in the town of ,,villeneuve4 ,the church1 a ,gothic edifice of the fourteenth century1 is designed on the ,southern plan of a wide hall1 but is executed with ,gothic details1 and pointed vaulting4 ,the tower at the east end 7,fig4 #fa7 is a good specimen of the massive fortified type of church towers so common in the ,south4 ,from the ramparts of the castle the ruins of the 8,,chartreuse ,,du ,,val ,,de ,b,n,,diction0 are seen in the valley beneath4 ,this monastery was founded in #acef by ,pope ,innocent ,,vi41 who was buried there1 and over whose grave a splendid monument in the style of the ,northern ,gothic was erected4 ,after being sadly neglected and abused for many years1 it has now been removed to the chapel of the hospital4 ,the ,,churches ,,of ,,avignon are mostly on the ,southern plan of a single wide nave with internal buttresses containing chapels between them1 while the ornamental features are almost all derived from ,northern ,gothic4 ,they are all of the fourteenth century1 and that of ,st ,pierre has an elaborate ,gothic front in the flamboyant style practised in the ,north in the sixteenth century4 ,the 8beffroi0 of the ancient ,htel-de-,ville1 the emblem of the city's independence1 built in #aced1 still exists1 but is so surrounded with buildings as not to be properly visible4 ,in the vicinity of ,avignon1 or at least more easily got at from there than any other comfortable resting-place1 are many most interesting examples of early ,provenal architecture4 ,in the immediate neighbourhood are the ruins of the ,,abbey ,,of ,,st ,,ruf--situated about one mile to the southward4 ,the church has a good apse1 and is partly fortified4 ,two miles to the north-east of the town are found the remains of the ,,priory ,,of ,,st ,v,,ran1 founded #aadj1 and still containing some traces of early paintings4 ,both are figured by ,rvoil4 ,at a greater distance from ,avignon many more very primitive and picturesque illustrations of early ,provenal architecture are to be met with4 ,of these several may be visited together as they lie in the same easterly direction1 such as ,carpentras1 ,pernes1 and ,le ,thor4 ,,vaison is also a place of considerable architectural interest1 but it is somewhat remote from ,avignon1 and may be best reached from ,orange4 ,in the days of the ,empire the town of ,vaison1 which was of great antiquity1 stood on the plain of the river ,ouvze1 where the soil still abounds in relics of ,roman sculpture1 tiles1 mosaics1 hypocausts1 and other works4 ,some good statues have also been found and conveyed to the museum at ,avignon4 ,the cathedral was originally founded at an early period in the same low situation1 but the town being exposed to frequent assaults1 the inhabitants found it necessary in the twelfth century to remove their houses to a securer site on the hill above4 ,the two divisions of the town are united by a ,roman bridge of one span of over sixty feet1 which is built1 with the usual solidity1 across the ,ouvze4 ,connected with the old town are two very ancient churches1 ,st ,quinin1 and the cathedral1 which have survived the many attacks of the ,barbarians1 and the final demolition of the town by the ,count of ,toulouse in the twelfth century4 ,these churches are illustrated by ,rvoil1 and shew in all their details a close adherence to ,roman design4 ,st ,quinin is so very ,roman in many of its features that it has been frequently supposed to belong to the sixth century1 but from the ascertained dates of many parallel instances it is now regarded as a remarkable example of the mode in which the builders of the eleventh century copied the ornament of the ,roman works they saw around them1 while they at the same time added features of their own invention4 ,thus the caps are mainly ,corinthian in design1 but have some figures mixed with the acanthus leaves1 in the manner of the ,romance 8storied0 carvings1 the foliage being well executed after an existing pattern1 and the figures rudely cut according to the original design of the period4 ,the plan of ,st ,quinin is very remarkable1 the apse being triangular externally1 and semi-circular1 or rather triapsal1 internally4 ,the vaults are of the usual pointed wagon form4 ,the cathedral is a church with central nave and side aisles1 terminated with three apses4 ,the central one is semi-circular in the interior1 but is enclosed in a square envelope on the exterior4 ,the latter is an addition made at a period subsequent to the original construction1 and may have been in connection with defence2 an arrangement of which we shall find similar examples at ,frjus and elsewhere4 ,the central nave is roofed with a pointed wagon vault1 and the side aisles with truncated wagon vaults1 having a long curve towards the outer wall1 and a short one towards the nave1 and thus acting as flying buttresses against the latter4 ,the cloister and tower1 or campanile1 are noteworthy2 and a very rare feature is here found in the original bishop's throne1 which is preserved in the centre of the apse1 as at ,torcello and other primitive churches4 ,from historical data1 it seems most probable that this cathedral existed in its present state before the destruction of the town in #aafj2 and as the square envelope of the apse and the vaulting are probably a restoration of a still earlier structure1 it seems likely that the oldest portions belong to the previous century4 ,after the destruction of the ,gallo-,roman town1 the bishop built himself a castle on the summit of the hill on which the new town was erected4 ,the chapel of the castle served as his cathedral till the fifteenth century1 when the existing church of the new town was constructed in lieu of the chapel1 which was found too small for the growing population4 ,the excursion to ,,carpentras may be made by rail1 and from that point the ancient architectural remains at ,pernes and ,venasque may be easily reached4 ,at ,carpentras1 besides the ,roman arch already described1 the church of ,st ,siffrein and the ,gothic gateways of the town are well worth visiting4 ,,venasque contains a very ancient baptistery covered with a dome1 and ornamented with marble columns and classic capitals4 ,the whole structure is believed to belong to the ,roman period4 ,at ,,pernes there is a church partly ,romanesque and partly ,gothic1 with a cupola over the choir supported on pendentives1 and a crypt of the eleventh century4 ,,le ,,thor1 a small village about #ab miles east from ,avignon on the road to ,aix1 contains1 in the church of ,ste-,marie-au-lac1 a most interesting example of the mixture of ,roman and ,romanesque features in ,provenal architecture4 ,the nave consists of a single hall roofed with a tunnel vault1 strengthened with transverse ribs1 except the bay next the apse1 which is covered with an octagonal dome1 formerly surmounted by a belfry4 ,the west faade and porch are very fine1 and bear a striking resemblance in style to ,notre ,dame des ,doms and ,st ,gabriel4 ,,cavaillon1 besides its ,roman remains1 contains an interesting early church4 ,it consists of a single nave finished with an apse1 which is semi-circular within and hexagonal externally4 ,the original side aisles have been converted into chapels1 and the pointed tunnel vault is carried on great piers1 with twisted or fluted shafts in the angles towards the top 7as at ,aix and ,arles74 ,amidst the marshes1 about half way between ,cavaillon and ,st ,remy1 is found the small church of ,mollges1 formerly the chapel of a ,cistertian monastery4 ,the belfry of this church 7,fig4 #fb7 is cited by ,viollet-le-,duc as a striking example of the influence of ,roman monuments1 such as that at ,st ,remy1 on the design of some of the ,provenal steeples4 ,it is certainly remarkable that this telling illustration should occur so near the original 7see p4 #di74 ,in approaching ,,tarascon1 we again observe the opposite banks of the ,rhone occupied by two castles representing the dominating powers on either side4 ,the massive rock on the right bank1 crowned with high crenellated walls and lofty keep1 is the royal castle of ,beaucaire2 and the lower but more solid looking pile close to the left bank of the ,rhone is the castle said to have been finished and occupied by ,king ,ren of ,provence4 ,illustration3 #fb4 ,,le ,,clocher ,,de ,,moll,,ges4 from ,viollet-le-,duc's ,dictionnaire47 ,the history of ,tarascon is similar to that of the other towns on the ,rhone4 ,originally a market1 established by the ,greek colonists of ,marseilles1 it was converted into a ,roman settlement1 and retained some of its municipal institutions and liberties under the suzerainty of the ,counts of ,provence1 till they were gradually lost under the feudal system4 ,the church of ,st ,martha1 originally built in the twelfth century1 on the ruins of a ,roman temple1 was ,illustration3 ,,fig4 #fc4 ,,ste ,,marthe1 ,,tarascon4 reconstructed in the fourteenth century1 and is of the usual ,southern plan with ,gothic details4 ,the south porch of the twelfth century church however still exists1 and is a very beautiful example of the ,provenal style 7,fig4 #fc74 ,in general character it corresponds with the finer instances we shall meet with at ,arles and ,st ,gilles1 although on a reduced scale4 ,the round and octagonal nook shafts have caps partly copied from the ,corinthian1 and partly carved with ,romanesque figures4 ,the numerous fine mouldings of the arch contain a curious mixture of ,roman and ,medival ornaments1 in the classic egg combined with the ,gothic dog-tooth enrichments4 ,the small arcade above1 with alternate fluted pilasters and round shafts1 all finished with enriched caps resting on a cornice supported on carved heads1 have an advanced ,romanesque character4 ,this church is dedicated to ,martha1 the sister of ,mary1 who along with ,lazarus and other primitive saints1 are traditionally supposed to have converted the south of ,gaul to ,christianity4 ,martha is said to have endeared herself to the people of ,tarascon1 by delivering the town from the power of a hideous dragon1 which feat is celebrated annually by an extraordinary procession1 in which the ,tarasque 7a pantomimic dragon7 makes a great figure1 followed by representatives of all the members of the holy family1 and attended by multitudes of people4 ,the ,castle of ,tarascon 7,fig4 #fd7 stands on a rock which rises but little above the level of the river4 ,begun by ,louis ,,ii4 of ,provence in the fourteenth century1 it was finished by ,king ,ren in the fifteenth4 ,it is now a prison1 so that the interior is not easily accessible4 ,there is here a curious mixture of the ,southern square tower with the ,northern round form1 while the smaller details are all of the ,northern ,gothic style4 ,the general ,illustration3 ,,fig4 #fd4 ,,castle ,,of ,,tarascon4 effect is fine1 although somewhat heavy1 and the details of the entrance gateway1 with its separate drawbridges for carriages and foot passengers1 and its ornamental parapet and corbels are particularly noteworthy4 ,illustration3 ,,fig4 #fe4 ,,house ,,in ,,tarascon4 ,tarascon has some good bits of architecture in its narrow but somewhat picturesque streets1--the winding stair and projecting turret being very effectively treated in one instance 7,fig4 #fe74 ,the gateway of the town 7,fig4 #ff7 on the east is also simple but good1 and quite ,northern in style1 having two round towers flanking the entrance archway4 ,,beaucaire4--,crossing the bridge of boats from the castle of ,king ,ren1 the bare limestone rock surmounted by the ,castle of ,beaucaire meets the view 7,fig4 #fh74 ,this castle was anciently a possession of the ,counts of ,toulouse4 ,during the ,albigensian crusade it was besieged by ,simon de ,montfort1 and an interesting account of the siege operations by himself still exists4 ,while engaged in the siege he was attacked and defeated by ,raymond ,,vii4 7#abaf74 ,although now a complete ruin internally1 the walls exist all round and shew the great extent of the fortress 7,fig4 #fg74 ,the outer enceinte1 and its long approach by wide flights of stairs from the west1 can still be traced1 as also the outline of the outer and inner bailey4 ,the gateway of the latter1 in a fragmentary state1 still survives4 ,the immense strength of the fortalice is distinctly apparent1 owing to the height and steepness of the naked rock on which it stands 7,fig4 #fi74 ,illustration3 ,,fig4 #ff4 ,,gate ,,of ,,tarascon4 ,almost the only defensive building in fair preservation ,illustration3 ,,fig4 #fg4 ,,plan ,,of ,,the ,,castle ,,of ,,beaucaire4 is the remarkable donjon which rises high above the walls4 ,this tower 7,fig4 #gj7 is of the very unusual form of a triangle in plan2 that shape having probably been adopted in order to fit a projecting spur of the rock4 ,the basement floor 7not accessible7 was doubtless entered from a trap door in the floor above4 ,it has no openings to the outside4 ,the stair ,illustration3 ,,fig4 #fh4 ,,castle ,,of ,,beaucaire ,,from ,s4-,e4 ,illustration3 ,,fig4 #fi4 ,,castle ,,of ,,beaucaire ,,from ,n4-,e4 to the first floor is straight and is carried up in the thickness of the wall4 ,the first floor forms a triangular hall with groined vault of peculiar form1 has a fireplace in one angle1 and is lighted with small loops4 ,from this floor the staircase is carried up as a wheel in the south angle of the walls4 ,the top floor has a segmental vault which carries the flat stone roof4 ,this is formed of stone flags all overlapped and laid in regular courses1 each slightly higher than the others as they rise towards the centre4 ,illustration3 ,,fig4 #gj4 ,,plans ,,of ,,the ,,keep4 ,the staircase turret stands independently upon this platform1 and has a sloping stone roof4 ,the parapet is very perfect1 and is1 as usual1 projected on bold corbels 7,fig4 #ga74 ,owing to the sharp angles of the plan1 the inclination of the corbels near the angles towards one another 7in order to keep the arches over them as equal as possible7 is much greater than usual--more marked than that1 for instance1 of the corbels at ,avignon 7above ,illustration3 ,,fig4 #ga4 ,,castle ,,of ,,beaucaire4 7,interior of ,courtyard47 referred to1 p4 #aej74 ,the corbels at the angles which are right angles have the usual additional courses in the height4 ,a bold ovolo moulding runs round beneath the corbel-course1 the object of which is to keep the inner face of the machicolation well clear of the front of the wall1 so that stone balls or other missiles thrown down would run no risk of being diverted from their course by striking any of the projections of the rough-faced masonry with which the tower is built4 ,the parapet is provided with large embrasures1 and the merlons or spaces between are pierced with loops of the crossed shape adopted in the fourteenth century4 ,the parapet wall partly carried on corbels is seen winding round the summit of the wall of enceinte 7see ,fig4 #ga71 with steps where the heights vary2 and in the south-east angle of the inner courtyard adjoining the ruined gateway from the outer to the inner courtyard1 there still stands the very interesting twelfth century chapel of the castle4 ,this oratory is generally similar in design to the one within the castle at ,villeneuve 7ante1 ,fig4 #eb74 ,the doorway at the west end is round-arched1 and contains details which are remarkably characteristic of ,provence1 the purely ,roman egg and leaf enrichments being mixed with dogtooth and other ornaments of ,romanesque design4 ,the small square tower which crowns the west gable is peculiar1 being more in the style of the belfries further ,north and ,east1 than those of the ,south4 ,from ,tarascon a branch railway runs to ,st ,remy 7the ,roman ruins at which have already been described71 and from that point the strange old town of ,les ,baux may be reached4 ,,les ,,baux4--,this ancient but decayed fortress is one of the most picturesque and remarkable objects in the district4 ,it is situated on the top of a rocky height 7,fig4 #gb71 not far from where the ,alpines begin to rise from the plain of the ,rhone1 over which it has a commanding and extensive prospect4 ,formerly a considerable fortified town1 it is now deserted1 save by a few wanderers and beggars1 and presents the melancholy appearance of an abandoned city1 of which the empty houses are fast falling into ruin4 ,this1 however1 as we shall hereafter notice1 is by no means a solitary example of a ,southern town overtaken by a similar fate4 ,but ,les ,baux has this striking peculiarity to distinguish it1 that it is a city not built1 but excavated out of the rock4 ,it is not uncommon to find houses cut in the rock in several parts of ,france1 where a dry and soft formation renders such an operation suitable1 and1 as is well known1 rock-hewn temples1 tombs1 and other buildings abound in ,egypt1 ,syria1 and the ,east4 ,possibly some of the great chiefs of the family of ,les ,baux 7who were distinguished ,crusaders7 may have adopted the idea from examples they saw in the ,holy ,land4 ,illustration3 ,,fig4 #gb4 ,,fortress ,,of ,,les ,,baux4 ,the town is now almost a heap of ruins1 although some faades of good ,renaissance design still adorn the silent streets4 ,the castle1 which covered a large part of the site1 had walls composed of solid rock1 the superfluous material being cut away both on the inside and outside4 ,in some cases the rock1 which is a soft limestone1 and decays by exposure1 has given way quicker on one side than another1 with the result that large masses of 8wall0 have fallen either flat on the ground1 or in solid blocks down the cliffs4 ,in other instances towers have toppled against towers1 like trees cut at the foot1 producing a most confused and overturned appearance1 as if the result of siege or earthquake4 ,with respect to the architecture1 says ,mrime1 8,the exceptional situation of the town of ,les ,baux has given rise to a style which scarcely furnishes any indications of the ancient epochs of its history2 however1 ,i have seen nothing which appeared to be older than the twelfth century4 ,a church in fair condition seems to be of the epoch of transition4 ,in the right aisle are seen a cornice and transverse arch enriched with dog-tooth and zig-zag ornaments4 ,the rest of the church has been repaired in the fifteenth century1 and several very elegant chapels have been added to it40 ,this church is illustrated by ,rvoil4 ,on the south side of the town a bas-relief of three large figures and part of a ,latin inscription1 carved to a great scale on the face of the rock1 have given rise to some extraordinary theories4 ,the figures are called ,les ,trois ,maries or ,tremai4 ,many observers regard them as ,roman1 and suppose that they represent ,marius 7the conqueror of this district1 about #ajj ,b4,c471 his wife ,julia1 and a ,syrian prophetess or sorceress called ,martha1 who accompanied the great leader and foretold his victories4 ,but ,m4 ,lenthric1 in his interesting work on the ,villes ,mortes de la ,mditerrane1 already referred to1 takes an entirely different view4 ,he contends that these figures represent ,lazarus and the two ,marys2 and considers the existence of the church dedicated to the 8,saintes ,maries0 7which we shall reach by and bye71 together with the above figures and inscription1 and the traditions of the country1 sufficient proof that the family of ,lazarus and their companions were really the first missionaries of ,christianity in ,southern ,gaul4 ,there is another large inscription and two more figures on another rock1 but they are too much decayed to be accurately interpreted4 ,there seems to be no doubt that a town has existed here from the time of the ,romans1 although no ,roman architecture can now be detected4 ,in medival times it was the home of the famous family of ,les ,baux1 whose history 7written by ,jules ,canonge7 comprises much of that of ,provence from the tenth to the fifteenth century4 ,in the tenth century ,les ,baux was already one of the largest towns of the country1 and was for long the seat of a famous ,court of ,love4 ,in the thirteenth century the 8,seigneurs des ,baux0 possessed seventy-nine free burghs4 ,they were amongst the most powerful and boldest barons of the land1 and acquired great titles and possessions1 being in turn the ,princes of ,orange1 the ,counts of ,provence1 ,kings of ,arles and ,vienne1 and ,emperors of ,constantinople4 ,they commanded fleets and armies1 and became podests of the free towns4 ,they also distinguished themselves as ,crusaders1 and joined ,charles of ,anjou in his conquest of ,naples4 ,in following the history of this distinguished race one gets a more lively and impressive idea of the life and manners of those stirring medival times in ,provence than can easily be found elsewhere4 ,but the family lost their prestige when ,barral des ,baux1 podest of the free town of ,arles1 betrayed the republic to ,charles of ,anjou4 ,les ,baux from this time declined1 and the castle was finally dismantled by the ,duke of ,guise2 the town was abandoned and the fine mansions fell into decay1 a process which is still in progress1 both by the action of nature and at the hands of the peasantry of the neighbourhood4 ,les ,baux may be got at either from ,fontvieille 7famous for its quarries of 8,arles stone071 to which there is a railway from ,arles1 or from ,tarascon1 in either case driving to ,paradou 7six kilometres from ,fontvieille1 and sixteen from ,tarascon71 or from ,st ,remy4 ,illustration3 ,,fig4 #gc4 ,,church ,,of ,,st ,,gabriel4 ,west ,front4 7,from ,rvoil47 ,a few miles from ,tarascon1 on the road to ,arles1 the ancient church of ,,st ,,gabriel rises amidst the ruins of the still more ancient ,roman city of ,ernaginum4 ,a large number of tombs1 similar to those we shall presently meet with at the ,alyscamps near ,arles1 but of the plainest form1 are here found along with fragments of inscriptions1 statues1 and other antique relics4 ,the church of ,st ,gabriel1 like so many others in ,provence1 comprises in its design a mixture of classic and ,romanesque features4 ,the west front 7,fig4 #gc7 is one of the finest of its kind4 ,the entrance doorway1 with its fluted column1 its imitated ,corinthian capitals1 and high pitched pediment full of classic enrichments1 might easily pass for a structure of the ,lower ,empire4 ,the bas-reliefs represent the creation and the visit of the angel ,gabriel to the ,virgin1--the personages being identified by their names inscribed beside them4 ,the upper part of the front exhibits a great archivolt springing from imposts on each side of the portal1 above which is a straight cornice supporting a second pointed archivolt4 ,the latter contains a small circular window richly ornamented with classic leaves and other enrichments1 and having the symbols of the four evangelists placed around it4 ,the church has a single nave1 covered with a pointed tunnel vault4 ,the buttresses are more pronounced than usual1 which may indicate a transition towards the later ,provenal style1 and seem to point to the date of the building being late in the twelfth century1 notwithstanding its very classic features4 ,a short journey now brings us to ,,arles1 the ancient capital of the province1 and one of the chief architectural centres of our district1 both as regards classic and medival art4 ,the principal medival edifice of ,arles is the church of ,st ,trophime1 the patron saint4 ,it is a large and important structure1 containing specimens of all the peculiarities of ,provenal architecture on a complete and extensive scale4 ,the nave of the church was erected in the twelfth century1 and is quite distinct in character from the beautiful western porch and the splendid cloisters which belong to the older and more ornate period of ,provenal architecture4 ,the choir and apse were rebuilt in #adcj in the ,northern style4 ,the nave 7,fig4 #gd71 like that of all the ,southern churches of the same age is very simple internally4 ,this is the first fine example we have met with of the second period of ,provenal architecture--in which the plain and rigid ,cistertian style superseded the earlier and richer architecture of which we have observed so many remarkable specimens4 ,thus the piers 7,fig4 #gd7 are merely square blocks of masonry1 with flat projections or pilasters on each face1 carried up to receive the small mouldings or imposts from which spring the wall arches on each side of the nave 7between it and the side aisles71 and the transverse arches1 which strengthen the pointed barrel vault of the central nave4 ,the latter consist of two rings1 the inner arch springing from the main pier1 and the side orders from fluted classic-looking columns introduced in the angles of the main piers to receive them4 ,the side aisles are very narrow and lofty1 and are roofed with one half of a pointed vault thrown as an abutment against the upper part of the nave wall4 ,the nave windows are flanked by twisted columns with ,romanesque caps4 ,the pointed arches1 resting on four strong piers1 which carry the central tower1 are seen at the crossing of the church1 with a lofty plain wall forming the lower part of the tower1 resting upon them4 ,this partially cuts off the view of the choir from the nave1 and indicates that the vault of the original church was much lower than that of the existing nave1 the roof of which is nearly twice the height of the arches of the crossing4 ,the latter1 forming the support of the tower1 could not be removed when the nave was rebuilt and enlarged4 ,the tower 7,fig4 #aa7 rises high above the roof ,illustration3 ,,fig4 #gd4 ,,st ,,trophime1 ,,arles4 of the church4 ,it extends to three full storys and an attic crowned with a pointed roof having a very flat slope4 ,the two lower storys have the arcaded ,romanesque ornament so common in ,lombardy and ,germany1 while the upper story shews three ,corinthian pilasters on each side4 ,the tower is heavy1 but recalls the general effect of the ,italian campanile1 and corresponds in style with the earlier work of the portal and cloisters4 ,illustration3 ,,fig4 #ge4 ,,west ,,portal ,,of ,,st ,,trophime1 ,,arles4 ,the elaborate and beautiful western portal 7,fig4 #ge7 is fortunately well preserved4 ,it has the appearance of having been added in front of the plainer wall of the nave1 and is thus generally stated to be of more recent construction than the nave1 but we believe that the portal is much more likely to be part of an older building1 which has been preserved in the re-construction of the nave4 ,portals being generally highly ornamental features1 were frequently so preserved4 ,we have met with good examples of this at ,notre ,dame des ,doms and at ,tarascon1 and others will occur as we proceed4 ,the central arch is almost insensibly pointed2 but whether intentionally or accidentally it is difficult to say1--most likely the latter1 from its being so indistinct4 ,this porch is probably an imitation on a small scale of the much grander one of ,st ,gilles 7to be referred to immediately74 ,the engaged pillars1 with their carved caps and bases so strongly akin both to classic and ,romanesque work1 stand on a high stylobate approached by a wide flight of steps4 ,the space between the pillars is formed into a series of niches1 bordered on each side with an enriched pilaster and filled with the figure of an apostle or an early saint4 ,the sculpture of these figures1 although ,roman in general character1 shews a leaning towards ,byzantine design1 especially in the rich carving of the jewels and ornaments on the dresses4 ,the tympanum over the central doorway1 which is divided into two openings with a central shaft1 contains the figure of ,christ in glory surrounded with the emblems of the four evangelists1 and in the soffit of the arch are two tiers of half length adoring angels4 ,on the lintel are sculptured the twelve apostles seated2 while the frieze on the right hand of ,christ contains the just1 clothed and received by ,abraham1 and that on the left the unjust1 represented as naked and being dragged by a demon with a chain backwards through flames4 ,the leaf1 egg1 and other enrichments are quite classic1 while the modillions supporting the cornice of the gablet over the porch have the usual ,romanesque character4 ,this porch strikes one at a glance as being of a totally different style from the body of the church4 ,the latter belongs1 as already mentioned1 to the reformed ,cistertian style of the twelfth century1 while the former is in the older and more florid ,provenal style of ,romanesque1 although probably earlier in the same century4 ,but the most delightful structure connected with this very interesting church is the cloisters4 ,the oldest portions of these belong to the commencement of the twelfth century4 ,the four arcades enclosing the cloister garth are complete4 ,that adjoining the church wall 7the north side7 is the oldest1 while the eastern side 7represented in the sketch ,fig4 #gf7 is not much later in date4 ,the other two sides are ,gothic restorations of the thirteenth century4 ,the two first galleries are splendid specimens of the florid style of ,provenal art4 ,they are constructed with piers of considerable size and solidity1 which occur at the angles and at regular intervals1 the intermediate spaces being filled with round arches resting on coupled columns4 ,the roof is covered with a barrel vault1 built with carefully wrought arch stones1 and strengthened with boldly moulded transverse ribs thrown between the solid piers and consoles on the inner wall4 ,the latter and the string course between them are about two feet higher than the cornice on the side of the arcade from which the vault springs1 thus giving an awkward shape to the transverse ribs4 ,this arrangement probably arose from the original construction of the roof1 which was composed of tiles laid on the outside of the vault1 and formed a 8lean-to0 against the church1 like that of the cloisters ,illustration3 ,,fig4 #gf4 ,,cloisters1 ,,st ,,trophime1 ,,arles4 7,eastern ,arcade47 of ,mont-,majour1 to be treated of presently4 ,in the thirteenth century1 when the two other sides of the cloister were restored1 the outer wall was raised so as to convert the sloping roof into a level promenade1 furnished with stone seats along the parapet4 ,the angle piers are so designed as to receive the springing of three transverse ribs--one at right angles across each of the adjoining galleries1 and one diagonally under the line of the junction of the two barrel vaults4 ,the intermediate piers are strengthened with an external buttress in the shape of a square classic-looking pilaster1 fluted and provided with a capital imitated from the ,corinthian4 ,the piers are all adorned with sculptured figures of large size4 ,those in the original work are well preserved1 having been cut in the solid1 while the statues in the two ,gothic arcades1 which were executed in separate stones1 have been removed and destroyed4 ,the coupled columns and caps are all executed in grey marble1 and the latter are amongst the finest examples of the 8storied0 carving of the period1 every cap containing a subject from sacred history4 ,the wall of the church next the north cloister contains a beautiful ,romanesque arcade1 with fluted pilasters 7,fig4 #gf47 ,the ,gothic parts of the cloister have piers alternating with coupled columns1 and the details have evidently 7as sometimes occurs7 been executed so as to correspond in design with the older work4 ,of the bas-reliefs on the piers the best are the most ancient4 ,the same general remarks on the style apply here as in the case of the porch2 there being a great mixture of classic and ,romanesque influence in both4 ,in this great structure we thus find an epitome of ,provenal art4 ,the cloisters and porch1 representing the richly decorated ,provenal form of ,romanesque2 the nave1 the plain reformed style of the ,cistertians2 while the choir exhibits the weak sort of ,northern ,gothic imported in the fifteenth century1 which is entirely without interest beside the more impressive examples of genuine ,provenal architecture4 ,it will be observed that in the main structural features the pointed arch is employed1 while in the portal1 cloisters and windows the round arch is used4 ,illustration3 ,,fig4 #gg4 8,,clocher0 ,,of ,,the ,,church ,,of ,,st ,,honorat1 ,,arles4 7,from ,rvoil47 ,at the 8,alyscamps10 the famous cemetery of ,arles 7described in ,part ,,iv471 several remains of the numerous churches and chapels formerly connected with it may still be seen4 ,the church of ,st ,honorat is the most important4 ,it is of very ancient foundation1 but has been frequently repaired and restored4 ,the west doorway1 with its zigzag and other enrichments1 is evidently of the twelfth century4 ,the tower or 8clocher0 7,fig4 #gg7 also appears to be of that date1 and bears the usual character of ,provenal ,romanesque4 ,the dome which covers it is1 however1 a somewhat unusual feature4 ,a few other ancient churches are to be seen at ,arles1 but they are all much decayed or altered4 ,the churches of ,notre ,dame la ,majeure and ,ste ,magdeleine1 are very ancient foundations1 but there is little of the old work left4 ,st ,csaire is also ancient1 but is converted into private houses1 and there are only scraps of the original structure remaining4 ,after being united to ,france1 and thus delivered from the incessant struggles maintained in earlier times between the ,bishops1 the ,podests and the counts of ,provence1 ,arles exhibited numerous signs of growing prosperity4 ,the union with an established power seems to have imparted a considerable impulse to the prosperity of ,provence1 which began to revive under a settled government2 and ,arles1 as the chief town1 naturally benefited greatly from the improvement4 ,indications of this amelioration are met with at every turn in the narrow streets1 which abound in fine examples of ,renaissance work4 ,the early picturesque style of ,french ,renaissance1 so usual in ,anjou and on the banks of the ,loire1 is of frequent occurrence here4 ,of the above tendency ,fig4 #gh may be taken as an example1 shewing by the striking arrangement of the staircase in the courtyard1 how picturesque this style may be made when suitably and naturally treated4 ,we may also observe in the midst of the abundant ruins of the ancient ,roman architecture of this city1 numerous palaces in the classic style of the sixteenth century2 the revival of which the ancient works had lived to witness1 and probably had also helped to forward with suggestions for their design4 ,illustration3 ,,fig4 #gh4 ,,renaissance ,,house ,,in ,,arles4 ,the buildings of this period in ,arles are particularly rich in tabernacles or niches at the corners of the streets1 filled with the image of a saint1 before which hangs a lamp4 ,these are not uncommon in most continental towns1 but here some of them are very finely designed and add much to the generally quaint and striking character of the houses4 ,of the ,renaissance buildings of ,arles the ,htel de ,ville is worthy of observation4 ,the ,tour de l',horloge 7#aeej71 is a good specimen1 and the vaulting and general effect of the pillared hall and staircase are fine 7#afge74 ,about three miles from ,arles stand the ruins of the great monastic establishment of ,,mont-,,majour1 which comprise a most interesting series of structures1 illustrative of ,provenal architecture in all its stages1 from the primitive rock-hewn hermitage of ,st ,trophime to the fully developed church of the ,cistertian style1 concluding with a rich and luxurious edifice of the time of the ,renaissance4 ,illustration3 ,,fig4 #gi4 ,,plan ,,of ,,hermitage ,,of ,,st ,,cesaire1 ,,mont-,,majour4 ,this monastery is situated on a rocky hill which rises out of the flat plain of the ,rhone1 and which1 in ,roman times1 was undoubtedly an island surrounded by the waters of the river4 ,near the base of the south-east side of the rock1 a cave is said to have formed the hermitage of ,st ,trophime1 the patron saint of ,arles 7,fig4 #gi74 ,to preserve and consecrate this hermitage it was converted into a chapel1 and enclosed with an arcade 7the inner one7 cut in the rock4 ,to this again at a later time an outer wall has been added so as to form a chapel1 dedicated to ,st ,peter1 on the exterior of the cave4 ,beyond the east end of the chapel there are three additional rude chambers hollowed out of rock4 ,one of these1 which is nearly filled with a great stone seat1 is called the confessional of ,st ,trophime4 ,at the west end there is a space forming a kind of entrance porch or narthex4 ,the ancient chapel or hermitage is entirely excavated in the rock1 and has a seat left along the inner side1 which being continued round the east end forms a step up to the choir4 ,this chapel may be of a very early date1 but it is impossible to fix its age from the total absence of architectural features4 ,illustration3 ,,fig4 #hj4 ,,hermitage ,,of ,,st ,,trophime1 ,,mont-,,majour--,,chapel ,,of ,,st ,,peter4 ,the outer chapel 7,fig4 #hj7 is not of so great antiquity1 but the ornament of the caps and form of the tunnel vault belong to the earliest period of the ,provenal style--probably the ninth or tenth century4 ,the exterior is seen at the bottom of ,fig4 #he4 ,the monastery was erected on the upper part of the rock1 and was surrounded like a feudal castle with a fortified wall of enceinte4 ,it was also protected by a keep or citadel1 such as frequently occurs in these ,southern monasteries1 exposed as they were to attack on all hands4 ,the church of the monastery of ,mont-,majour is an example of the severe style of the twelfth century1 and likewise of the aisle-less plan of the ,southern provinces4 ,this church was founded in #ajaf1 and was conceived on a very large scale1 but little seems to have been done during the following hundred years1 the most of the work being in the style of the twelfth century4 ,it consists of an upper church and a lower church or very large crypt4 ,the latter extends under a large part of the space occupied by the upper church1 and1 like it1 is in the form of a ,latin cross4 ,the nave of the church is very short1 owing to the works having been stopped for want of funds to complete it on the extensive scale on which it was originally projected4 ,the crypt is all vaulted with circular arches1 and is extremely dark1 the only light admitted being what can penetrate into it from the small windows in the apse4 ,the arrangement of the choir of the crypt is peculiar4 ,the altar stands in the centre1 and round it runs a wall with five wide arches opening on a gallery which follows round the apse1 and from which chapels radiate in the various faces of the octagon4 ,the chief altar is thus visible from almost any part of the choir4 ,the upper church forms one great hall with a transept and apse1 and is roofed with pointed tunnel vaults strengthened with transverse ribs1 but is entirely without ornament4 ,illustration3 ,,fig4 #ha4 ,,the ,,church ,,and ,,keep ,,mont-,,majour4 ,it has1 however1 an effect of simple grandeur and spaciousness owing to its size2 but from the shortness of the nave1 there is a want of due proportion in the various parts4 ,the choir1 as is usual in ,cistertian churches of this date1 is very short1 the apse beginning almost at the transept4 ,illustration3 ,,fig4 #hb4 ,,cloisters1 ,,mont-,,majour4 ,the whole building is solidly constructed with good ashlar work4 ,the west doorway is round arched1 and is surmounted with a large pointed window from which the principal light in the church is obtained4 ,the exterior is as unornamental as the interior4 ,the east end 7,fig4 #ha7 is finished with a polygonal apse1 the windows of which in the upper church are simple round arches springing from shafts recessed in the jambs4 ,the exterior of the apse of the crypt is peculiar1 owing to the form of the segmental depressed arches1 enclosing deep recesses1 at the inner end of which are the small windows of the crypt4 ,the depressed form of arch was probably adopted owing to the want of height and the desire to admit as much light as possible4 ,the same segmental form is also employed in the cloister arcades4 ,the apse has been heightened at a late period and the interior made circular4 ,an enriched ,gothic chapel has been added to the north transept in the fourteenth century1 and extensive ,gothic buildings1 now in a state of total ruin 7see ,figs4 #ha1 #hb7 have been extended to the south of the church4 ,the ,abbey of ,mont-,majour contains a cloister 7,fig4 #hb7 with the same style of ornament and sculpture1 but much simpler in design than that of ,st ,trophime4 ,the cloister walk is covered with a plain barrel vault constructed with carefully wrought stones1 strengthened with transverse ribs resting on 8storied0 consoles built into the wall4 ,the arcade is formed with segmental arches springing from solid piers1 and fluted pillars1 with the simplest cornice4 ,each large arch is filled in with three small round ones1 springing from light shafts with elaborately carved caps4 ,the buttresses are fluted like those of ,st ,trophime4 ,the original lean-to roof1 covered with stone flags and provided with large rude gargoyles and corbels1 is here preserved1 and shews what that at ,arles was like when first constructed4 ,the cloister here1 as at ,st ,trophime1 is in the original ,provenal style1 and is probably a relic of an older series of structures which existed before the present church was erected in the second ,provenal style of the twelfth century4 ,a remarkable specimen of a plan more common in the ,east than the ,west occurs in the chapel of ,,ste ,,croix 7,fig4 #hc71 which seems to have been the mortuary chapel of the monks4 ,the main building consists of four apses arranged in the form of a ,greek cross1 and crowned over the ,illustration3 ,,chapelle ,,de ,,sainte ,,croix ,,montmajour ,,fig4 #hc4 crossing with a square dome4 ,this is preceded by a square porch with simple barrel vault1 separated by a door from the chapel4 ,the whole aspect 7,fig4 #hd7 and arrangements of the edifice have a strange and foreign appearance1 and recall the architecture of the ,east4 ,at the same time the high triangular pediments of the exterior1 and the cornices1 egg mouldings1 modillions1 and the simple circular arch of the doorway1 are all features characteristic of the late ,empire2 while the ornamental cresting and other details are illustrative of the ,eastern character impressed on ,roman work at ,byzantium1 and thence transported into ,western ,europe4 ,in the porch is an inscription attributing the foundation to ,charlemagne1 but ,mrime clearly proves that this is a forgery1 and that the date of the building is #ajai4 ,the chapel is only lighted with three small windows1 which open upon a little enclosure where numerous shallow graves have been excavated in the rock4 ,a door in the south apse also opens into this graveyard1 so that the bodies might be carried into it from the chapel after the service had been performed4 ,several similar graves are cut in the rock in front of the porch4 ,these excavations are all very ,illustration3 ,,fig4 #hd4 ,,mortuary ,,chapel1 ,,mont-,,majour4 small1 some no more than #c feet long1 and do not appear ever to have been occupied4 ,mrime is of opinion that in order to give their shrine as much appearance of antiquity and sanctity as possible1 and especially to enable it to compete with the very successful cemetery of the ,alyscamps at ,arles1 the monks had not only put up the fabricated inscription above referred to1 but had also caused these trenches to be cut in the rock to represent the graves of martyrs4 ,illustration3 ,,fig4 #he4 ,,mont-,,majour--,,the ,,keep1 ,,hermitage1 ,,etc4 ,illustration3 ,,fig4 #hf4 ,,mont-,,majour--,,plans ,,and ,,section ,,of ,,keep4 ,we have already seen that this monastery was fortified and surrounded with walls4 ,but it was chiefly strengthened with a great donjon1 such as the abbots1 who were also great feudal lords1 frequently constructed for their own security1 and that of the monks and their treasures1 in case of extremity4 ,this keep 7,fig4 #he7 was erected in #acfi by ,pons de l',orme4 ,it is very substantially built with square-dressed stones1 the surface being left rough or bossy1 as was the custom at that time4 ,the building 7,fig4 #hf7 is a simple parallelogram1 #dh feet by #cb feet1 with a slight projection at one angle to contain the staircase4 ,the doorway gives direct access to the ground floor1 which is vaulted with a pointed tunnel vault1 ornamented with ribs springing from corbels 7see section74 ,a cellar occupies part of a lower story1 which also contains a well4 ,the vault over the ground floor may possibly have formed a separate dark loft or store1 for storage of provisions1 c4 ,the lower portion of this floor has one window only4 ,the hall1 or chief living room1 was on the first floor4 ,it is provided with fire-places and cupboards1 and is lighted by two windows on one side1 furnished with stone seats4 ,the height of the tower from the basement to the parapet is about #hj feet1 and the top forms a platform supported on a pointed arch4 ,the space between the lower and upper vaults was divided into three floors1 with wooden beams and joisting4 ,the corbels for these still remain1 but all the woodwork is destroyed4 ,the platform on the top is surrounded with a parapet supported on bold corbels4 ,at the angles the parapet is rounded off1 so as to give the effect of projecting angle bartizans4 ,from the corbels seen on the exterior of the south side of the tower1 at the first floor level1 it seems probable that some kind of wooden platform was constructed between the keep and the outer wall1 from which the passage between them1 which formed a principal access to the abbey1 might be vigorously defended4 ,one cannot help being struck with the peculiarly military aspect of the tower1 and its strange proximity to the more sacred structures of the abbey4 ,the ruins of some ,gothic erections and of the sumptuous edifice1 begun by the ,benedictine monks of the eighteenth century1 but interrupted by the breaking out of the ,revolution1 are visible in ,fig4 #ha4 ,a short run by rail westward from ,arles takes to the ancient town and abbey church of ,,st ,,gilles4 ,this church1 which is unfortunately but a fragment1 possesses the finest portal in ,provence1 in the same style as that of ,st ,trophime at ,arles4 ,the town stands on the branch of the ,rhone called ,le ,petit-,rhne1 which bounds the delta on the west4 ,it bore originally the name of ,vallis ,flaviana1 and is supposed to stand near the site of an ancient ,roman city4 ,an abbey was founded here by ,st gidius 7or ,st ,gilles7 in the sixth century1 around which the town gradually clustered4 ,st ,gilles was the chief priory of the ,knights of ,st ,john of ,jerusalem1 and became a place of such importance that the ,count of ,toulouse took one of his titles from it1 being also called the ,count of ,st ,gilles4 ,it was here that ,raymond ,,vi41 ,count of ,toulouse1 in #abji1 did penance for the murder of the ,papal legate1 ,pierre de ,castelnau1 and for the part he took on the side of the ,albigenses4 ,the church of ,st ,gilles was designed on a grand scale1 befitting the condition of the place at the time1 but seems never to have been completed1 the works having been interrupted and destroyed during the crusades of the ,northern ,franks against the ,albigenses of the ,south4 ,these wars formed a sort of sequel to1 or continuation of the invasions of the barbarians4 ,the ,south of ,gaul1 having preserved much of its ,roman civilisation and municipal institutions1 had become sooner settled1 and had more quickly revived from anarchy than the ,north4 ,this led to an independent intellectual and religious development1 which did not conform to the ideas of religious unity then prevalent4 ,crusades against the ,infidels in ,syria and ,africa had now become somewhat stale and unprofitable2 but a crusade against the rich provinces of the ,south had great attractions1 and was heartily supported by the restless and unsettled people of the ,north4 ,hence arose 7as already pointed out7 the long and cruel war in ,aquitaine and ,languedoc--the ,crusaders being led by ,simon de ,montfort1 and the people of the ,south by the ,count of ,toulouse4 ,in these disastrous and bloody campaigns the whole country suffered terribly4 ,the towns were besieged and sacked1 and the buildings destroyed4 ,amongst others1 ,st ,gilles dates its decline from the devastation then inflicted on it1 and from which it never recovered4 ,the following inscription1 said to be copied from an older one now lost1 occurs on the wall near where the ancient cloister stood3--8,,anno ,,domini1 #aaaf1 ,,hoc ,,templum ,,sancti ,,egidii ,,dificare ,,cepit ,,mense ,,aprili ,,feria #b;,a ,,in ,,octava ,,paschae40 ,the church of ,st ,gilles was thus begun in #aaaf by ,alphonse ,jourdain1 son of ,raymond ,,iv4 of ,toulouse4 ,there still remains a portion of a subterranean church1 which formed the substructure of the intended great building above1 and which dates from the first half of the twelfth century4 ,it is well lighted1 and divided into two with a row of columns supporting two low cross vaults1 ornamented with dog-tooth enrichments4 ,in the midst of the outline of the greater works1 which can still be traced1 rises the existing small church1 which has all the appearance of a temporary erection4 ,it is in a late style and of small importance architecturally1 but it marks the decline of the wealth and prosperity of the town from its state at the time when the great church was founded4 ,the really great and valuable work1 however1 at ,st ,gilles is the splendid triple portal 7,fig4 #hg71 which is by far the largest and richest example of ,provenal decoration4 ,every part of the surface is covered with work1 either sculptured with figures or enriched with ornament1 and although the remainder of the building ,illustration3 ,,fig4 #hg4 ,,portal ,,of ,,st ,,gilles4 ,illustration3 ,,fig4 #hh4 ,,south ,,doorway ,,of ,,st ,,gilles4 7,enlarged74 is incomplete1 every detail of the portal is finished in the minutest manner4 ,at the top of a wide flight of steps rises an elevation consisting of six pillars 7five plain and one fluted7 with capitals closely imitated from the ,corinthian model4 ,the bases are of unequal height1 shewing that the shafts have been possibly borrowed from an ancient source4 ,the columns sustain an architrave1 frieze1 and cornice1 which1 however1 are interrupted by the round arches of the three doorways4 ,the arches of the two side entrances rest on the two end pillars1 while that of the central doorway1 which is wide and is divided into two openings by a central pilaster1 springs from two smaller columns set upon pedestals1 and also provided with ,corinthian caps4 ,on the bases of the columns of the lateral doors 7,fig4 #hh7 bas-reliefs represent ,david as shepherd and conqueror of ,goliath4 ,the shafts supporting the lintels of the doors rest1 as was generally the case in ,romanesque designs1 on lions4 ,the abbot1 sitting in the gate to render justice1 was placed between these lions2 hence ,charters given by him are sometimes dated 8inter leones40 ,a stylobate of the height of the pedestals is continued along behind the principal columns1 on which rests a series of pilasters dividing the background into recesses or niches containing large statues of the apostles4 ,the figures are executed with some freedom after the ,roman manner1 and have not such a medival aspect as those of ,arles4 ,there is1 however1 evidence of ,byzantine influence in the thin folds of the drapery1 and the jewels and embroidered ornaments carved upon the dresses4 ,the pedestals1 architrave1 cornice1 and arch mouldings are enriched with ,roman leaf and egg and bead ornaments1 mixed with fanciful ,romanesque carvings of heads of animals c41 in the modillions4 ,the frieze is covered with sculptures in bas-relief of ,scripture subjects4 ,the central tympanum contains the figure of ,christ in glory surrounded by the emblems of the four ,evangelists--that of the north doorway the ,virgin and ,child in the centre1 with the adoration of the ,magi on one side1 and the annunciation of the birth of ,christ to the shepherds on the other4 ,in the south doorway is represented the crucifixion4 ,this portal was probably completed before the breaking out of the ,albigensian conflict1 about #aaej4 ,the portals of ,st ,gilles and ,arles are the most splendid productions of ,provenal art4 ,they stand almost alone as portals amongst the ,romanesque work of the period1 which has given rise to the impression that they are importations from a distance rather than a natural sequence from simpler preceding forms out of which they might have grown4 ,it has been above pointed out that in ,syria many churches were built in the early centuries of the ,christian era in which the ,greco-,roman style was perpetuated and received new developments4 ,many of these churches exist between ,antioch and ,aleppo1 in which the general design and details of mouldings are very similar to those of the ,provenal portals1 the only difference being that in the ,syrian examples there are no statues1 as all such images were forbidden in the ,east4 ,that country was taken by the ,crusaders in #ajih1 and remained1 as the kingdom of ,antioch1 under ,western government till #abfh4 ,the seaports of ,provence being the natural centres of communication between the ,frank kingdoms of the ,east and ,west1 it seemed natural that some new and foreign ideas should be imported there4 ,hence it is maintained by some that ,syrian models had considerable influence on the architecture of ,provence1 and that it is to that connection that much of the art expressed in the portals of ,st ,gilles and ,arles is due4 ,there is1 however1 really no necessity to go so far afield for the models on which ,provenal art in general1 and these portals in particular1 were based4 ,we have had several striking opportunities of observing how closely the ,roman examples were followed in ,provenal architecture2 while innumerable instances of the ,romanesque spirit which pervaded it before and during the twelfth century1 might be adduced from the many beautiful cloisters 7similar in style to those of ,st ,trophime and ,mont-majour7 which abound all over the ,south of ,france4 ,these have been preserved1 while the churches have in many cases been enlarged and reconstructed in the later and plainer ,provenal style4 ,one of the most prominent elements in the older style is the figure sculpture1 and there can be no question but that the idea of the statues was derived from the remains of ancient art so plentifully scattered throughout the country4 ,statues being entirely prohibited by the ,eastern iconoclasts1 that element can have had no connection with the ,east1 although the treatment of the ornament may be to some extent influenced by ,byzantine feeling4 ,the trade between the ,levant and the ,west of the ,mediterranean was considerable1 and included all kinds of artistic articles1 such as furniture1 ornamental boxes1 dypticks1 wooden cases for manuscripts1 and carved ivory and goldsmith's work4 ,these were all covered with exquisite carvings1 which1 no doubt1 served as models to the ,western nations1 and from which they acquired a taste for the special kind of sculpture known as ,byzantine4 ,it is from the above sources that the complete and elaborate ,provenal art displayed in the portals of ,st ,trophime and ,st ,gilles sprang4 ,viollet-le-,duc remarks of it that it is rich and striking1 but gives the idea of an art either fixed by traditional maxims or in its decadence4 ,he states further1 that it only succeeded in producing a curious mixture of diverse imitations of other styles4 ,the originality and vigour of the ,northern art was entirely awanting4 ,the former style was satisfied with the imitation of works already done1 while the latter borrowed from anterior art only the general idea1 and created for itself a new development4 ,as already pointed out1 the presence of the ,roman remains acted on ,provenal architecture both favourably and prejudicially2 in the first place1 by stimulating it into a kind of early classic revival1 and in the second place1 by thus preventing the free and healthy development of a natural and untramelled style1 such as took place in the ,north4 ,but1 so far as the ,romanesque style is concerned1 that of ,provence is probably quite as interesting and instructive as any other4 ,the connection with the art of ,rome is continued almost without a break1 while the conversion of 8,roman0 into 8,romanesque0 is carried out with a refinement and completeness which is not to be found elsewhere1 and to which the later ,northern styles are considerably indebted1 especially in the matter of sculpture4 ,st ,gilles is the most convenient point from which to visit the solitary and now desolate town of ,,les ,,saintes ,,maries4 ,situated near the mouth of the ,petit-,rhne it was formerly a place of some distinction4 ,here landed1 according to tradition1 corroborated by the investigations of ,lenthric1 ,mary ,jacobi1 sister of the ,blessed ,virgin1 ,mary ,salome1 ,mother of the ,apostles ,james 7the ,greater7 and ,john1 their servant ,sarah1 ,lazarus1 ,martha1 ,mary ,magdalene1 and ,st ,maximin 7who had received his sight by the word of ,christ71 having all been driven from ,jerusalem by persecution4 ,mary ,jacobi and ,mary ,salome remained here1 and were here buried1 whence the name and fame of the town and the crowds of pilgrims who at one time frequented it4 ,the church 7,fig4 #hi7 is a very remarkable one4 ,it was built in the twelfth century on the site of one destroyed by the ,saracens1 and consists of the usual single nave1 having seven bays in its length1 roofed with a pointed barrel vault1 and finished with an eastern apse4 ,externally the whole building is surmounted with a crenellated and machicolated parapet1 and presents the appearance of a strong fortification1 with a keep tower rising above the eastern end4 ,the latter includes the apse1 which comprises three chapels1 one over the other4 ,the lowest1 or crypt1 contains the tomb of ,sarah2 the middle apse forms the choir of the church2 while above this there rises a third chapel in the tower above the roof1 containing the relics of the 8,saintes ,maries40 ,rudely sculptured lions adorn the south entrance door1 and in the nave there is a well1 to supply water to the congregation1 who would likewise form the garrison in case of siege4 ,this remarkable structure may be regarded as a typical example of the defensive style so much practised in the ,south-,west of ,france4 ,illustration3 ,,fig4 #hi4 ,,church ,,of ,,les ,,saintes ,,maries4 7,from ,rvoil47 ,,marseilles4--,few relics are preserved in this ancient city of its ,roman or medival structures2 of the latter the most remarkable is the church of ,,st ,,victor4 ,we have here an instance of the partial adoption of the ,gothic style in the ,south1 and an attempt to combine ,gothic details with ,southern structural features4 ,this curious church1 which stands near the ancient port1 is all that remains of the once extensive buildings of the famous monastery founded in the fifth century by ,st ,cassien4 ,some portions of the primitive masonry are still to be seen in ,illustration3 ,,fig4 #ij4 ,,st ,,victor1 ,,marseilles4 the crypt4 ,the buildings were several times destroyed by the ,saracens1 but they were finally rebuilt in their existing form about the year #acej by ,pope ,urban ,v4 7formerly abbot of this monastery71 who also caused to be erected the great square towers and crenellated parapets which give the building externally the appearance of a fortress 7,fig4 #ij74 ,some relics of the early ,romanesque work are still visible in the entrance porch4 ,the general design of the interior 7,fig4 #ia7 is that of a basilica1 with central nave and side aisles1 the former roofed with a pointed tunnel vault strengthened with transverse ribs1 and originally without a clerestory1 although openings have more recently been cut in the vault4 ,these general dispositions are common in ,provenal architecture4 ,but the details of the nave piers1 with their numerous small shafts and foliated caps and bases are all borrowed from the ,gothic of the ,north2 while the tomb erected in the west-most bay of the south aisle 7,fig4 #ib7 is a completely ,northern design4 ,illustration3 ,,fig4 #ia4 ,,st ,,victor1 ,,marseilles4 ,the fortification of the exterior is a feature of almost universal occurrence in the churches of the ,south1 as has been already noticed1 and we shall meet with other instances4 ,this peculiar characteristic probably dates from the time of the crusades against the ,albigenses in the twelfth and thirteenth centuries1 when the inhabitants were glad to adopt every means in their power to obtain protection1 and had to turn even their churches1 which were not sacred in the eyes of their assailants1 into fortresses for their defence4 ,illustration3 ,,fig4 #ib4 ,,monument ,,in ,,st ,,victor',s1 ,,marseilles4 ,the frequent attacks of the ,saracens may also have had some influence in producing this style of exterior in the churches near the sea-coast4 ,illustration3 ,,fig4 #ic4 ,,st ,,sauveur1 ,,aix-,,en-,,provence4 ,,aix-,,en-,,provence1 which is easily reached from ,marseilles by a delightful railway route through the mountains1 retains few marks of its distinction as the first settlement of the ,romans in ,gaul4 ,a few ,roman walls and pillars from the temple of ,apollo1 together with some fragments in the ,museum1 are all that ,aix can shew of the original ,aqu ,sexti4 ,but the ancient church of ,st ,sauveur and its octagonal baptistery exhibit the ,roman influence1 extending down to a comparatively late date4 ,the baptistery is of the sixth century1 but the upper portion has been restored in the style of the eighteenth century1 and has thus completely lost its proper character4 ,it is octagonal on plan1 with eight monolithic granite columns taken from the ancient temple of ,apollo set in the angles4 ,illustration3 ,,fig4 #id4 ,,st ,,sauveur1 ,,aix4 ,the church of ,st ,sauveur was erected in #aajc1 and is supposed to have been built on part of the cella of the temple of ,apollo4 ,it now forms the south aisle of the enlarged cathedral erected in the fifteenth century4 ,but ,illustration3 ,,fig4 #ie4 ,,cloisters1 ,,st ,,sauveur1 ,,aix-,,en-,,provence4 this old church 7according to ,mrime7 is itself a restoration of a still more ancient building1 of which some remains are yet preserved in the western portal 7,fig4 #ic71 the architecture of which strongly recalls that of ,notre ,dame des ,doms at ,avignon4 ,here we have the same fluted ,corinthian columns and cornice with ,roman enrichments1 and arched opening between4 ,the small engaged columns with twisted and fluted shafts and straight arched lintel are1 however1 restorations of the twelfth century4 ,to that date also belongs the interior 7,fig4 #id71 with its pointed tunnel vault strengthened at intervals with transverse arches4 ,the arches which carry the dome over the original central compartment are round4 ,the dome itself is octagonal1 the angles being filled with arched pendentives4 ,the piers are simple pilasters1 with small classic-like pillars introduced in the angles near the top1 to carry the springing of the transverse arches4 ,this was a common arrangement in ,provenal churches1 as1 for instance1 at ,st ,trophime1 ,arles4 ,the cloister of ,st ,sauveur 7,fig4 #ie7 is a fine specimen of the twelfth century erections of that description1 so numerous in this part of ,france4 ,it is built in white marble1 and enriched with a great variety of the ,romanesque or ,lombardic sculpture which distinguished the work of the ,northern races4 ,the shafts are particularly remarkable from the great variety of their forms and ornament4 ,some are octagonal1 while others are twisted and fluted1 and some are actually knotted together1 and nearly all are covered with carved ornamentation4 ,in these and similar works we have very palpable examples of the innovations on the older traditional forms for which the twelfth century is so much noted4 ,of the later church1 the carved ,gothic west doors 7executed #aejc71 containing figures of theological virtues1 prophets1 c41 mingled with ,gothic canopies and traceries1 are worthy of careful inspection4 99 99 99 99 99 ,in his exhaustive work1 entitled 8,les ,villes ,mortes du ,golfe de ,lyon10 ,mons4 ,c4 ,lenthric gives a full and interesting account of the ancient towns of ,southern ,gaul between the ,rhone and the ,pyrenees4 ,their origin and fall are shewn to be both attributable to causes arising from the natural configuration of the coast4 ,the land in this locality is flat1 and the beach shallow and sandy1 while at the same time it is exposed to the full force of the violent storms raised by the east winds which sweep over it from the ,mediterranean4 ,the rivers emptying into this shallow sea bring down large quantities of sand and mud1 which1 being driven back by the tides and storms1 have in the course of ages formed bars or long lines of sandy dunes at some distance from the land4 ,within these sand banks are thus enclosed long lagunes1 similar to the shallow sea1 bounded by the well known ,lido1 in the midst of which ,venice stands4 ,these lagunes formed convenient and safe harbours for the early ,phnicians and other navigators1 and were suitable in depth for the size of the craft then in use4 ,but gradually the floods of the rivers brought down more deposits1 and even in ,roman times threatened to block up the passages through the lagunes to the open sea4 ,it was only by building a strong wall for the purpose of forcing the river ,aude to keep in a certain channel1 so that when in flood it might scour out the passage1 and by the erection of beacons in the lagune to mark the navigable course1 that the ,roman port of ,narbonne could be kept open4 ,in #acbj a great flood destroyed the retaining wall and changed the course of the river1 after which the ruin of ,narbonne as a seaport was complete4 ,the town is now #h miles from the sea1 and is connected with 8la ,robine0 branch of the ,canal du ,midi1 which unites the ,mediterranean with the ,bay of ,biscay4 ,a similar process to that at ,narbonne has contributed to the ruin of several other ancient towns in this province1--a district which has also suffered more severely than any other at the hands of the ,saracens4 ,forming as it does the easiest access from ,spain into ,provence1 it necessarily lay open to constant attack4 ,besides1 the ,moors1 although driven across the ,pyrenees1 were still masters of the sea1 and as corsairs or pirates they scoured the ,mediterranean for many centuries after the time of ,c4 ,martel1 attacking and plundering the smaller towns all round the coast1 and in some instances fortifying themselves on land in strong places whence they could issue to plunder the more inland country4 ,such was their establishment at the ,grand ,fraxinet1 in the mountainous district lying to the east of ,toulon1 which is still known as the 8chaine des ,maures40 ,we shall have occasion to observe some architectural effects resulting from their invasions1 particularly how the inhabitants were forced to seek refuge on the rocky heights1 and to build their towns on the top of almost inaccessible mountains4 ,the ,moors have also left traces of their presence both in the general design and details of several of the edifices of the ,western ,riviera4 ,proceeding westwards from ,marseilles by rail and passing ,st ,gilles1 we reach ,montpellier1 the architecture of which is chiefly modern4 ,the ancient church of ,maguelonne1 situated on the outer boundary of the lagunes1 may however1 be visited from here4 ,it was fortified and not unlike that of the ,stes4 ,maries4 ,omitting for the present the wonderful town of ,aigues-,mortes1 to which we shall again return1 we continue our journey amongst the lagunes1 past the crowded modern seaport of ,cette1 and the ancient town of ,agde1 with its dark church crowned with frowning fortifications1 and at last reach ,bziers1 a place whose architecture claims our attention4 ,b,,ziers is an ancient ,roman town1 which has still a few relics in the shape of ,roman walls1 but no classic buildings of any importance4 ,it stands upon a steep hill with almost perpendicular faces towards the river ,orbe1 which flows round its base4 ,the town was strongly fortified1 and held a prominent place as a fortress in the ,middle ,ages4 ,large masses of these fortifications are still observable to the right of the terrace at the west ,illustration3 ,,fig4 #if4 ,b,,ziers1 ,,from ,,the ,,orbe4 end of the cathedral 7,fig4 #if71 now crowned with a large block of building occupied as a ,house of ,detention4 ,the spacious main street of the town ascends the hill from the south-east1 and presents on either hand indications of the chief industry of the place in the immense and cavernous-looking cellars filled with innumerable barrels of alcohol1 which1 being in many cases too numerous for the cellars to contain1 encumber the street in great piles4 ,the effect of a street composed of these great vaulted caves is unique and remarkable4 ,the ,cathedral of ,st ,nazaire stands on the summit of the hill4 ,it was surrounded with a fortified enceinte1 and1 forming the chief citadel of the town1 it was strongly built and designed for defence4 ,the transept is the oldest portion1 dating from the twelfth century4 ,the southern angle buttresses are crowned with a parapet1 pierced with flanking loop-holes1 angled so as to send missiles in every direction4 ,the cornice of these parapets is remarkable1 and presents a good illustration of the ,oriental or ,saracenic influence above referred to 7,fig4 #ig74 ,the south transept commands the cloister1 the walls of which were crenellated4 ,illustration3 ,,fig4 #ig4 ,,tower ,,south ,,side ,,of ,,st ,,nazaire1 ,b,,ziers4 ,bziers suffered more1 perhaps1 than any other place during the ,albigensian ,crusades4 ,on one occasion1 when the town was taken1 every human being was put to the sword1 to the number1 it is said1 of #fj1jjj souls4 ,the buildings and defences were in great measure destroyed1 and the cathedral was partly rebuilt and re-fortified in the fourteenth century4 ,the west end commands the walls which crown the escarpments above the ,orbe1 and is strongly defended with two crenellated towers1 and by a wide arched machicolation surmounting the west doorway and ,rose window above it 7,fig4 #if74 ,an embrasured parapet is placed above this1 and three ornamental corbels jut out from the face of the wall1 to enable the defenders to approach the parapet and man it4 ,these corbels are1 however1 not joined to the parapet1 although they divide the long arched machicolation into four smaller ones4 ,the embrasures and machicolations are all provided 7as usual in fourteenth and fifteenth century work7 with bold beads or mouldings1 to prevent arrows and bolts from ricocheting within the parapet4 ,illustration3 ,,fig4 #ih4 ,,apse1 ,,st ,,nazaire1 ,b,,ziers4 ,the eastern apse was also rebuilt in the beginning of the fourteenth century4 ,here also 7,fig4 #ih7 wide machicolations are formed by arches thrown across between the buttresses1 while the parapet above is finished with an open arcaded balustrade1 which1 in an ecclesiastical building1 is more appropriate than an ordinary crenellation1 and serves the same purpose equally well4 ,these defences protect the large windows below from being taken by escalade1 while1 for still further security1 the windows themselves are completely covered with strong ornamental iron grilles4 ,illustration3 ,,fig4 #ii4 ,,cathedral ,,of ,,st ,,nazaire1 ,b,,ziers4 ,the interior 7,fig4 #ii7 exhibits a fine instance of ,gothic design engrafted on the ,southern ground plan4 ,the choir is a simple wide hall1 terminated with an apse of the full width1 and containing nine bays2 while the groined and ribbed vaulting1 and all the details of the windows1 arches1 and shafts1 with their ornamentation1 is entirely ,gothic4 ,the lower part has been finished at a much later period with ,renaissance woodwork4 ,in the manner in which the apse vaulting is carried out there is a strong reminiscence of the domical form2 while the upright wall above the vaulting1 with its circular eye at the junction of apse and choir1 is a feature which recalls many ,provenal examples4 ,illustration3 ,,fig4 #ajj4 ,,fountain ,,in ,,cloisters1 ,b,,ziers4 ,the cloisters are situated to the south of the church1 and are in good preservation4 ,their design is completely ,northern1 of the somewhat cold style of the fifteenth century4 ,the arcade is open1 and without tracery1 with large buttresses between1 carried up with pinnacles above the balustrade4 ,the fountain in the centre of the cloister-garth is simple but effective 7,fig4 #ajj74 ,the view of the town and cathedral from the river 7,fig4 #ih7 is very fine4 ,the great mass of the cathedral is seen towering above the huge remains of the ancient fortifications2 while in the foreground the ,orbe is dammed up1 and forms the motive power of a number of picturesque mills in the form of towers4 ,an ancient bridge spans the river lower down4 ,illustration3 ,,fig4 #aja4 ,,house ,,in ,b,,ziers4 ,near the cathedral is a house of the fifteenth or sixteenth century1 with a quaint bow window 7,fig4 #aja74 ,the great corbels over the window to the left have no doubt been for the purpose of supporting some kind of balcony in connection with the defence of the entrance doorway below4 ,in the district we are now traversing many interesting examples still exist of the ancient ,provenal style similar to those already illustrated4 ,at ,puisalicon1 near ,bziers1 there occurs a remarkable specimen of a campanile1 with three tiers of arched openings1 like those of ,italy 7see ,fergusson's ,handbook74 ,at ,st ,pierre de ,reddes1 near ,bedarieux1 the ancient church consists of a long nave with barrel vault1 strengthened with transverse ribs1 which spring from a series of double columns1 of which the arrangement is evidently borrowed from the ,antique 7,fig4 #ajb74 ,illustration3 ,,fig4 #ajb4 ,,st ,,pierre ,,de ,,reddes4 7,from ,rvoil74 ,st ,martin de ,londres 7,herault7 may also be mentioned as having a tri-apsal east end1 while the exterior is ornamented with the arcaded pattern so common on the ,rhine and in ,lombardy4 ,,narbonne4--,when the ,romans1 ,b4,c4 #aah1 became masters of ,southern ,gaul1 they established1 under the leadership of an enthusiastic young patrician called ,licinius ,crassus1 a colony in the ancient ,phnician port1 dedicating it to ,mars1 and giving it the name of ,narbo ,martius4 ,a principal object of this colony was to secure the road into ,spain4 ,after a time the first foundation became weak1 and1 ,b4,c4 #de1 a new colony was led out from ,rome by ,tiberius ,claudius ,nero4 ,narbo ,martius was then capital of the ,roman province of ,gallia ,narbonensis1 which extended from the ,alps to the ,pyrenees4 ,under the ,empire1 there arose in this favoured colony1 on the banks of the ,atax or ,aude1 a complete image on a small scale of ,imperial ,rome1 with its curia1 duumvirs1 consuls1 pretors1 questors1 etc41 and it was adorned with a ,forum1 ,temples1 ,markets1 ,baths1 and ,amphitheatre4 ,of these fine ,roman edifices not one remains4 ,such of them as escaped the devastations of the ,goths and ,saracens are said to have been demolished by ,richelieu1 that the materials might be used in the construction of the new fortifications of the town erected by him4 ,the engineer of these works seems to have had more reverence for ancient art than his princely master1 for he collected all the sculptured fragments1 and built them into the walls where they could easily be seen4 ,the fortifications thus formed a kind of open air museum of ancient sculptures and inscriptions2 but they have now1 in their turn1 been removed to make room for the expansion of the town4 ,the ,roman monuments1 however1 have been preserved1 and are placed in the medival ,episcopal ,palace1 which has been partly converted into a museum4 ,the important architectural works which still exist are all concentrated round the ,cathedral of ,st ,just 7,fig4 #ajc74 ,as at ,bziers1 the ,cathedral formed part of the fortifications of the ,archbishop's ,palace4 ,it is one of those designs in ,northern ,gothic which look as if transplanted into ,southern soil4 ,the whole character of the buildings is ,northern4 ,whether we regard the steep roofs and gables1 the sub-divided forms of the vaulting1 the sections of the mouldings1 the character of the cloisters1 the shape of the windows1 the dispositions of the plan1 or the defensive arrangements1 the whole design appertains to the style of the ,royal ,domain4 ,illustration3 ,,fig4 #ajc4 ,,cathedral ,,of ,,st ,,just1 ,,narbonne4 ,m4 ,viollet-le-,duc shews the very close resemblance between the plans of ,st ,just and those of the ,cathedrals of ,limoges and ,clermont1 in ,auvergne4 ,these he regards as the three most splendid and remarkably similar examples of the ,gothic of the fourteenth century1 and he thinks that they have probably all been designed by the same man4 ,the ,cathedral of ,narbonne is distinguished by the beauty and skill of its construction4 ,in the fourteenth century the ,gothic architects had arrived at great perfection in the art of building4 ,the various forces in connection with the vaulting had become perfectly understood1 and here the architect has endeavoured to shew how accurately he could calculate them4 ,all the mouldings are carefully profiled1 and the penetrations and junctions admirably managed2 but sculpture is almost entirely dispensed with1 even the caps of the columns having no foliage4 ,as a piece of architectural engineering the building is perfect1 and has stood without a flaw2 but it rather wants interest owing to the absence of ornamentation4 ,it was begun on a great scale1 but1 owing to want of funds1 only the choir has been erected4 ,the vault is nearly as high as those of ,beauvais and ,cologne4 ,the absence of decoration in the building itself is1 to some extent1 compensated by the richness and beauty of the tombs and monuments inserted between the piers of the choir4 ,that of ,archbishop ,pierre de la ,juge is specially rich in sculpture1 and still retains some fine painting4 ,like most of the churches in the ,south1 ,st ,just is fortified1 and1 along with the ,archbishop's ,palace1 formed the citadel of the city1 and occupied the site of the ,roman ,forum4 ,the fortifications consist in a double tier of crenellations1 which take the place of the usual balustrades over the chapels1 and are continued round the apse1 with arched passages which rest on piers brought up from the chapels of the 8rond point10 and are crowned with turrets which1 as well as the connecting bridges1 are all provided with crenellated parapets4 ,these airy provisions for defence give an unusual and very singular appearance to the exterior of the apse 7see view1 ,fig4 #ajc74 ,in the twelfth century ,narbonne was a place of great importance1 but1 owing to the silting up of the harbour in the fourteenth century1 its commerce and revenues were greatly diminished4 ,the ,archbishop's ,palace was an immense castle1 somewhat after the type of the ,pope's ,palace at ,avignon4 ,the ancient city of ,narbonne preserved1 till the twelfth century1 much of its ,roman municipal administration--the ,commune having councillors with the title of probi homines1 afterwards changed to that of consuls1 who not only carried on the internal affairs of the city1 but negotiated treaties with ,genoa1 ,pisa1 and other powers4 ,as invariably happened1 however1 these rights were encroached upon by the feudal superiors4 ,at ,narbonne the ,archbishop claimed the superiority1 and in #abab he declared himself ,duke1 and received the homage of the ,count1 who was the lay superior4 ,these different powers in the town were naturally in a state of constant warfare1 and1 in accordance with the usage of the times1 the ,archbishop resolved to fortify himself within a castle of strength and dignity commensurate with his importance as ,primate of ,gaul--a title assumed by the prelate who was in office in #ajif4 ,a few portions of the palace of the twelfth century remain1 but it has nearly all given way to works erected at later periods4 ,the building is now converted into the ,htel de ,ville and ,museum2 and1 in order to carry out the alterations required1 together with the new works 7which were executed under the superintendence of ,viollet-le-,duc7 some of the old buildings and foundations had to be cleared out4 ,this new work occupies the central space between the two old towers 7see ,fig4 #ajc74 ,the architect had thus an excellent opportunity of ascertaining the exact form and arrangement of the ancient palace1 and of preparing the plan of it given in his 8,dictionnaire40 ,at the south-east angle stands the great tower or keep 7to the left in the view71 commanding the canal and the 8place10 and overtopping the tower of the ,count1 which stood opposite to it4 ,this tower was built by ,archbishop ,gilles ,ascelin in #acah1 and forms an independent redoubt4 ,it is four storys in height4 ,the basement is circular internally1 and1 as usual1 has no openings to the exterior1 being only reached from the floor above by an aperture in the vault4 ,the first floor is octagonal internally and vaulted4 ,it is intended for defence1 and is provided with passages in the thickness of the walls1 from which diverging loopholes command the exterior in all directions4 ,the third floor is square internally1 and has been the living room1 being furnished with windows on three sides and a fireplace1 and had a wooden ceiling4 ,the top story is also square1 and is covered with a pointed vault4 ,it has three windows1 and chambers in the wall provided with loops for defence4 ,the construction of the roof and angle turrets is somewhat remarkable4 ,the central platform of the roof is some feet lower than the parapet walk1 and is connected with it by a series of steps rising along each side4 ,the angle turrets are three storys in height1 and access is obtained to the different stages1 #ast1 from the platform roof2 #bnd1 from the parapet walk2 and #crd1 by steps up from the latter to the parapet on the top of the turrets4 ,the tower was fortified on its three angles next the outside1 with the above formidable turrets1 which were probably further armed with some kind of wooden machicolations in time of danger4 ,the fourth angle1 next the inner courtyard1 contained the staircase with a watch turret carried up above it4 ,the other portions of the palace comprised an immense hall1 and the numerous living apartments of the archbishop and his retainers4 ,the entrance was by a long open passage well defended from high walls on either side4 ,within the fortified enclosure were also the cloisters and chapter house4 ,these are of a somewhat late and cold design1 dating from #acge4 ,the roof1 which is flat1 formed an agreeable promenade within the walls4 ,the ,church of ,st ,paul1 beyond the canal1 is an example of the mixture of the ,gothic and ,southern styles4 ,the piers are light and lofty1 and exhibit a ,gothic character mixed with souvenirs of the heavier preceding style1 in the small and few windows1 the 8historied0 caps1 c4 ,on the way between ,narbonne and ,perpignan ample opportunity is afforded1 as the railway runs along between the lengthy lagunes and through the dreary salt marshes1 of observing the process of silting up which has here been in progress for centuries1 and which has had such a marked influence in changing the character of the country1 and in affecting the fortunes of the various cities which formerly flourished on the prosperous banks of these inland seas1 now so desolate and pestiferous4 ,after passing the lagunes we reach the wide and fertile plain of ,roussillon1 where the process of silting up has long been completed1 and where fruitful gardens now take the place of marshy wastes4 ,here too the snow-capped ,pyrenees1 surmounted by the lofty peak of ,mont ,canigou1 come into view1 bounding the prospect to the south1 and pointing to the vicinity of the ,spanish frontier4 ,the language and architecture of the province also emphasise its ,spanish character4 ,,perpignan1 which stands near the rapid river ,tet1 has many points which distinguish it from the towns we have just passed further north4 ,a prominent feature of the architecture1 doubtless ,moorish in origin1 is the enormous size of the voussoirs of the arches4 ,in one old building1 called the ,bourse1 the voussoirs of the circular arch of the doorway are quite #f feet in length4 ,numerous fragments of this peculiar style1 and of walls built with the herring-bone work characteristic of the country1 are to be met with in the town1 but there are no really good and complete specimens4 ,some of the interior courtyards1 with their wooden balconies1 are very foreign looking and picturesque examples of the ,spanish influence4 ,the castellet 7,fig4 #ajd7 which defends the gate of the city close to the river1 has quite a different aspect from that of ,french castellated work4 ,it is entirely built in brickwork1 even the great corbels of the parapet being of that material4 ,this small castle was erected by ,charles ,v41 and formed the original gateway of the town4 ,it consists of two nearly round towers1 with projecting circular turrets on their faces1 and a double curtain wall between1 through which the double gates no doubt formerly passed4 ,the structure is surmounted with an octagonal tower1 having a boldly overhanging parapet1 which recalls the military architecture of the ,north of ,italy1 as exhibited in buildings such as the ,badia at ,florence and the ,castle of ,ferrara4 ,the inner archway with its enormous voussoirs still exists4 ,the gateway now in use adjoins the castellet on the east side 7on the left in the sketch71 and is provided with a drawbridge4 ,this was probably erected when the system of fortification was altered1 and the outer works shewn in the sketch and containing embrasures for cannons were erected4 ,in the ,cathedral of ,st ,jean 7,fig4 #aje7 we have a very characteristic example of the ,southern style4 ,it consists1 as usual1 of one great hall or nave1 without side aisles1 and with a series of lofty chapels1 between the buttresses1 which are thus enclosed within the building4 ,the church has a vault of fully #fj feet in width1 and ,illustration3 ,,fig4 #ajd4 ,,the ,,castellet1 ,,perpignan4 ,illustration3 ,,fig4 #aje4 ,,cathedral ,,of ,,st ,,jean1 ,,perpignan4 is lightly and boldly spanned with pointed and groined vaulting4 ,the apse is similar in character to that at ,bziers4 ,the vaulting of this part was completed under ,charles ,v41 and indicates its late date by its interpenetrating ribs4 ,there is almost no ornament1 the architects of the time giving their attention chiefly to the scientific construction of their edifices4 ,st ,jean was founded by ,sancho ,,ii41 ,king of ,majorca1 in #acbd4 ,this was long before ,roussillon came under the direct influence of ,france1 which only took place under ,louis ,,xi4 ,the style of the building is thus not affected by the importation of the style of the ,north1 as at ,narbonne1 except as regards the vaulting1 which is of a much later period4 ,some relics of a more ancient ,church of ,st ,jean 7le ,vieux7 adjoin the cathedral1 and contain some interesting ,romanesque work4 ,st ,jacques 7thirteenth century7 has a remarkable tower1 and the ruins of the ,dominican convent and church contain good cloisters1 two sides being ,romanesque1 and the others fourteenth century work1 with caps bearing shields1 etc4 ,the citadel1 which occupies the site of the castle of the kings of ,minorca is now a powerful fortress1 a la ,vauban4 ,it contains the ruins of an ancient church with a doorway1 the voussoirs of which are large1 and composed of alternate red and white stone in the style of ,catalonia4 ,a very interesting and agreeable excursion may be made from ,perpignan to ,elne1 a few miles further south4 ,,elne1 ,,in ,,roussillon1 stands on a height in the midst of the great plain which extends to the base of the ,pyrenees near the frontier of ,spain1 and is a town of great antiquity4 ,it was in ancient times a seaport1 but is now separated from the sea by a wide and level expanse of country4 ,elne1 or as it was anciently called1 ,illiberris1 was a ,celtic city before it was frequented by the ,phnicians as one of their ports4 ,the first ,phnician colony was destroyed before we have any detailed history of the country4 ,it was rebuilt by the ,illiberians1 and again ruined4 ,once more restored by ,constantine the ,great1 it continued1 so long as its connection with the sea lasted1 an opulent and populous place4 ,but when1 through the silting up of the water-way1 it ceased to be a seaport1 its prosperity departed1 and the town has gradually declined1 till it is now reduced to a mere village perched on the top of a rock4 ,constantine gave it the title of ,castrum ,helen1 whence its present name is derived4 ,in #abhe and #adgd ,elne was again besieged and destroyed4 ,these events helped to hasten its decay1 and finally its ,bishop's ,see1 which had existed from the fifth century1 was removed to ,perpignan in #afjb4 ,some portions of the ancient walls1 built with the herring-bone work so common in this district1 have not yet entirely crumbled away1 and the town is still entered through a pointed gateway 7,fig4 #ajf7 built with white marble1 the passage through which is provided with a portcullis groove4 ,the ancient church occupies the highest part of the rocky site4 ,it is very plain externally and shews the marks of many alterations4 ,the cathedral had been twice built in the plain1 but was destroyed by the ,saracens4 ,this led the ,bishop ,branger in #ajai to transfer it to its present securer site within the walls of the castle4 ,the existing structure is of the twelfth century4 ,the masonry is roughly built1 partly with herring-bone work1 and in some cases the arches of the windows are distinguished with dark-coloured stones4 ,the interior is divided into a nave and two aisles1 the tunnel vault of the nave being pointed and strengthened with round transverse ribs4 ,the side aisles are vaulted with a half arch thrown against the walls of the nave like a continuous flying buttress4 ,the vaults next the west end have1 however1 been reconstructed with cross ribs1 a restoration probably of the fourteenth century4 ,the whole of the work is of the simplest character and almost without ornament4 ,illustration3 ,,fig4 #ajf4 ,,marble ,,gateway1 ,,elne4 ,at the east end 7,fig4 #ajg7 the ancient apse with its circular arcade is visible1 rising above the foundations of a larger choir which was begun in the sixteenth century1 but still stands unfinished1 the works having evidently been interrupted before they had reached the height of #aj feet from the ground4 ,the new choir is designed on the plan of a ,northern 8chevet0 or apsidal east end1 with radiating chapels4 ,the campanile is noteworthy as a design of that class of edifices closely imitated from those of ,italy4 ,illustration3 ,,fig4 #ajg4 ,,elne ,,cathedral ,but the most truly attractive and remarkable part of the antiquities of ,elne is the beautiful cloister 7,fig4 #ajh71 which1 fortunately1 is still complete and in fine preservation4 ,each side of the enclosure has1 besides the angle piers1 three intermediate square piers1 the spaces between them being each divided into a triple arcade1 supported on coupled columns1 the shafts of which are ornamented with all kinds of twists and foliated decoration4 ,the whole is executed in white marble1 and finished with great delicacy1 forming the richest example remaining of this class of cloister1 of which so many fine specimens occur in the ,south4 ,the work is of various periods1 from the twelfth to the fourteenth century4 ,the oldest portions exhibit1 in their ornament1 a strong ,byzantine feeling1 which the artists of the later periods have endeavoured to imitate in the portions of the cloisters subsequently built4 ,the shafts and caps of the later columns are as richly carved as the older ones1 but they are covered with ornament of a much less conventional character1 and more in the style of the natural foliage universally employed in the ,north in the fourteenth century4 ,to a later period also belong the groined and ribbed vaults with which the cloister is roofed1 and the corbels in the walls from which the ribs spring and which are formed as panels containing figure subjects finely executed4 ,the doorway from the cloister into the church is pointed1 and has voussoirs of white and red marble alternating--a style of decoration very usual in the ,south1 and which may perhaps be the result of the proximity to the ,moors in ,spain4 ,several interesting bas-reliefs and other ancient fragments have been preserved by being built into the walls4 ,,carcassonne4--,an architectural description of the edifices of ,provence and the ,riviera would be incomplete without some account of the two most perfect examples of ,illustration3 ,,fig4 #ajh4 ,,cloisters ,,at ,,elne4 ,medival castellated architecture which still exist in the towns of ,carcassonne and ,aigues ,mortes4 ,these are1 from their excellent state of preservation1 quite unique1 and far surpass in extent and interest the remains of the fortifications of any of the other cities of ,western ,europe4 ,the town of ,carcassonne is situated on the river ,aude1 which is spanned by two bridges1 one of them dating from #aahd4 ,the portion on the left or north bank was a 8bastide10 or detached town1 laid out in the time of ,st ,louis2 the streets being all drawn at right angles1 as was usual in the towns then erected on new sites4 ,such were the numerous villes-neuves constructed by ,edward ,,iii4 in the ,south-west of ,france1 and which he endowed with certain privileges1 in order to induce men to settle in them1 and thus increase the population and strength of the country4 ,illustration3 ,,fig4 #aji4 ,,carcassonne4 ,the ancient cit of ,carcassonne stands on the summit of a hill on the right bank of the river4 ,it is still surrounded by its double wall of enceinte1 studded with round and square towers1 and dominated by the masses of the ancient castle1 which rise boldly above the steep and rocky hillside1 and present a sight as novel and picturesque as can well be imagined 7,fig4 #aji74 ,the site is naturally a strong one1 and was doubtless occupied from a very early period as a primitive fortress4 ,it afterwards became a ,roman town1 and was surrounded by the ,romans with walls4 ,the ,visigoths1 who were absorbed into the native population and continued the ,roman civilisation1 rebuilt the walls1 some of which still survive1 apparently on the ,roman foundations and after the ,roman manner4 ,the ,roman system of fortification consisted in erecting two walls to form an outer and inner face1 the space between which was filled up with earth and stones4 ,the level of the ground on the inside of the fortress was kept much higher than that on the exterior1 and a broad parapet walk1 easily accessible from the interior level1 ran round the top of the wall1 and was protected towards the outside with a parapet4 ,at ,carcassonne the more ancient parts of the curtains are composed of two walls built with small cubic masonry1 alternating with courses of thin bricks 7,fig4 #aaj71 the central space being1 however1 filled1 not with earth1 but with rubble masonry and mortar4 ,the level of the ground is much higher next the town than towards the exterior4 ,some of the towers of the ,visigoths still remain1 and rise considerably above the curtains4 ,these1 like the towers of the ,romans1 are circular to the exterior and square next the city1 on which side they are also open1 both for the purpose of admitting of munitions being easily hoisted up to them from below1 and also to render them useless in the hands of an enemy as against the town4 ,externally they are furnished with embrasures at the top1 which were provided with a swinging wooden shutter for defence1 to support the pivots of which stone hooks are inserted at the eaves4 ,the top is covered with a pointed roof 7see ,fig4 #aaj74 ,the towers were detached from the curtains by ,illustration3 ,,fig4 #aaj4 ,,carcassonne--,,towers ,,and ,,castle4 a pit or gap in the parapet walk where it adjoined them1 so that each tower might form a separate post1 and be defended independently4 ,the lower part of the walls1 being below the interior level of the ground1 was peculiarly liable to be attacked by mining and battering1 against which the defenders could make no direct resistance4 ,the besiegers1 as they knocked out parts of the wall1 supported the superstructure in a temporary manner with wooden props1 and when they had completed their mining operations1 they set fire to the props1 and the wall above fell and formed a breach4 ,like the ,roman permanent camps1 these fortified cities had a castle or citadel1 which was almost invariably placed on the highest point of the site1 and adjoined the enceinte so as to command and defend the town1 and1 at the same time1 be in a position to receive supplies and reinforcements from without4 ,within the castle1 again1 was a still further security in the donjon1 or redoubt1 which was detached from the other works1 and often had a ditch and an enclosing wall1 or chemise1 of its own1 and could be held after all the other defences had succumbed4 ,such walls as those of the ,visigoths at ,carcassonne were sufficient to resist the means of attack employed from the fifth to the eleventh century4 ,at that period of revival a great improvement took place all round1 and there can be no doubt that the early ,crusaders learned much in the ,east with regard to the science of attack and defence of strongholds4 ,in the eleventh and twelfth centuries1 towers like those of the ,normans were erected1 which depended for their security on the natural strength of the site1 and the great height and thickness of the walls--their height protecting them against assault by scaling1 and their mass and position against the mine and battering ram4 ,they were further strengthened with outer walls and ditches4 ,illustration3 ,,fig4 #aaa4 ,,carcassonne--,,outer ,,and ,,inner ,,walls1 ,n4 ,,side4 ,a very interesting description1 illustrative of the manner of carrying on and resisting siege operations1 is quoted by ,viollet-le-,duc from a report rendered by ,guillaume des ,ormes1 ,seneschal of ,carcassonne1 to ,queen ,blanche1 on the raising of the siege of that town by ,trenceval in #abdj4 ,the report details how the besiegers and defenders battered one another with mongonneaux2 how they mined and countermined2 how part of the wall was sapped1 and a breach formed1 inside of which the defenders raised a wooden bretche1 crowned with hoards1 and armed with archers4 ,on ,st ,louis' return from his first crusade1 he was desirous to strengthen his position in the newly-acquired dominions of the ,count of ,toulouse4 ,he1 therefore1 resolved to make a strong citadel of ,carcassonne4 ,for this purpose the houses in the suburbs were cleared away1 and a new town1 or bastide1 was established1 as above mentioned1 for the ejected inhabitants on the opposite side of the river1 where the new town now stands4 ,under ,king ,louis the outer enceinte of ,carcassonne was rebuilt 7,fig4 #aaa74 ,between this and the inner wall of enceinte a space is left1 called the 8lices10 in which troops can circulate1 and patrols and sentries move in safety4 ,the ground of the 8lices0 is nearly on the same level as the present parapet of the outer wall1 while the wall is about thirty feet above the soil outside4 ,the towers are built with an open side next the 8lices10 so that1 even if taken by the enemy1 they could not be held by him against the inner walls4 ,st ,louis also erected an immense barbican1 or round redoubt1 at the base of the hill1 between ,carcassonne and the ,aude1 so as to command the river1 and allow of sorties being made on the level ground adjoining it4 ,philippe le ,hardi continued the works of the fortifications ,illustration3 ,,fig4 #aab4 ,,carcassonne--,,porte ,,narbonnaise4 till his death in #abhe1 his operations being chiefly on the east and south sides4 ,there are two principal gateways in the walls1 the ,porte de l',aude and the ,,porte ,,narbonnaise 7,fig4 #aab71 both strongly defended with towers and other works4 ,there are also six posterns1 all placed in angles so as to be masked by the towers1 and generally several feet above the level of the ground4 ,these were useful for relieving sentries1 and for the movement of troops in the 8lices40 ,opposite some of the posterns the outer walls are provided with large barbicans 7,fig4 #aac71 in which soldiers might be concentrated for sorties4 ,as above mentioned1 the great circular barbican at the base of the hill was also employed for this purpose4 ,nothing could give a better idea of the multiplicity and complication of the means of defence then employed than the mode of connection between this barbican and the castle4 ,the rampart or passage which led to the castle above was especially well fortified4 ,it was steep1 and the ascent was interrupted with several cross walls with doors1 approached by steps which were all commanded from the walls and curtains above1 and from a great tower at the top1 all armed with bretches or hoards4 ,towards the upper end the passage turned to the right1 and was flanked by the defences above4 ,a small gate was then reached1 within which the passage doubled back again to the left1 and was stopped by another gate1 beyond which it entered a narrow covered way of three storys in height1 each commanding the one below by means of machicolations or apertures in the floor1 so that1 if the first floor was gained1 the assailant found himself in a trap1 and was battered from above4 ,if all these defences were surmounted1 the besieger was only the length of the 8lices10 and had still above him the lofty walls and towers of the castle1 and the strongly-fortified ,illustration3 ,,fig4 #aac4 ,,carcassonne--,,western ,,walls ,,and ,,barbican4 postern1 with its movable bridge1 double machicolations1 loop-holes1 portcullis1 and gates4 ,even within this1 the entrance to the castle was impeded by a sloping and turning passage1 furnished with numerous doors1 and rising for twenty-three feet before the level of the courtyard was reached4 ,such defences were almost impregnable1 and are a good illustration of the intricacy of the fortifications adopted at that period4 ,at a later time such contrivances were found to be a mistake1 as they impeded the movements of the garrison4 ,they proved a weakness rather than a strength by preventing men from being moved rapidly to a critical point at the required time4 ,the leading idea1 at this period1 was to render every point of the defences independent of the rest4 ,each tower is1 therefore1 a separate fort2 the castle and barbican are independent of the city walls1 and could hold out although the town was in the hands of the enemy2 and within the castle there are two independent towers or donjons1 which might still form a refuge for the garrison for some time after the castle was taken4 ,the lofty square tower 7see ,fig4 #aaj71 which was crowned with a bretche1 was carried up to a sufficient height to dominate the town and the whole surrounding country4 ,this structure and some of the adjoining walls date from the twelfth century4 ,the other buildings on the north side of the castle are of the time of ,st ,louis4 ,the inner enceinte of the castle with its towers and gates built by ,philippe le ,hardi 7the latter part of the thirteenth century7 are splendid examples of the military works of the period4 ,the walls of the towers surrounding the town are built with solid masonry in regular courses1 with the face left rough4 ,the lower part of the curtains is pierced with the long loops1 sometimes #aa or #ab feet in length1 then in use1 and the top was fortified with hoardings or projecting wooden galleries1 from the floor of which the defenders could drop stones and other missiles on the assailants1 so as to keep them off from the base and prevent mining4 ,all the walls and towers were furnished with these hoardings4 ,the square holes in which the beams were inserted for carrying the galleries are still visible both in the outer and inner walls 7,figs4 #aaj-aac74 ,the towers are placed at suitable intervals to enable the curtains to be defended from them by lateral fire1 and some of them are strengthened with a projecting beak to prevent the sappers from approaching when the angle could not be well commanded from the adjoining parapets1 as is the case in the tower at the ,n4,w4 angle of the walls seen in ,fig4 #aaa4 ,one large square tower 7shown in ,fig4 #aaa7 called the 8,tour de l',evque0 joins the outer and inner enceintes together by bridging over the space between them4 ,it has thus complete control over the lices both from apertures in the vault1 and from the hoardings which were projected on the flanks4 ,this tower derives additional interest from having been used by ,viollet-le-,duc as his studio while superintending the work of restoration1 and it contains a number of fine plaster casts prepared by him4 ,the parapet walk of the inner wall runs all round the battlements4 ,in some cases it is interrupted by the towers 7,fig4 #aad71 and passes through them2 in other cases it is carried round the exterior of the towers on the side next the town1--the former towers being posts for guards and sentinels1 and the latter being intended to serve as independent posts for defence4 ,access to the walls is provided by good open stairs on the side next the town1 as shewn in ,fig4 #aad1 which represents the interior of the walls at the same place1 as ,fig4 #aac shews the exterior4 ,illustration3 ,,fig4 #aad4 ,,carcassonne--,,interior ,,of ,,walls4 ,the ramparts of ,carcassonne have been to a large extent restored within recent years2 but still remain untouched on the eastern side 7see ,fig4 #aab71 where houses have been erected against the inner and upon the top of the outer walls1 so as to convert the 8lices0 into a street4 ,on this side the walls of the town are separated from the surrounding land1 which here is rather high1 by a wide and deep ditch4 ,the high ground beyond the ditch was originally fortified with a large round tower 7now destroyed7 which is supposed to have communicated with the town by a subterranean passage4 ,above the old houses on the walls are seen rising the great towers of the ,porte ,narbonnaise1 each strengthened with a salient beak4 ,between these towers is the gateway4 ,it had no drawbridge1 but was defended in front by a great chain1 a wide machicolation1 a portcullis1 and folding gates4 ,in the centre of the vault over the archway there was a large opening1 and the inner gateway was strengthened with a wide machicolation1 a second portcullis1 and a second gate4 ,besides these the towers were of course provided with their hoardings and a bretche projected over the gateway4 ,the great angle tower1 called the 8,trsau10 and a large angle bartizan further protected the approach of the gateway1 as seen in the sketch4 ,such were the fortifications of ,carcassonne1 the chief frontier fortress on the side of ,aragon1 and there can be little doubt that against the means of attack then employed1 they were practically impregnable4 ,the ancient ,church of ,st ,nazaire at ,carcassonne may be taken as an example of the ruder form which the ,romanesque style assumed in a district not far removed from ,provence4 ,it occupies the highest point of the height on which stands the ancient fortified cit of ,carcassonne4 ,illustration3 ,,fig4 #aae4 ,,st ,,nazaire1 ,,carcassonne4 ,the church is placed near the walls of the city1 and the west end is elevated and fortified so as to form part of the defences4 ,the entrance to the nave is by a twelfth century doorway in the north aisle4 ,the building consists of two portions1 which form a striking contrast with one another 7,fig4 #aae72 the nave of the eleventh century1 and the ,romanesque choir of the fourteenth1 the former of a massive and gloomy design1 the latter of the lightest and most elegant ,gothic4 ,the older portion consists of a central nave and two side aisles1 separated by enormous piers1 which are alternately plain cylinders and squares with an engaged column on each face4 ,the bases of the piers vary greatly in form--none of them being of ,roman design1 but all set upon a great square block4 ,the caps of the cylindrical piers differ considerably1 but consist of large mouldings1 with corbels and billet ornaments4 ,the pier arches are circular1 and the aisles lofty1 and vaulted with round arches4 ,rising from the caps of the cylindrical piers are short columns1 the caps of which carry the pointed transverse ribs of the tunnel vault of the nave1 which is also pointed1 and probably belongs to the twelfth century4 ,the caps of these short columns1 and of the attached shafts of the square piers1 are all very large and bold1 and seem to be founded on ,roman designs4 ,the light ,gothic work of the choir1 with its tall slender shafts1 and walls composed almost entirely of mullions and stained glass1 forms a brilliant termination to the vista of the ponderous nave4 ,it belongs to a much later period than the latter1 having been erected by ,bishop ,pierre de ,rochefort1 #acbj-cj4 ,it is a palpable instance of the extension of the ,gothic style of the ,royal ,domain along with that of the ,royal ,power1 having been erected shortly after ,carcassonne was united to ,france4 ,viollet-le-,duc considers this choir one of the most instructive instances of the scientific method of construction adopted by the ,gothic architects of the fourteenth century2 and he points out that the architect has endeavoured to keep up the idea of the ancient nave in the new work by preserving in the choir the plan of the nave piers--those of the central compartments being square1 with attached shafts1 while the others are round on plan4 ,we shall now return to ,aigues ,mortes1 which1 it will be remembered1 was reserved for consideration along with ,carcassonne4 ,,aigues ,,mortes is another town of the age of ,st ,louis and his son ,philip the ,bold1 the fortifications of which have1 by great good fortune1 been preserved almost untouched since the date of their erection4 ,this probably arises from the fact that ,aigues ,mortes presents one of the most striking instances of the 8villes mortes10 whose history is so feelingly depicted by ,m4 ,lenthric4 ,it stands in the midst of the lagunes and marshes which here cover a large extent of country connected with the delta of the ,rhone4 ,the origin of the town dates from the time of ,st ,louis4 ,at that period the ,kingdom of ,france had not as yet extended to the ,mediterranean1 but ,king ,louis1 being a devoted ,crusader1 was very desirous that his country should possess a port on that sea1 from which his armies might embark in their expeditions against the ,infidels4 ,this there was some difficulty in obtaining1 the harbours on the coast being almost wholly subject to the ,count of ,bziers or the ,count of ,provence4 ,it happened1 however1 that a small portion of the sea-coast1 including a lagune and a navigable canal1 which belonged to the ancient and wealthy ,abbey of ,psalmodi was available1 and this ,king ,louis secured from the monks in the year #abdh1 in exchange for other lands near ,sommire4 ,at ,illustration3 ,,fig4 #aaf4 ,,aigues ,,mortes--8,,tour ,,de ,,constance40 this place there existed an ancient tower1 called the 8,tour de ,matafre10 said to be of the time of ,charlemagne1 who had bestowed it on the abbey4 ,the ,tower of ,matafre was rebuilt by ,st ,louis1 and renamed the 8,tour de ,constance0 7,fig4 #aaf74 ,it is of great size1 and was designed to form the citadel of the projected town of ,aigues ,mortes4 ,it has frequently been supposed that1 in the time of ,st ,louis1 this tower was washed by the waters of the ,mediterranean1 and that the sea1 which is now some miles distant1 has receded since then4 ,but ,m4 ,lenthric shews most distinctly that this is a complete mistake1 and that the coast line was1 in the thirteenth century1 precisely where it now is4 ,at that time1 however1 the town was surrounded with the waters of an inland lagune1 through the shallows and marshes connected with which a canal had to be kept open for access to the sea1 as was formerly the case at ,narbonne1 and still is in the lagune of ,venice4 ,the canal by which ,st ,louis embarked on his crusades was called the ,canal ,viel4 ,it was about five miles in length from the town to the opening in the sand dunes1 called the 8,grau ,louis10 where it debouched into the sea4 ,since that time the canal from the town to the sea has three times changed its course4 ,for about a century after the time of ,st ,louis this port was greatly frequented by merchants from ,genoa1 but it has long been little used1 and all the commerce of ,aigues ,mortes has now died away4 ,the walls of ,aigues ,mortes were traced out by ,st ,louis1 but the superstructure was executed by his son1 ,philip the ,bold4 ,the latter in #abgb took possession of the country of ,toulouse and arranged with the ,genoese ,boccanera to construct the walls of ,aigues ,mortes for a sum equal to #hh1ejj francs4 ,the town is laid out as a regular parallelogram with streets at right angles1 ,illustration3 ,,fig4 #aag4 ,,aigues ,,mortes--,,walls ,,on ,,east ,,and ,,north ,,sides4 like the bastide of ,carcassonne on the north side of the ,aude4 ,the walls are built with solid masonry1 having the natural surface left rough or bossy4 ,fifteen towers surround the city and strengthen the curtains at the angles and on the flanks4 ,there are nine gates1 two principal ones1 and the others smaller4 ,being only a fortification of the second order the defences of ,aigues ,mortes are not nearly of so complete a type as those of the important fortress of ,carcassonne4 ,the towers are generally round1 though some of them1 following the ,southern fashion1 are square and project only slightly 7,fig4 #aag74 ,the gateways pass directly through the square towers1 which1 as we have seen at ,avignon1 was a decidedly ,southern custom2 and none of the circular towers have strengthening beaks4 ,the towers are so placed with reference to the walls that some of them1 as at ,carcassonne1 interrupt the parapet walk1 while in others it is carried round the outside of the inner face of the tower1 and is supported on large mouldings which form a continuous corbelling4 ,this is shewn in the view of one of the towers above a gateway taken from within the walls 7,fig4 #aah74 ,the stairs giving access to the walls and the interior of the loopholes are also seen in this view4 ,the walls of the town1 which are about #cj feet high1 are all provided with a crenellated parapet1 having long loops in the merlons between the embrasures4 ,the wall heads have also been defended with wooden hoardings1 the holes for the beams which carried them being very distinctly visible all round the fortress4 ,the lower part of the wall is perforated with very long narrow slits4 ,the interior recesses connected with these are formed with wide splays like window bays1 and are provided with stone seats for the defenders 7see ,fig4 #aah74 ,probably the great ,illustration3 ,,fig4 #aah4 ,,interior ,,of ,,south ,,side ,,of ,,walls4 length of the loops was to enable bowmen to operate both while standing on the floor and on the seats1 or even on temporary wooden platforms at different heights1 and also to aim their arrows either high or low4 ,the open staircases leading to the walls are carried up on the side next the town in the same way as those of ,carcassonne4 ,in approaching the town from the north the ,,porte ,,de ,,nimes 7,fig4 #aai7 is first seen in front1 while a long vista of the northern wall with its towers stretches to the left1 and the ,tour de ,constance terminates the view to the right4 ,this gateway has as usual a large strengthening round tower on each side1 containing guardrooms1 c41 and is so arranged as to form an independent post4 ,till the fourteenth century1 gateways of this description were defended with folding gates1 portcullis1 machicolations 7or apertures in the vault over the entrance passages71 and with bretches or hoardings projecting over the entrance1 pierced with single1 double1 or even triple tiers of loopholes from which to attack the assailants4 ,but there were as yet no drawbridges4 ,at the ,porte de ,nimes evidences may be observed of a drawbridge1 wrought with long balanced beams or levers passing through the wall1 having been used2 but it has evidently been introduced at a later time4 ,the walls of ,aigues ,mortes were entirely surrounded with a wet ditch 7a few indications of which still remain71 but it has for the most part been filled up and converted into a promenade4 ,the ditch would be crossed with moveable wooden bridges which could be easily removed or destroyed4 ,a projecting stone balcony is corbelled out from one of the round towers of the ,porte de ,nimes4 ,this was no doubt a station from which audience could be given to heralds or others wishing to communicate with the ,illustration3 ,,fig4 #aai4 ,,porte ,,de ,,nimes1 ,,aigues ,,mortes4 town without the necessity of opening any of the gates or other defences4 ,the fortifications present on plan a right angled parallelogram about #fjj yards from east to west1 by #aej yards from north to south1 with a curved portion cut out of the north-west angle4 ,at this point stands the donjon1 or ,tour de ,constance 7see ,fig4 #aaf71 built by ,st ,louis1 as above mentioned1 on the site of the ancient ,tour de ,matafre in order to form the citadel of the town4 ,this tower is of the simplest possible design1 being a plain cylinder about #gj feet in diameter1 with a talus or slope near the base4 ,it is about #ajj feet high1 and was no doubt originally crowned with overhanging hoardings1 and when fully equipped would present an appearance not unlike the well known great ,keep of ,couci ,castle4 ,the ,tour de ,constance was surrounded with a special ditch1 and was connected with the town walls by means of narrow wooden gangways1 which could be easily removed4 ,the top has been altered in the sixteenth century1 and made into a platform1 and provided with a parapet suitable for guns4 ,above the circular staircase in the thickness of the wall the watch turret rises to a considerable height1 and is crowned with the iron grille which for long contained the fire which illumined the canal1 and served as a beacon to the ships4 ,simple as is the exterior of this keep1 its interior is full of interest and beauty4 ,the walls1 as high as the first floor1 are #bj feet in thickness4 ,the basement contains the storage and has a well in the centre1 over which an eye in the vaults above allows water to be raised to every floor4 ,the entrance door is on the first floor on the side next the town1 and there is also a postern on this floor on the side next the country4 ,from the landing at the former1 a staircase leads to the second floor1 and is so contrived that the lower part is completely overlooked and commanded from the upper part4 ,at the landing where the staircase gives access to the great apartment on the upper floor1 a beautifully arched and groined lobby is constructed1 and is decorated with ,gothic shafts and enriched caps4 ,the great hall on the first floor is vaulted in one span1 with large pointed ribs springing from finely-carved caps4 ,on the level of the floor there are recesses in the thick walls1 giving access to long loops which descend far below the floor1 so as to enable the defenders to shoot down as close as possible to the base of the tower4 ,the postern is also seen from the inside 7although now built up externally71 with its portcullis 7or rather a modern imitation7 in situ4 ,the interior is lit only by the narrow loop-holes1 and is1 therefore1 very dark4 ,a gallery runs round in the thickness of the upper part of the walls of the hall1 with windows looking into the apartment from which it might be watched and commanded4 ,between the recess of one of the loops and the postern a fireplace is introduced1 with an oven in the wall behind it4 ,the hearth is covered with a boldly projecting hood1 supported on two brackets carved with foliage4 ,the angles of the hood have ornamental crockets1 and the hood itself is carved in imitation of tiles4 ,the whole work is massive and yet fine1 and specially recalls1 both in construction and ornament1 the style of ,couci4 ,it has evidently been the work of a ,northern architect brought with him by ,king ,louis4 ,about two miles to the north of ,aigues ,mortes stands the 8,tour ,carbonnire10 which formed an outpost of the town4 ,it was erected at the same time as the fortifications1 and was placed so as to command the approach1 which was only practicable by one course through the marshes and canals4 ,it is a good example of a detached thirteenth century tower1 and in style strongly resembles that of ,villeneuve1 at the west end of the bridge of ,st ,bnezet1 at ,avignon4 99 99 99 99 99 ,we shall now return to ,marseilles1 and strike eastwards by the ,mediterranean ,railway1 along the ,riviera4 ,for a considerable distance no architectural remains of importance are met with4 ,the line passes through a rocky and mountainous country1 the bare summits of the lofty peaks contrasting strongly with the rich verdure and luxuriant growth of the valleys below them1 in which the subtropical vegetation of the ,riviera now begins to shew itself4 ,after penetrating a mountain range by tunnel1 the seacoast is reached1 and some lovely bays are passed before sighting the lofty peaks of the mountains1 each crowned with its fort1 which surround and protect ,toulon1 the great arsenal of ,france on the ,mediterranean4 ,architecturally there is little of interest in the town1 but the harbour with its narrow antique quay1 lined with houses fronting the basin1 which is crowded with the peculiarly rigged trading vessels of the district1 is well worthy of a visit4 ,it recalls in some respects the ,riva de' ,schiavoni at ,venice1 with its bustle and varied interest4 ,the railway to ,hyres branches off the main line at ,la ,pauline ,station4 ,just before reaching this1 the ancient and picturesque town of ,la ,garde is passed4 ,its houses are clustered on the slope of a basaltic rock1 the summit of which is crowned with the ruins of an ancient castle1 and a church4 ,the aspect of this old place forms a good introduction to the picturesque and decayed character of the numerous ancient towns to be met with all along the ,riviera4 ,,hy,,res is the first reached in travelling eastwards of the great health resorts of the ,riviera4 ,it stands on the southern slope of a hill facing the sea1 which is visible at a distance of about three miles off4 ,the rocky summit of the hill is crowned with the ruins of an ancient castle1 from which the steep and narrow streets of the old town radiate downwards4 ,the town was formerly surrounded with walls1 which have now been removed1 and the space converted into a wide promenade1 on which flourish the palms1 oranges1 and other tropical plants for which ,hyres is famous4 ,the modern houses and hotels are also situated on this fair terrace1 while some remains of the gateways connected with the old ramparts are still preserved4 ,hyres stands high above the level of the sea and the plain which extends between it and the foot of the hill4 ,it thus commands an extensive view to the south and south-west over the peninsula of ,giens1 and the ,mediterranean dotted with the groups of ,islands named after it1 8les ,iles d',hyres40 ,there is nothing remarkable in the history of ,hyres4 ,in ,roman times a fortress existed here called ,castrum ,ararum4 ,in the thirteenth century the place was held by the ,count of ,fos1 who was dispossessed by ,charles of ,anjou4 ,thereafter the castle and town passed through the usual assaults and changes1 and during the sixteenth century was in possession of the ,catholics and ,protestants in turn4 ,the enceinte of the castle 7,fig4 #abj7 is well preserved1 many of the towers which strengthen it being almost entire4 ,these are for the most part square and lofty1 and have thus quite a ,southern aspect4 ,the original crenellations still exist1 together with the holes for the short beams which carried the wooden hoardings for defence at the summit4 ,the openings are generally long narrow slits1 but in the eastern angle tower three small pointed windows occur4 ,the keep is almost entirely demolished4 ,it occupied the summit of the rock1 and from its ruins a commanding and extensive prospect is obtained4 ,the walls are probably not older than the thirteenth century4 ,within the enceinte the ground is laid out as a private vineyard4 ,illustration3 ,,fig4 #abj4 ,,hy,,res ,,castle4 ,in the middle of the old town stands the picturesque church of ,st ,paul1 approached from a terrace commanding a beautiful view seawards1 by a wide staircase crowned with a corbelled tower4 ,it is originally of the twelfth century1 but has been altered4 ,the walls of the east end have had to be brought up from a considerable depth1 owing to the great slope of the ground1 and the lower part of the buttresses shew work like that of the thirteenth century1 but the upper part is later4 ,internally the church has four bays and an apse--all late--the caps of the piers being of ,renaissance work4 ,the central nave and aisles are all groined4 ,a wide chapel crosses the building at the west end1 and is surmounted with a plain square tower 7,fig4 #aba7 of the type of the ,italian campanile1 of which numerous specimens are to be met with at ,grasse and elsewhere along the ,riviera4 ,the upper round arched doorway1 with its immense voussoirs1 indicates a style of work of which several examples are to be met with in the town1 and which is doubtless of ,moorish or ,spanish origin4 ,illustration3 ,,fig4 #aba4 ,,st ,,paul1 ,,hy,,res4 ,the ,htel de ,ville1 on the place ,massillon in the old town1 occupies the chapel of a ,commandery of the ,templars4 ,it has been much altered and renovated1 but with its picturesque round tower at one side it has a good deal of character4 ,a few portions of old houses present some good fragments of ,medival ,architecture here and there4 ,the main line of railway between ,toulon and ,frjus makes a great curve inland1 so as to pass through the level and fertile valley lying between the detached and rugged district of 8,les ,maures0 on the south1 and the ,alpines on the north4 ,half way along this valley is the station of ,le ,luc1 about six miles to the northward of which stands a structure of great interest to the student of ,architecture4 ,we have already explained the ascetic sentiments which actuated the early ,cistertians in the construction of their buildings4 ,without some knowledge of the principles of these primitive reformers it would be difficult to understand the origin and meaning of much of the architecture of ,provence4 ,in the midst of the usually ornate structures of the country1 we come occasionally on some important and remarkable churches1 which1 from the plainness and simplicity of their style1 present a complete contrast to the former4 ,such are the three early daughters of ,citeaux erected during the twelfth century at ,senanque1 ,silvacanne1 and ,thoronet4 ,the churches of these monasteries are all remarkably similar in design1 and carry out to the letter the plainness and absence of decoration required by ,st ,bernard4 ,of this ,thoronet is a striking example4 ,this abbey is situated in a retired rural valley1 about six miles north from ,le ,luc ,station4 ,on leaving the station1 the road1 after passing a large monastery with its chapel and cypresses1 ascends by a steep footpath the hill on which stands the ancient town of ,,cannet 7,fig4 #abb7 still partly surrounded with its medival walls4 ,a delightful walk of two or three miles through a narrow and rocky valley clad with olives leads to the village of ,thoronet1 two miles beyond which the monastery is reached4 ,it stands concealed by olive groves on the western slope of a narrow valley1 through which flows a small stream1 a tributary of the ,argens4 ,the church1 with its plain apse and little spire1 first meets the view1 followed1 on near approach1 by the ruinous but extensive buildings of the monastery which disappear amongst foliage down the slope of the hillside4 ,the public road now runs through the upper part of the enclosure of the abbey1 and close along the south side of the church2 while part of the monastic buildings to the west are occupied as a tavern or farmhouse4 ,illustration3 ,,fig4 #abb4 ,,cannet4 ,illustration3 ,,fig4 #abc4 ,,thoronet--,,church ,,from ,s4,w4 ,,the ,,monastery ,,of ,,thoronet was founded in the beginning of the twelfth century1 on ground granted by ,raymond de ,branger1 ,count of ,provence1 to the monks of ,citeaux1 and continued to be occupied by that order till their property was secularised and sold at the ,revolution4 ,the plan is that usual in ,cistertian buildings of the period4 ,the church has a nave1 with central and side aisles1 crossed at the east end by a large transept1 from which1 in the centre1 a short choir having a circular apse1 and two smaller chapels with altars in each transept1 extend towards the east4 ,at ,thoronet the choir and chapels have apsidal terminations1 but in some ,cistertian churches the east end is square4 ,nothing could exceed the unadorned nature of the design1 both externally and internally4 ,the west end 7,fig4 #abc7 shews the principal entrance1 which is a plain round-headed doorway1 without even a moulding4 ,the tall windows and the round one in this gable are treated equally simply4 ,these1 and a round ,illustration3 ,,fig4 #abd4 ,,abbey ,,church ,,of ,,thoronet4 window over the apse1 give the principal light in the church1 which1 like the other ,southern churches vaulted on the same principle1 has no clerestory4 ,there is an alcove for a tomb in the exterior of the wall of the south aisle1 but it is now empty4 ,the interior 7,fig4 #abd7 presents1 as it were1 the bare skeleton of the other churches of ,provence which we have already considered1 without any of their ornamentation4 ,the piers of the nave are simply portions of a side wall set on square slabs as a base1 with a plain break to sustain the inner member of the nave arch4 ,above these rises the perfectly plain1 pointed1 barrel vault1 strengthened with simple square-cut transverse arches1 which spring from round attached vaulting shafts1 resting on the plainest possible corbels1 and having caps of a very simple form4 ,the vault of the central nave is buttressed by half vaults in the side aisles1 which are of the same design4 ,the tiles of the roof1 both of the central nave and the side aisles1 rest directly on the outside of the vaults without any wooden construction4 ,this1 as we have seen1 is the usual arrangement in the churches of ,provence1 such as ,notre ,dame des ,doms1 ,avignon1 and ,st ,trophime1 ,arles4 ,the cloister1 and some of the monastic buildings adjoining1 are well preserved4 ,a similar simplicity reigns throughout these4 ,the cloister consists1 as usual1 of four arcades enclosing a garth on the north side of the church4 ,the arcade next the nave is on a higher level than the other three1 owing to the slope of the hill1 and is only one story high1 there being no rooms on this side for an upper gallery to give access to4 ,the other three sides of the cloister had originally an upper floor1 with open arches next the garth1 and an open timber roof4 ,these galleries gave access to the dormitory and other apartments on the upper floor4 ,the arcades of the cloisters 7,fig4 #abe7 are of a very ,illustration3 ,,fig4 #abe4 ,,thoronet--,,cloister4 ,illustration3 ,,fig4 #abf4 ,,thoronet--,,caps ,,in ,,cloister4 simple form1 consisting of plain round arches in the wall1 filled in with a single solid shaft supporting two smaller round arches1 and a circular eye above4 ,the arches are absolutely without mouldings4 ,the caps and bases of the central shafts 7,fig4 #abf7 are of very simple design--a small leaf or uncarved set-off being all that is allowed to cover the passage from round to square1 and any such enrichments are most elementary1 both in design and execution4 ,it will1 however1 be observed that these primitive ornaments1 although simple1 are original4 ,they show no trace of ,roman traditions1 which1 as formerly pointed out1 were entirely renounced by the ,cistertians in their reformed ,provenal art4 ,these very elementary forms are thus the prototypes of the new and natural style of ornamentation above referred to in ,part ,v4 as having been introduced by the ,cistertian ,order4 ,the small arches rest on an impost formed of a plain string course1 which1 together with the plain splay of the base1 are cut off at the outer face of the wall1 and do not return round it4 ,this mode of cutting off strings1 etc41 is of frequent occurrence in buildings of this type4 ,the cloister walks are covered with plain1 pointed1 tunnel vaults1 strengthened at intervals with square transverse ribs resting on plain corbels1 which are inserted in a string course1 formed of a simple ovolo4 ,at the intersection of the cloister walks the pointed vaults meet1 and the junction is covered with a pair of square diagonal ribs intersecting one another in the angle4 ,opening from the north side of the cloister is a hexagonal chamber1 which served as the lavatory of the monks4 ,it projects into the garth from the arcade 7see ,fig4 #abe71 and has five windows1 three of which are plain round-headed openings1 and the two others are each finished with two small arches and a circular eye like those of the cloisters4 ,a double doorway gives access from the cloister walk4 ,the basin or vase for washing1 which formerly stood in the centre1 now lies broken in the garden4 ,the chapter-house opens into the eastern side of the cloisters by a doorway with a pointed arch1 and two side windows1 with three openings in each4 ,these openings were for the purpose of enabling the monks in the cloister to hear what passed in the chapter-house4 ,the latter is vaulted with groined-pointed vaults--the ribs being square with bead on angles1 supported by two short and dumpy pillars1 with spurred bases and remarkable caps1 somewhat more ornamental than the others4 ,in the east wing1 over the chapter-house1 the dormitory still exists1 roofed with a wide barrel vault1 strengthened with transverse ribs4 ,from the simple design of the cloister it is apparent how completely the ,cistertians renounced the fine shafts and delicate carving of the cloisters of the early ,provenal type like those of ,aix1 with their light wooden roofs1 and gave preference to vaults1 as being more enduring1 while at the same time they rejected all sculpture and ornament4 ,although simple and plain to a degree1 there is a unity of purpose and an originality of character in this new and vigorous style which commands respect if not admiration4 ,senanque1 ,silvacanne1 and ,thoronet were all built in the severe style of the first fervour of the ,cistertians early in the twelfth century4 ,by the end of the century this first enthusiasm became an affectation of simplicity and was gradually tempered by the preponderating influence of the ,clunisiens1 who were more in harmony with the spirit of the times than the rigid ,cistertians1--the general tendency of the age being to great richness in architecture4 ,at a later period the monastery of ,thoronet seems to have been enclosed with walls1 within which the grounds were laid out with taste and elegance4 ,few examples of this refinement have escaped destruction2 but a fountain1 with its basin set in an alcove in the outer wall1 still survives 7,fig4 #abg71 and serves to refresh the traveller on the dusty highway which now passes through the pleasure gardens of the monks4 ,at ,,st ,,maximin1 which lies considerably to the west of ,thoronet and is most conveniently approached by the railway between ,aix and ,carnoulles by ,brignoles1 there exists a church of a totally different character4 ,it is said to be the most perfect specimen in ,provence of a building in the pure ,gothic style4 ,the design has evidently been imported directly from the ,illustration3 ,,fig4 #abg4 ,,thoronet--,,fountain ,,in ,,grounds4 ,north1 and is precisely such an edifice as one would expect to meet with in the ,ile de ,france4 ,its presence here therefore strikes one with surprise1 and with a sense of incongruity with its surroundings4 ,this church was begun towards the end of the thirteenth century by ,charles of ,anjou1 but was not finished till the close of the fifteenth ,illustration3 ,,fig4 #abh4 ,,church ,,of ,,st ,,maximin4 century4 ,the plan shews a central nave with side aisles1 each terminated to the east with an apse4 ,there is no transept4 ,the vaults are pointed and simple in form4 ,the central vault 7,fig4 #abh7 is lofty1 being about #ij feet to the apex4 ,when complete the aspect of the church must have been extremely light and fairy-like4 ,the lofty windows of the clerestory and apse1 which are all pointed1 fill up with their traceries nearly the whole visible space1 the masonry being reduced to its smallest limits4 ,the same idea was carried out in the side aisles1 where the windows were originally brought down almost to the pavement4 ,when these windows were all filled with stained glass1 as they are believed to have been 7although it is now completely gone71 the effect must have been very fine1 and all the more splendid from the remarkable contrast it would present to the usually somewhat dark and gloomy character of ,southern churches4 ,side chapels have now been added1 and the aisle windows shut up by them2 and it is stated that the structure is generally very much destroyed4 ,unfortunately the west faade has never been completed4 ,from ,le ,luc the railway follows the course of the wide and fertile valley of the ,river ,argens to ,frjus1 the ancient ,roman ,forum ,julii1 so rich1 as we have already seen1 in ,roman remains2 and its ,medival buildings will be found to be not less interesting4 ,illustration3 ,,fig4 #abi4 ,,plan ,,of ,,fr,,jus ,,cathedral4 ,the ,cathedral of ,frjus1 erected probably in the twelfth century1 is a prominent example of the adoption in ,provence of the 8single-hall0 style of church1 which 7as explained in ,part ,v47 was so universal in the south and west of ,france4 ,the original church 7,fig4 #abi7 consists of ,illustration3 ,,fig4 #acj4 ,,fr,,jus ,,cathedral4 ,illustration3 ,,fig4 #aca4 ,,fr,,jus--,,western ,,enclosure ,,and ,,cathedral ,,buildings4 a nave of three divisions or bays1 each covered with round intersecting vaults1 strengthened with large square groins1 and terminated at the east end with a circular apse1 the whole extending to #abj feet in length by #bh feet in width4 ,the vaults spring from piers1 which are really large internal buttresses1 with recesses between them #g feet deep 7,fig4 #acj74 ,the north side wall has1 however1 been cut out1 and a side aisle added at a later date1 with still later chapels beyond4 ,the string courses1 caps1 etc41 are all of the same simple forms employed in so many buildings of the period4 ,nothing could be plainer or more devoid of ornament than ,illustration3 ,,fig4 #acb4 ,,fr,,jus ,,cathedral1 ,,eastern ,,tower ,,and ,,bishop',s ,,palace4 this massive and impressive edifice4 ,the exterior of the cathedral has undergone many changes4 ,the ,bishop's ,palace adjoins it on the south1 and covers a large part of the south wall4 ,the whole series of buildings connected with the cathedral1 have at one time been enclosed with a strong wall1 built in regular courses1 left rough on the surface4 ,some portions of this work are visible in the outer wall next the street at the west end4 ,there1 intermingled with a great deal of modern addition and alteration1 may still be traced the remains of two windows 7,fig4 #aca7 of the twelfth or early thirteenth century1 with circular arches springing from carved caps4 ,in the jambs of one of these windows the caps still surmount projecting shafts standing on corbels1 but they have disappeared from the other4 ,the details are given in ,fig4 #acc4 ,several of the original small windows of the basement1 however1 remain unaltered4 ,they have the circular heads and the deeply splayed external ingoing of the period4 ,the east end of the cathedral 7,fig4 #acb7 is very remarkable4 ,the apse1 which is circular within1 is only slightly rounded externally1 and is carried up to a considerable height as a tower of defence1 and armed with an embattled parapet at the top1 supported on bold corbels with machicolations between them4 ,frjus ,cathedral is thus another instance of the numerous fortified churches so characteristic of the ,south1 and formed part of the general fortified enclosure which protected the ,bishop's ,palace and the other ecclesiastical buildings connected with the see4 ,adjoining the apse considerable remains of the ancient ,bishop's ,palace may still be traced1 shewing 7amidst modern alterations7 work similar to that of the west end1 and containing coupled pointed windows and doors with round arches4 ,the enclosing and fortifying of the precincts seem to have been carried out at a time subsequent to the erection of the cathedral4 ,this explains the peculiar form of the tower over the apse1 and likewise the manner in which the ancient baptistery is enclosed in a similar mural envelope4 ,the work was probably executed1 to judge from the style1 early in the thirteenth century4 ,in that ,illustration3 ,,fig4 #acc4 ,,fr,,jus ,,cathedral--,,south ,,or ,,entrance ,,front4 century too the tower at the west end of the church seems to have been erected over what was probably the original narthex or anti-church4 ,internally the lower portions are executed in the style of the ,gothic of the ,north1 and the heavy tower above 7,fig4 #acc7 may possibly be of the same date4 ,the coloured tiles1 which give the spire a special character1 are no doubt much more modern4 ,we also find here other examples of work of different kinds and various periods4 ,of these the ancient baptistery 7,fig4 #acd7 is a structure of great interest4 ,it stands at the west end of what seems to have been originally1 although now covered in1 a small open court1 such as generally existed in front of the western entrances to the early churches4 ,the plan of the baptistery is octagonal1 being the same as that adopted for the primitive baptisteries in ,italy4 ,octagonal or circular edifices such as this are frequently called ,roman temples2 but1 although they very closely resemble ,roman work1 they are found1 on an examination of the details1 to be only imitated from classic design1 and are clearly of ,christian origin4 ,at ,frjus1 the baptistery is ornamented with a granite monolithic column in each of its eight angles1 provided with caps of white marble4 ,the caps and bases 7,fig4 #acd7 are varied in design1 and are all closely imitated from the ,corinthian1 although none of them are exactly after that pattern4 ,the massive fragment of stone1 moulded on the front1 which is placed over each1 is probably a survival or reminiscence of the entablature which was always thought necessary in classic times4 ,the upper portion1 which was most likely an octagonal dome in the original building1 is now modernised4 ,the plan shews an attempt to make the floor as square as possible1 by means of four deep niches introduced in the four angles4 ,the central font is peculiar in form1 and stands on a fragment of an ancient column4 ,in connection with this baptistery it may be interesting here to call attention to the fact that a monument in the same style1 but superior in size and design1 still exists at ,illustration3 ,,fig4 #acd4 ,,fr,,jus ,,cathedral1 ,,baptistery4 ,,riez1 an ancient ,roman colony instituted under the patronage of ,augustus1 some distance to the north-west of ,draguinon4 ,the original town was built on the plain watered by the river ,colastre 7a tributary of the ,verdon71 but the inhabitants have long abandoned the low ground1 and the houses now stand an the slope of the ,mont ,saint-,maximin above4 ,in the deserted plain are to be found four ,corinthian columns of grey granite from the ,esterel with caps1 bases1 and architraves of marble4 ,these1 according to ,texier and ,pullan1 formed the faade of a prostyle temple4 ,illustration3 ,,fig4 #ace4 ,,the 8,,pantheon10 ,,riez 7,from ,texier and ,pullan74 ,the numerous fragments of pottery and mosaics which are constantly dug up1 and a large quantity of portions of columns and architraves built into the modern walls1 shew that the ,roman works here were at one time considerable4 ,illustration3 ,,fig4 #acf4 ,,the 8,,pantheon10 ,,riez 7,from ,texier and ,pullan74 ,in the chapel of ,st ,maxime six ,roman columns have been utilized4 ,but the most remarkable monument of the place is the so-called 8,temple0 or 8,pantheon40 ,this consists externally of a plain square structure1 #cg feet each way1 but internally it is octagonal in plan 7,fig4 #ace71 with four deep niches in the sides opposite the angles of the square4 ,within the octagon are eight columns standing detached1 so as to form an aisle all round1 while they support an octagonal drum 7,fig4 #acf71 roofed over with a dome4 ,the aisle is vaulted1 with an irregular form1 composed of about three-fourths of a pointed arch4 ,the columns are ancient1 but they have evidently been removed from their original position1 being unequal in the length of the shafts1 and the size and design of the capitals1 and have no doubt been collected from various sources4 ,texier ,illustration3 ,,fig4 #acg4 ,,fr,,jus ,,cathedral1 ,,cloisters4 and ,pullan believe that this was an ancient ,roman structure converted to ,christian uses in the sixth century2 but excavations in the floor have revealed the remains of a large baptismal basin1 similar to the original ,italian ones1 thus leaving no doubt as to the primitive destination of the structure4 ,the pointed arch over the aisle is also a sign of its belonging to post-,roman times4 ,it is certainly one of the most interesting of the early ,christian edifices in ,provence4 ,returning to ,frjus1 we observe that the cloisters1 which are on the north side of the small court or lobby adjoining the baptistery1 were erected at a somewhat later date than the tower1 in a style strongly recalling the ,italian-,gothic of ,florence and ,genoa1 which we here meet with for the first time in our eastward progress 7,fig4 #acg74 ,the arcades of the cloisters are plain1 and rest on coupled columns1 with caps carved in the style of the ,italian-,gothic of the fifteenth century1 the whole being carefully and elegantly executed in white marble2 and1 though now sadly built up and mutilated1 they still possess a wonderfully picturesque and charming effect4 ,the coupled columns were evidently not intended to support vaulting1 but to carry the unique and effective wooden roof 7,fig4 #ach71 part of which still exists1 but is so greatly decayed that it has to be supported with rough props and wedges4 ,at a still later period the entrance front of the cathedral has been altered and finished in its present ungainly form 7,fig4 #acc74 ,the floor of the cathedral1 owing to the slope of the ground1 is several feet below the present level outside1 and has to be approached by descending steps4 ,originally the entrance to the narthex was no doubt on the level of the cathedral floor4 ,the outside level has apparently1 however1 been heightened before the present entrance doorway was built1 as it ,illustration3 ,,fig4 #ach4 ,,fr,,jus ,,cathedral1 ,,cloisters4 conforms to the level of the 8place0 on the south of the church4 ,the late ,gothic style of this doorway1 in which ,renaissance details are mixed with ,gothic forms1 belongs to the sixteenth century4 ,the wall adjoining has been rebuilt and heightened at the same date1 and an attempt has been made to bring the whole faade into a symmetrically balanced design1 in accordance with one of the leading principles of the classic style then beginning to be revived4 ,the wooden doors are beautifully carved with ,scripture subjects mingled with ,gothic details4 ,this building is a specimen of the imperfect and fragmentary manner in which the ,northern ,gothic style was employed in ,provence4 ,we have here also an example 7and we shall meet with more frequent instances as we proceed eastwards7 of the spread of the ,italian-,gothic style beyond its ordinarily understood boundary4 ,but as all the country between ,genoa and ,toulon was for long either under the sway of ,genoa or of the ,grimaldi of ,monaco1 it is only natural to find traces of ,italian taste in the ,riviera1 which indeed is in all respects far more ,italian than ,french4 ,fig4 #aci shews an ancient lamp of brass work suspended in the centre of the cathedral4 ,illustration3 ,,fig4 #aci4 ,,brass ,,lamp ,,in ,,fr,,jus ,,cathedral 7,from a ,drawing by ,mr ,r4 ,burns ,begg74 ,the houses in the town of ,frjus possess many quaint bits of architectural detail1 amongst which the woodwork of the old doorways may be specially mentioned 7,fig4 #adj74 ,similar telling and original specimens of wood and iron work1 it may be remarked1 are not uncommon throughout the ,riviera4 ,illustration3 ,,fig4 #adj4 ,,doorways ,,in ,,fr,,jus ,st ,raphal1 a small town a few miles to the eastward1 now forms the port of ,frjus4 ,the mountainous district of 8,les ,maures10 which lies along the coast between ,toulon and ,frjus1 may either be visited from ,hyres on the west 7by diligence71 or from ,st ,raphal on the east 7by steamer74 ,the latter mode forms a long but very pleasant day's excursion4 ,a small trading steamer leaves ,st ,raphal on certain days 7mentioned in the 8,indicateur07 at #h4cj a4m41 and reaches ,st ,tropez about #aj4ae1 after a pleasant voyage round the headlands between the ,gulf of ,frjus and that of ,grimaud4 ,st ,tropez occupies the site of the ancient ,heraclea ,caccabaria1 an important naval station in ,roman times4 ,the town has several times been destroyed by the ,saracens and ,corsairs1 who in the ninth century took possession of the whole of the detached chain of mountains still called after them by the name of 8,les ,maures40 ,the sheltered gulf of ,grimaud formed a fine harbour for their ships1 and the port ,st ,tropez was then a place from which a considerable trade was carried on with the ,african coast4 ,in the later centuries it suffered the usual disturbances under ,charles of ,anjou1 and in the wars of ,religion4 ,illustration3 ,,fig4 #ada4 ,,st ,,tropez4 ,the town still possesses some trade1 and there is a fair number of coasting vessels in the harbour1 to which1 with their large brown sails1 they give a peculiar and pleasing effect 7,fig4 #ada74 ,some of the houses shew signs of having seen better days1 but the whole place has a somewhat decayed and crumbling appearance4 ,the town is surmounted by a castle1 which was constructed in #agic1 on the top of the hill to the south4 ,it is surrounded with high walls loopholed for musketry and strengthened with bastions4 ,the traffic in fish seems to be considerable1 and is carried on in a dark vaulted market place1 where the fish are exposed for sale1 and where they are kept cooler than in the open air4 ,the entrance to this fishy cave is somewhat picturesque 7,fig4 #adb74 ,illustration3 ,,fig4 #adb4 ,,entrance ,,to ,,fishmarket1 ,,st ,,tropez4 ,illustration3 ,,fig4 #adc4 ,,grimaud ,,from ,,the ,,plain4 ,a daily omnibus runs from ,st ,tropez to ,cogolin at the upper end of the ,gulf of ,grimaud1 forming a very pretty drive of an hour and a quarter4 ,at ,cogolin the road to ,hyres branches off to the left1 and that to ,le ,luc to the right4 ,a daily diligence runs each way between ,cogolin and ,le ,luc4 ,there is time1 after the arrival of the omnibus from ,st ,tropez1 to walk on to ,grimaud and wait for the diligence there4 ,in crossing the plain the towering ruins of the castle1 crowning a lofty pyramidal hill1 are seen rising about two miles off1 and give promise of a splendid subject4 ,from the base of the hill 7,fig4 #adc7 the white houses of the town clustering round the grey walls of the castle have a commanding appearance1 and even when seen close they form some fine and picturesque combinations4 ,but from an architectural point of view the castle is disappointing1 being reduced to a mere skeleton of two towers1 connected by a ruined wall of enceinte 7,fig4 #add74 ,it was built in the fifteenth century by ,italian architects for the ,grimaldi1 to whom this country then belonged1 and it was occupied till the middle of last century4 ,illustration3 ,,fig4 #add4 ,,castle ,,of ,,grimaud4 ,many of the houses of the town are new1 but there are also some very old and picturesque streets1 bordered with rude arcades4 ,the church1 though modernised1 has retained its old tunnel vault1 with transverse ribs1 and simple ,provenal mouldings4 ,it has also a semi-circular apse1 and a round arched door1 with very deep voussoirs1 like that of ,hyres--possibly a survival of the art of the ,moors4 ,the diligence passes here at #b ,p4,m41 and reaches ,le ,luc about #d4cj1 after a very fine drive through a mountainous country1 covered with noble old forest trees4 ,these consist chiefly of chestnuts and cork oaks1 which have grown to a great size1 the latter furnishing the materials for the chief industry of the country4 ,the road consists of a long hill up to the ,col or pass1 on which stands ,,la ,,garde ,,freinet1 and then a long descent down to the plain of the ,argens4 ,la ,garde ,freinet is a small town occupying the site of the famous ,fraxinet1 or chief citadel of the ,moors1 which gave its name to all their other settlements in ,provence4 ,the ,moors took possession of this lofty district in the ninth century1 and from it1 as a secure centre1 they made their predatory descents on the surrounding fertile plains4 ,but in #igc1 after a severe struggle1 they were driven out by a combination of the ,christian inhabitants of ,provence4 ,the ancient ,fraxinet stood on the summit of a perpendicular rock to the north of the village2 but there are almost no vestiges left of the fortress1 save a square cistern for water4 ,the town1 as seen from the descent on the north side1 with its background of precipitous rocks and the deep wooded valley in front1 presents one of the most striking and remarkable pictures in this singular locality4 ,the drive down to ,le ,luc is delightful2 the pine woods and rocky glens recalling the peculiar scenery characteristic of our ,scottish ,highlands4 ,after passing ,st ,raphal1 the railway has to cut its way through the rocky promontories which here terminate the ,esterel range1 and jut boldly out into the ,mediterranean4 ,in alternate tunnels and viaducts it sweeps round the ,cap ,roux1 passing1 on its way1 the lovely bay of ,agay1 and the wonderfully coloured rock masses of the red porphyritic mountains1 which contrast so admirably with the rich green pine woods filling the ravines which furrow the hillsides4 ,these mountains were quarried by the ,romans1 and furnished them with supplies of red and blue porphyry for the adornment of their buildings4 ,they are ,illustration3 ,,fig4 #ade4 ,,castle ,,of ,,napoule4 still worked1 and yield a considerable quantity of hard materials used for street paving4 ,on rounding the point of the ,cap ,roux1 the wide and beautiful bay of ,cannes opens to view1 with its long range of white villas1 backed by the dark pine-covered hills1 beyond which the snowy peaks of the ,basses ,alpes are visible in the distance4 ,the prominent mass of the ,mont du ,chevalier marks the centre1 while the picture is bounded on the left by the valley of the ,siagne1 and on the right by the ,iles de ,lrins1 with the ,castle of ,st ,honorat rising boldly from the sea on the furthest point4 ,in the hollow of the bay1 near the mouth of the ,siagne1 and commanding a fine view of ,cannes1 stands the ancient ,castle of ,napoule 7,fig4 #ade71 where some fragments of old work still survive2 but a new chteau occupies the principal portion of the old site4 ,two of the original square towers are in fair preservation1 and1 together with the chapel and crenellated walls1 form an interesting group 7,fig4 #adf74 ,the style seems to have been partly that of the castellated buildings of ,italy1 with ,v-shaped merlons between the embrasures1 while the voussoirs of the arches are of the deep form observed at ,grimaud and ,hyres4 ,illustration3 ,,fig4 #adf4 ,,castle ,,of ,,napoule4 ,napoule is supposed to have been a ,roman port1 having a dept for grain connected with it4 ,the castle was built by the ,counts of ,villeneuve in the fourteenth century4 ,it belonged to that branch of the family called ,villeneuve ,franc1 and afterwards to the family of ,montgrand4 ,close to ,napoule rises the conical hill of ,st ,peyr1 on the top of which are the scanty ruins of a castle and a chapel with an apse4 ,at the base of the hill1 and close to the public road1 may be seen the remains of another apsidal chapel4 ,beyond this various branches of the ,siagne are crossed1 when a small conical hill crowned with ,illustration3 ,,fig4 #adg4 ,,mont ,,st ,,cassien4 wood rises abruptly on the left1 to which the distant towers of ,grasse and ,mougin1 with the mountains beyond1 form a background4 ,this hill is the ,mont ,st ,cassien1 where a famous hermitage existed1 and where a great popular festival is still held annually on the #bcrd of ,july4 ,an entrenched post was formed here under the ,romans1 for the defence of the ,aurelian ,way4 ,on this spot was also erected a ,temple of ,venus surrounded with a sacred grove called the ,ara ,luci 7hence the modern ,arluc1 a small town in the vicinity74 ,in the seventh century this heathen temple was demolished by the religious of the ,lrins1 and a convent erected instead1 which1 in its turn1 was destroyed by the ,saracens4 ,a chapel with an open arcaded porch now marks the spot 7,fig4 #adg71 which1 surrounded as it is with ancient cypresses and pines1 is one of the best designed structures of the kind in the district4 ,small open-air chapels or shrines of this description1 with arcaded porches1 are very common all over the ,riviera1 and often form very pleasing objects in the landscape1 occupying1 as they frequently do1 somewhat prominent sites4 ,they are almost invariably in a late ,renaissance style of architecture4 ,,cannes is the one of the health resorts which has perhaps made the greatest progress within the last fifty years1 having developed from the small fishing village which ,lord ,brougham found it in #ahca1 when he erected the first ,english villa1 into a town of fine residences and splendid hotels extending for about four miles along the coast1 and rising on the wooded hills1 or nestling in the sheltered ravines which seam their flanks4 ,like most of the towns on the ,riviera1 ,cannes owed its first existence to a rocky eminence in the middle of a bay1 forming at once a naturally sheltered harbour and a suitable site for a fortification for its defence 7,fig4 #adh74 ,it is therefore probably a place of very ancient origin1 and was in all likelihood the primitive ,ligurian settlement of gitna1 where the ,roman ,consul ,quintus ,opimius obtained a victory over the ,ligurian tribes ,b4,c4 #aee4 ,the town was then handed over to the ,massiliotes1 the allies of the ,romans1 and went by the name of ,castrum ,illustration3 ,,fig4 #adh4 ,,bay ,,of ,,cannes ,,and ,,the ,,esterelle ,,mountains4 ,massiliorum during the ,middle ,ages4 ,sometime before the tenth century it became a fief of the powerful ,abbey of the ,lrins1 to which the whole of the adjacent country had gradually become subject4 ,the ecclesiastical suzerain was represented on the mainland by a 8chevalier10 who occupied the castle of ,cannes1 which crowned the rock above referred to1 and was surrounded with walls4 ,on the slopes of the castle hill and round the harbour at its base were erected the houses of the ancient town1 and in the same position still stand the dwellings of the native population1 approached by steep and narrow alleys 7,fig4 #adi74 ,the summit of the hill is crowned with the only buildings in ,cannes having any claim to antiquity4 ,these consist of the 8,tour du ,chevalier10 the ancient ,church of ,st ,anne 7formerly the chapel of the castle71 and the more modern parish church of the seventeenth century1 the whole being surrounded with the remains of walls1 towers1 and bastions of various periods1 enclosing open spaces and courtyards1 and presenting a very varied and picturesque ensemble4 ,the 8,tour du ,chevalier0 7,fig4 #aej7 is a structure of peculiar interest1 being the first we have met with of a series of similar towers which1 we shall find as we proceed1 were erected in the eleventh and twelfth centuries for the defence of the towns and churches of this district4 ,these towers are generally1 like that at ,cannes1 square on plan 7,fig4 #aea71 and have walls built with courses of square dressed stones1 having the faces left rough4 ,the ground floor is vaulted1 and is entered only from the first floor by an aperture in the vault4 ,the entrance doorway to the tower is on the first floor1 at a considerable height above the ground2 being so placed for security and being only approachable by a moveable ladder4 ,the projecting step ,illustration3 ,,fig4 #adi4 ,,the ,,old ,,town ,,of ,,cannes4 ,illustration3 ,,fig4 #aej4 ,,tour ,,du ,,chevalier1 ,,cannes4 ,illustration3 ,,fig4 #aea4 ,,plan ,,and ,,section ,,of ,,the 8,,tour ,,du ,,chevalier10 ,,cannes4 to receive the top of the ladder is visible in the ,tour du ,chevalier1 beneath the entrance door4 ,the latter has a straight lintel recessed within a plain round arched opening4 ,from the first floor level a stone stair corbelled out from the interior of the wall and running round the sides of the apartments led to the upper floors1 which were originally formed of timber1 although now vaulted with flat arches of more recent construction1 probably of the sixteenth century4 ,the roof was no doubt flat and was provided with a crenellated parapet1 projected on corbels with machicolations between them4 ,this parapet was only destroyed some years ago1 when the tower was struck by lightning4 ,the openings for light are small square apertures in the masonry without splay or ornament4 ,they have no internal bay1 but are mere oblong holes passing through the walls4 ,these holes might almost be supposed to have been used for projecting beams through1 on which to rest wooden hoardings for defence1 but there are no doors for access to such works4 ,according to the ,abb ,allier1 in his ,history of the 8,iles de ,lrins10 this tower was begun in #ajgc by the ,abb ,aldebert ,,ii41 partly on ,roman substructures4 ,the parapet was1 however1 not completed till #acie by the ,abb ,jean de ,thornafort4 ,this tower and the other similar towers of this district 7of which more hereafter7 occupied in their design an intermediate position between the keeps of the ,north1 such as that of ,montmajour1 and the lofty towers of the ,italian cities1 of which those of ,sienna and ,verona are well known examples4 ,the courtyard of the castle was enclosed with walls fortified with towers1 of which some portions still remain1 but the enceinte has been greatly altered in later times1 and converted into bastions with platforms for guns1 and parapets loopholed for musketry4 ,this was probably done during the ,spanish wars of the sixteenth century4 ,within the walls there were no doubt buildings for the residence of the ,chevalier and the garrison1 the tower being only used for watching1 and as a keep or last resort in case of siege4 ,of the original structures the only one besides the tower now remaining is the church of ,st ,anne1 which1 according to the ,abb ,allier1 was erected towards the end of the twelfth century4 ,this church forms an example of the simple style of ,cistertian architecture1 which1 as already remarked1 was largely adopted in ,provence--especially1 as we shall see1 in many of the smaller churches4 ,in these we find the ,cistertian plainness combined with the plan of a simple nave without aisles1 terminated with an apse at the east end4 ,the ,church of ,st ,anne 7,fig4 #aeb71 although erected in connection with the castle1 also served originally as the ,town ,church4 ,it is of the same simple type as ,thoronet1 but on a much smaller scale4 ,the plan 7,fig4 #aec7 consists of one long nave1 #hg feet in length by #bj feet wide1 with a round apse at the east end2 and it has no aisles ,illustration3 ,,fig4 #aeb4 ,,church ,,of ,,st ,,anne4 or transept4 ,the walls are perfectly plain1 both internally and externally1 and the roof is constructed with a pointed vault1 strengthened with square transverse ribs1 which spring from simple pilasters in the wall4 ,the cornice between the wall head and the arch consists of the same plain ovalo moulding as at ,thoronet1 and the part of it forming the impost of the transverse ribs is 8cut off0 at the sides1 like the impost of the cloister arches at that abbey4 ,some of these imposts1 adjoining the central door1 have a few rude and scarcely intelligible carvings on them--apparently ,illustration3 ,,fig4 #aec4 ,,plan ,,of ,,st ,,anne4 ,illustration3 ,,fig4 #aed4 ,,doorway ,,of ,,st ,,anne4 of human heads4 ,the apse is semi-circular1 with a very short choir raised one step1 and covered with a semi-dome as at ,thoronet1 but there is no round window above the choir arch4 ,the original doorway 7,fig4 #aed7 enters from the north side1 where1 probably1 the outer bailey of the castle was situated4 ,it is composed of a simple outer and inner round arch1 forming one nook4 ,the impost is a plain cavetto1 the portion supporting the inner arch being 8cut off0 at the sides4 ,the doorway is #e feet wide2 but1 in later times1 this was found too large1 and it has been partly built up and reduced4 ,it was probably placed near the centre of the church1 and made of the above width for the convenience of the town's people4 ,there is a door in the west bay of the chapel1 placed on a high level1 which may have been used for access from the castle to a gallery or upper floor1 such as was frequently introduced in similar castle chapels4 ,illustration3 ,,fig4 #aee4 ,,mont ,,du ,,chevalier1 ,,cannes4 ,at a comparatively recent date the walls of the chapel have been raised 7,fig4 #aee71 and the top of its vault used to form a platform for guns1 to aid in the defence of the town and castle4 ,the existing parish ,church of ,notre ,dame d',esprance occupies a prominent position on the ,mont du ,chevalier4 ,it is a heavy building of the eighteenth century4 ,the only redeeming feature it possesses is the west doorway 7,fig4 #aef71 which is a good example of the ,renaissance work of the seventeenth century4 ,the tower at the north-east angle of the church 7seen in the above view7 has been raised in comparatively recent times on the substructure of one of the original towers of the castle4 ,the lower portion with its round archway is certainly ancient4 ,the upper part1 which is now the clock tower of the town1 forms a prominent and telling feature in all the views of ,cannes4 ,illustration3 ,,fig4 #aef4 ,,notre ,,dame ,d',,esp,,rence1 ,,cannes4 ,in the bay1 opposite ,cannes1 lie the two ,iles de ,lrins1 dedicated respectively to ,ste ,margurite and ,st ,honorat4 ,architecturally speaking1 the ,island of ,st ,honorat possesses the most interesting series of buildings in the ,riviera1 combining1 as it does1 some features of the architecture of every period and style of ,provenal art1 whether ,ecclesiastical or ,civil4 ,this island1 which is the outer and smaller of the two1 held1 for some centuries1 an important and honourable position in the ,west of ,europe4 ,it was originally occupied as a post by the ,romans1 the materials of whose buildings1 in the form of broken bricks1 etc41 are scattered over the soil4 ,we shall also find that some ,roman columns have been preserved and utilised in the castle1 while numerous ,latin inscriptions may be seen built into the walls of the modern cloisters4 ,in the fifth century the island seems to have been deserted when ,st ,honorat retired to it1 and there founded a monastery1 which was destined to become famous4 ,it constituted for long the chief repository of all the learning and education which remained in ,southern ,gaul2 and1 like ,iona1 became a centre from which missionaries issued to enlighten the surrounding countries1 and spread religion amongst the ,barbarians4 ,besides many other celebrities1 ,st ,patrick1 the patron saint of ,ireland1 is said to have been educated here4 ,a monastery was erected in the centre of the little island1 which is only about half-a-mile in length4 ,some remains of a church of the eleventh century were still extant in #ahcf1 when ,mrime visited the island4 ,it was a simple basilica1 having a nave of six bays1 covered with a pointed barrel vault1 and side aisles with abutting vaults1 like ,thoronet4 ,but1 in #ahgf1 these remains were swept away1 and a new church erected in the ,provenal style1 but without any special features4 ,the only ancient portion now remaining is the cloister 7,fig4 #aeg71 built in the simple ,cistertian style1 with a circular vault1 strengthened with transverse ribs4 ,the side next the cloister garth is enclosed with a wall1 in which only small openings or windows are perforated--not the usual wide arcade4 ,illustration3 ,,fig4 #aeg4 ,,cloisters1 ,,st ,,honorat4 ,of the antique structures of the island an extremely interesting example still survives in the chapel of the ,ste ,trinit 7,fig4 #aeh71 situated at the eastern point of the island1 opposite the islet of ,ferreol4 ,it is very peculiar in design1 and is undoubtedly one of the earliest buildings in ,provence4 ,the plan 7,fig4 #aei7 shews a nave of two bays1 having one transverse arch supported on simple columns1 with rude caps of the same section as the string courses or imposts of the arches1 beyond which is a triapsal choir1 crowned with a small and rudely-formed dome4 ,the apses have their semi-domed vaults fairly well constructed1 but the central dome is not raised from any definite pendentives1 ,illustration3 ,,fig4 #aeh4 ,,ste ,,trinit1 ,,st ,,honorat4 but as best it could be done by the workmen of the time out of a lower dome which fills in the angles between the apses4 ,illustration3 ,,fig4 #aei4 ,,plan ,,of ,,ste ,,trinit4 ,the original exterior 7,figs4 #afj and #afa7 is extremely plain1 the quoins and doorway with its square lintel being constructed with large stones1 probably derived from a ,roman building 7,fig4 #afb74 ,the upper part of the walls was raised by the ,spaniards1 in the sixteenth century1 to form a platform for guns4 ,the earlier form of the western gable is visible in ,fig4 #afj4 ,we have evidently1 in this primitive structure1 a rude attempt to imitate the triapsal and domical forms originally used in the early ,christian architecture of the cemeteries at ,rome1 and afterwards more fully developed in the ,east4 ,viollet-le-,duc attributes its erection to the seventh or eighth century4 ,illustration3 ,,fig4 #afj4 ,,west ,,end ,,of ,,ste ,,trinit4 ,of the seven chapels which once extended round the island1 and formed the object of many pilgrimages1 those of ,ste ,trinit 7just described71 and ,st ,sauveur near the centre of the north side1 alone survive4 ,the latter 7,fig4 #afc7 is octagonal on plan1 with niches on each of the sides1 and a larger central one1 forming an apse opposite the door4 ,this apse alone is visible on the outside4 ,the chapel is unfortunately greatly modernised4 ,in course of time the monastery naturally became rich1 and formed a tempting bait to the ,corsairs of the ,mediterranean1 whether ,saracen or ,christian1 who attacked and plundered it several times4 ,it is said that on the occasion of one of these descents in #gbe ,st ,porchaire and five hundred monks were massacred4 ,a restored chapel to the south of the convent still bears the name of that martyr4 ,illustration3 ,,fig4 #afa4 ,,ste ,,trinit1 ,,east ,,end4 ,to provide a safe place of retreat in case of similar attacks in future it was resolved to erect a keep or castle on a promontory of rock which juts out into the sea at the south side of the island4 ,here a perpetual look-out could be kept over the sea from the watch-tower on the summit1 and notice of danger given by ringing the bell 7the belfry for which still exists7 in time to enable the monks to take refuge with their valuables within the keep4 ,the castle is stated to have been begun about #ajgc by the ,abb ,aldebert ,,ii41 partly on ,roman substructions and partly on the rock1 and the chapel was consecrated in #ajhh 7see 8,les ,iles de ,lrins10 by the ,abb ,allier47 ,in fifteen years the second floor was commenced1 and in #aaij the tower was finished4 ,having been frequently sacked and destroyed there is some difficulty in making out the original plan4 ,besides1 containing as it does1 an open cloister1 it differs so greatly otherwise ,illustration3 ,,fig4 #afb4 ,,doorway1 ,,ste ,,trinit4 ,illustration3 ,,fig4 #afc4 ,,st ,,sauveur1 ,l,,rins 7from ,rvoil74 from the feudal castles of the time1 that their plans give little aid in deciphering that of the monastic keep4 ,it seems1 however1 to have been originally 7,fig4 #afd7 an oblong building measuring #he feet from east to west1 and #eh feet from north to south1 with a wing projecting to the southwards4 ,this block was divided into two portions by a central wall running north and south1 and contained in the eastern division an open cloister1 formerly three1 though now reduced to two storys in height1 and in the western division the refectory1 dormitory1 and other apartments4 ,to the east a small projection or tower contained on the first floor the lavatory and latrines1 and at the top was carried up as a watch-tower above the parapet1 and ,illustration3 ,,fig4 #afd4 surmounted by the belfry for the alarm bell4 ,the space at the north end of the cloister is 7as we shall presently see7 a ,illustration3 ,,fig #afe4 ,,castle ,,of ,,st ,,honorat 7from ,n4-,w47 later extension of the original keep4 ,the entrance door is in the north wall 7,fig4 #afe71 several feet above the level of the ground4 ,it has a square lintel1 with a round saving arch over it1 and the door was strengthened with a sliding bar4 ,a narrow passage at right angles1 furnished with a second door1 leads by a few steps up to the level of the principal floor and opens on the cloister4 ,this is the most striking and remarkable part of the castle4 ,it is #dj feet long by #bg feet wide1 and is surrounded with a vaulted gallery 7,fig4 #aff71 supported on six columns--three on each side--leaving open to the sky a central space of #ai feet by #aj feet4 ,the first view of this cloister is most impressive4 ,the ancient appearance of the granite columns1 with their quaint caps and bases1 surmounted by bold pointed arches1 above which rises an upper and lighter arcade2 the rich colour of the walls2 the sombre effect of the dark arcades contrasted with the bright light of the open central court2 and the unusual character of the structure1 all combine to produce a powerful and lasting effect on the mind4 ,nor does a closer inspection diminish the interest4 ,some of the pillars are found to be genuine ,roman ones1 brought from some ancient building1 and here utilised in a very matter-of-fact though telling manner4 ,the columns being generally too short1 some of them have been pieced up with the yellow limestone of the district1 while others have been elevated on bases of extra height4 ,three of the ancient shafts are of granite1 one of red marble1 and the remaining two of limestone4 ,on one of the former 7that at the south-west angle7 can be read part of an inscription in honour of ,constantine4 ,this shaft has the appearance of having been long exposed in the open air1 and many of the letters are worn away1 so that some parts of the inscription are difficult to decipher4 ,the following is the rendering of the ,illustration3 ,,fig4 #aff4 ,,lower ,,cloister1 ,,st ,,honorat4 ,abb ,allier2 the letters within brackets being1 however1 illegible3-- ,,imp ,c,s ,,fl ,,val ,,constan ,,tino ,,pf ,,aug ,,divimax ,,imiani ,,aug ,,nepoti ,,divi ,,con ,,stant ,,aug ,,pii ,,filio ,illustration3 ,,fig4 #afg4 ,,capitals ,,and ,,bases1 ,,castle ,,of ,,st ,,honorat4 ,illustration3 ,,fig4 #afg;a4 ,,capitals ,,and ,,base1 ,,castle ,,of ,,st ,,honorat4 ,another interesting point connected with these pillars is the form and decoration of their capitals and bases 7,figs4 #afg and #afg;a74 ,at first sight they look very rude and primitive1 but on careful examination they are seen to possess certain characteristics which belong to a comparatively late period1 thus raising a suspicion as to their antiquity1 which the evidently late vaulting of the cloister tends to confirm4 ,one is therefore somewhat puzzled how to regard them1 and what date to assign to them4 ,but a comparison of the caps and bases of ,st ,honorat with those of the cloister of ,thoronet at once removes all difficulty4 ,original and quaint as both are1 they are evidently 7with the exception of some which are later1 and will be afterwards referred to7 the product of the same style and period4 ,the ,abb ,allier informs us that in #abie the ,abbot ,gancelme de ,mayreris did much work in the interior of the tower1 and in #acae a general chapter granted certain fines in order to raise funds for its completion4 ,to this period probably belongs the first construction of the cloister4 ,but in #adjj the monastery was attacked by ,genoese pirates1 commanded by one ,salageri1 who took the castle by assault1 imprisoned the monks1 and pillaged the monastery4 ,these ,corsairs kept possession of the castle for about a year1 and were only got rid of by a general muster of the nobility of ,provence1 with their retainers4 ,the invaders probably greatly destroyed the building2 for we learn that after #adjj the cloisters1 8,l',escalier tournant10 and other works were commenced1 and carried on by one ,gastolius de ,grasse1 who died in #adbb4 ,these facts indicate two periods of considerable operations at the castle1 one in the beginning of the fourteenth and the other of the fifteenth century4 ,some of the caps 7such as ,a1 ,d1 and ,e71 which so strikingly resemble those of the cloisters of ,thoronet1 probably belong to the first of these periods2 while others 7like ,b7 have been executed in imitation of them1 but contain details which are undoubtedly of the period of the later work4 ,the capital 7,b7 and most of the bases are clearly of the fifteenth century2 the style of the ogee and other mouldings1 and the foliage of the griffes or claws at the angles and on the cap ,b1 being of a late character4 ,the form of the vaulting 7,fig4 #afh71 with its thin groins all dying away to one sharp point at the springing1 and without caps or corbels to rest on1 also corresponds with that date4 ,the cloister arches are pointed1 but have no mouldings4 ,it was in #acid1 shortly before the second of the above periods1 that the body of ,st ,honorat was ,illustration3 ,,fig4 #afh4 ,,lower ,,cloister ,,in ,,castle1 ,,st ,,honorat4 brought to the island from ,forcalquier4 ,altogether1 at this time the monastery seems to have been in great activity1 and extensive works appear to have been then carried out at the castle4 ,the portion adjoining the north side of the cloister was at that time extended1 so as to form a projection to the northward1 containing the 8,escalier tournant0 above mentioned4 ,the elliptical arch of the doorway to this wheel-stair 7see ,fig4 #aff7 is evidently a late work1 and a wide joint or crack in the masonry1 shewing the point from which the extension northward took place1 can be distinctly seen in the exterior of the east wall 7,fig4 #afi71 where it extends from top to bottom of the castle4 ,the style of the masonry of this portion is also smoother than the original work1 which is left rough or 8bossy0 on the surface4 ,the object of this addition has probably been to provide a space for a guard-room near the entrance to the castle with a wide staircase1 and a broad platform on the roof for defensive purposes4 ,beneath the cloister is a large cistern or tank1 stated by the ,abb ,allier to have been constructed by ,gastolius de ,grasse early in the fifteenth century2 it contains a supply of good water4 ,a steep stair opposite the entrance door leads down to some small cellars1 arranged in two storys 7,fig4 #agj71 under a portion only of the western part of the tower4 ,ascending the 8,escalier tournant10 the steps of which are four feet long1 we arrive at the upper cloister 7,fig4 #aga74 ,this contains a gallery all round1 with a parapet next the open court1 on which stand twelve octagonal columns supporting as many pointed arches 7,fig4 #agb74 ,the whole is built in fine white marble1 and the design is in the ,italian-,gothic style1 somewhat similar to that of the cloister arches at ,frjus4 ,some of the shafts and caps are evidently restorations in imitation of older ones 7,fig4 #agc74 ,allier states that the arms of the ,grimaldi family ,illustration3 ,,fig4 #afi4 ,,castle ,,of ,,st ,,honorat 7from ,n4-,e47 ,illustration3 ,,fig4 #agj4 ,,castle ,,of ,,st ,,honorat 7section from ,n4 to ,s47 could be traced on one side of this cloister1 two members of that house having been ,abbots commendatory of the ,lrins4 ,this probably marks the date of the restoration--fifteenth century--but the original pillars seem to be at least a century older4 ,some of the tiles of the floor1 which are of a plain red colour and square1 still remain4 ,although the cloister is now roofed in over the first floor1 the section 7see ,fig4 #agj7 indicates that there was formerly a third story4 ,the corbels in the wall to support the beams of the roof are distinctly visible4 ,the roof may have formed a platform nearly on the level of the battlements4 ,the two upper floors were not vaulted1 but arches were thrown across at the four angles 7see ,fig4 #agb7 against the outer wall so as to strengthen and steady the whole structure4 ,on the first floor 7,fig4 #aga7 the northern addition forms a recess1 covered with a plain circular vault1 and lighted by a wide window provided with stone seats4 ,the east projection also forms a recess with a small window and a locker in the wall4 ,this was probably the sacristy1 as it adjoins the chapel in the south wing4 ,illustration3 ,,fig4 #aga4 ,,castle ,,of ,,st ,,honorat1 ,l,,rins4 ,the southern wing or projection seems to be of the same date as the original castle1 and to have formed part ,illustration3 ,,fig4 #agb4 ,,upper ,,cloister1 ,,castle ,,of ,,st ,,honorat4 of it4 ,on the ground floor it is covered with a plain semicircular tunnel vault similar in construction to that of the northern projection1 but there is no indication on the exterior of there having been any extension of the masonry1 such as above indicated at the northern end4 ,the first floor of the south wing contains the chapel1 #be feet by #bf feet with a groined vault about #bh feet high 7see ,fig4 #agj74 ,the ribs are large and of a square section1 and rest on plain corbels in the angles1 the construction of the whole being very simple4 ,the windows are small and have the same recesses deeply splayed towards the outside1 as occur in the old part of the east wall in the upper cloister1 and which indicate an early date4 ,illustration3 ,,fig4 #agc4 ,,upper ,,cloister1 ,,st ,,honorat1 ,,details4 ,the chapel was probably part of the original design1 and was restored in the fourteenth century4 ,we read that in #acdb1 the ,abbot ,geoffrey had the 8choir0 constructed in ,toulon4 ,this no doubt refers to a wooden gallery or stalls1 which were then fitted up1 but have now entirely disappeared4 ,the western portion of the castle was divided in the centre by a wall running east and west4 ,the northern division seems to have contained the kitchen1 and the other half the original refectory4 ,the stone sink still exists in the kitchen window to the north4 ,the windows looking to the west are small and high1 the sill being stepped up4 ,the upper floors in this wing would contain the dormitories1 being provided with fireplaces and garderobes in the walls4 ,but this part of the building was much altered in the seventeenth or eighteenth centuries1 and ,mrime mentions that when he visited the ,island in #ahcd1 the place was divided up into small rooms with plaster partitions1 and1 he adds1 8some of the chambers are still painted in the style of the eighteenth century1 several of the panels over the doors representing shepherds and shepherdesses in the style of ,van ,loo1 decorations one would scarcely look for amongst the monks40 ,at a period subsequent to the original erection of the castle1 the angle contained between the southern projection and the main building was enclosed with a wall and added to the structure4 ,the walls of this addition are much thinner than the old ones1 being only about #d feet1 while those of the original castle are from #h to #aj feet thick4 ,that this portion is an addition is evident from the style of the masonry of the old southern wall1 which is visible in the interior of the extension1 and corresponds with the rough ashlar of the exterior walls generally 7see ,fig4 #agd1 right side74 ,the principal floor of this addition1 entering off the lower cloister1 was used as the refectory 7,fig4 #agd74 ,it is #dg feet long by #af feet wide1 and is roofed with a round tunnel vault strengthened with transverse ribs4 ,this structure must belong to a comparatively late period--probably the fifteenth century--but it is noteworthy that the old ,provenal style of tunnel vaulting1 strengthened with transverse ribs1 having a simple ovalo for the string course or impost1 and 8cut off0 corbels1 is still maintained4 ,illustration3 ,,fig4 #agd4 ,,refectory1 ,,castle ,,of ,,st ,,honorat4 ,the custom of reading to the monks during meals by one of their number was evidently observed here1 from the semi-circular recess or pulpit1 raised a few steps above the floor1 which is formed in the wall at the north-east angle4 ,the basement of this addition may have been used as cellars and stores1 and was reached by a wheel stair in the thickness of the wall4 ,the upper floor 7now destroyed7 was the library1 which contained a large number of valuable ,,mss41 now dispersed and lost4 ,at the restoration of the fifteenth century1 the top of the castle on the sides next the land 7,figs4 #afe and #afi7 was crowned with a stone parapet projected on bold corbels1 with wide machicolations or apertures for defence between them4 ,in #aebd1 and again in #aecf1 the castle was attacked and taken by the ,spaniards1 who1 on the latter occasion1 were commanded by the famous ,genoese ,captain ,andrea ,doria1 on the part of ,charles ,v4 ,some additional buildings were added by the ,spaniards to render the castle more defensible according to the ideas of the sixteenth century4 ,a narrow gangway only #d to #e feet wide was built1 by which alone access could be obtained to the entrance doorway2 and this was defended by a double doorway at its outer end1 where also it could only be reached by a narrow stair placed at right angles4 ,to the north of this was a ditch and drawbridge4 ,an outer wall seems also to have enclosed the castle on the west side1 and some additional buildings were erected at the south-west angle1 but these have now almost entirely crumbled away4 ,this ancient ruin1 so interesting historically and architecturally1 is not less so artistically4 ,whether we regard the venerable aspect of the antique cloister or the rich golden colour of the exterior1 contrasting so beautifully with the dark-green of the pines and the deep blue of the southern sea and sky1 nothing could be more charming or delightful4 ,after the above dates the castle seems to have been garrisoned by the ,crown of ,france1 and was frequently taken and retaken by the ,spaniards and the ,french4 ,it was at this period that the ,chapel of ,ste ,trinit was heightened1 and fortified with two cannons2 while1 at the same time1 other batteries were erected at different points round the island4 ,meanwhile the monastery had dwindled away1 but the monks still retained their suzerainty over ,cannes1 ,vallauris1 ,napoule1 and other villages on the mainland4 ,finally1 in #aghh1 the number of monks had become reduced to four1 when1 on the request of the ,bishop of ,grasse1 the monastery was secularised4 ,thereafter the island has several times changed hands1 and now it is occupied by a body of ,cistertian ,monks1 who cultivate the soil and superintend an orphanage4 ,illustration3 ,,fig4 #age4 ,,castle ,,of ,,ste ,,margu,,rite4 ,the adjoining island of ,,ste ,,margu,,rite has but little interest architecturally4 ,the fort1 which is built on the precipitous rock on the north side of the island1 facing the ,croisette point at the eastern extremity of the bay of ,cannes1 was erected by ,richelieu4 ,scarcely finished1 it was attacked and taken by the ,spaniards in #afce1 who enlarged it1 and after being recovered by the ,french1 was repaired by ,vauban4 ,the view of the castle from the ,croisette is picturesque and pleasing 7,fig4 #age72 but the only point worth inspecting close at hand is the prison in which the 8man with the iron mask0 was confined by ,louis ,,xiv4 for seventeen years4 ,the extreme thickness of the walls 7above #ab feet71 the window defended by three successive gratings in the depth of the wall1 the double doors covered with iron studs and secured with iron bars1 give some idea of the importance of that mysterious prisoner4 ,in the environs of ,cannes there are numerous delightful walks and excursions amongst the olives and vines of the valleys1 or by footpaths over the pine-clad hills4 ,one of the most favourite of these is to the town of ,,vallauris1 famous for its fine pottery ware4 ,it may be reached by a road through a rocky valley1 which branches off the main road to ,antibes1 at ,golfe ,juan1 or by a footpath1 forming a pleasant walk of some four miles across the hills1 past the wayside chapel of ,st ,antoine1 which crowns the 8col0 between the two valleys4 ,from this point a splendid view is obtained over ,vallauris and its surrounding hills1 above which1 in the distance1 rise the snowy peaks of the ,maritime ,alps4 ,at ,vallauris there still exists an interesting architectural relic1 being the original chapel of the summer palace of the ,abbot of the ,lrins4 ,this residence1 situated as it is amongst the hills some way inland from the sea1 enjoys in summer a more temperate climate than the ,island of ,st ,honorat1 which is said to be the hottest place in ,provence4 ,the property was acquired by the monastery in #ajdb1 under a charter of ,aldebert1 ,bishop of ,antibes1 and here the abbots built their seignorial castle4 ,the chapel probably dates from the thirteenth century4 ,the remainder of the palace was demolished in the end of the fourteenth century by a famous brigand1 ,raymond de ,turenne1 who devastated the whole coast of ,provence4 ,in the beginning of the sixteenth century one of the monks of the ,lrins1 ,rgnier de ,lascaris1 rebuilt the town on a regular plan1 with good streets placed at right angles1 presenting a very striking contrast to the network of ,illustration3 ,,fig4 #agf4 ,,abbot',s ,,summer ,,palace1 ,,vallauris4 ,illustration3 ,,fig4 #agg4 ,,chapel ,,of ,,abbot',s ,,summer ,,palace1 ,,vallauris4 narrow tortuous lanes which form the usual streets of ,provenal towns4 ,the houses were constructed for the accommodation of the workmen employed at the celebrated potteries of the valley1 which were well known even in ,roman times1 and are still of world-wide fame4 ,the palace was probably rebuilt about the same time1 and possesses some picturesque features 7,fig4 #agf74 ,the chapel is 7,fig4 #agg7 like that of ,cannes1 a simple nave1 ,illustration3 ,,fig4 #agh4 ,,chapel ,,of ,,abbot',s ,,summer ,,palace1 ,,vallauris4 #ca feet long by #af feet wide1 with round apse about #aj feet deep4 ,it is roofed in two bays 7,fig4 #agh71 with a pointed barrel-vault1 having one square transverse rib in the centre1 supported by a simple pilaster on each side1 with a string course at the wall-head1 and impost 8cut off10 all as at the ,mont du ,chevalier4 ,the apse is round1 and has a pointed semi-dome instead of a round one1 as at the latter4 ,the windows are small and pointed1 and have the deep external splay so common in all these buildings4 ,there are two doors1 also pointed1 one of which enters at the south side from the castle court1 and the other at the west end from the outside4 ,the pointed arches in the doors and windows probably indicate a somewhat later date than the round ones of the 8,mont du ,chevalier40 ,the chapel is now occupied as an oil mill4 ,illustration3 ,,fig4 #agi4 8,,maison ,,du ,,brigand10 ,,le ,,cannet4 ,a wide boulevard has recently been constructed1 leading from the centre of ,cannes straight northwards for a distance of about two miles1 through the only ground near the town which is at all level1 to the village of ,,le ,,cannet4 ,here an ancient machicolated tower 7,fig4 #agi71 called the 8,maison du brigand0 7now crowned with a ,illustration3 ,,fig4 #ahj4 ,,notre ,,dame ,,des ,,anges1 ,,le ,,cannet4 peaceful photographer's studio71 contrasts strangely with the new houses rapidly rising around it1 along the recently constructed and improved roads2 but on the higher ground some of the more antique houses and narrow lanes are still preserved near the quaint old church of ,notre ,dame des ,anges 7,fig4 #ahj74 ,le ,cannet forms an agreeable promenade from ,cannes2 and it is well worth while to continue the walk or drive northwards for about two miles through the magnificent groves of olives which here clothe the valley1 as far as the base of the hill1 on the summit of which stands the ancient town of ,,mougins4 ,whether viewed from below1 or from the hill above on the right close by the ancient and picturesque church of ,notre ,dame de ,vie 7,fig4 #aha71 the effect of the old town crowning its rocky and olive-clad height is always striking4 ,the climb up the steep and many-stepped mule path to the habitations on the summit is no small task1 but the labour is well repaid by the splendid ,illustration3 ,,fig4 #aha4 ,,notre ,,dame ,,de ,,vie ,,and ,,mougins4 views thence obtained in all directions1 especially towards ,grasse1 and by the picturesque vistas which meet the eye at every turn in the ancient narrow streets4 ,one of the original gateways of the town 7,fig4 #ahb7 is still preserved1 with its machicolated parapet and the grooves for the portcullis behind its plain pointed arch4 ,it is supposed that ,mougins is the ,mons gitna to which the native tribes retired1 and where they fortified themselves after being driven from ,cannes 7or gitna7 by the ,romans4 ,in returning to ,cannes1 the route may be delightfully varied by a walk over the hills1 past ,notre ,dame de ,vie1 and along the footpath beside the aqueduct1 which brings the water supply from the sources of the ,siagne 7some twenty miles off by road1 but double the distance measured round the windings of the canal7 to ,cannes and ,antibes4 ,castellaras1 about a couple of miles north from ,mougins1 is another splendid point of view4 ,an ancient castle here occupies the summit of a hill1 and is partly surrounded with its old wall of enceinte1 but the most of the buildings connected with it are modern4 ,illustration3 ,,fig4 #ahb4 ,,mougins1 ,,gate ,,to ,,town4 ,the most important place1 however1 lying a few miles inland from ,cannes1 is ,,grasse1 an ancient town of some celebrity1 and still a place of considerable business and movement4 ,it lies about ten miles north from ,cannes1 and may be approached by several roads or by railway4 ,one road goes to the westward1 by the plain of ,laval and the valley of the ,siagne1 passing through the little town of ,pgomas1 and within a short distance of ,,auribeau 7,fig4 #ahc71 an ancient city perched on the crest of a lofty hill4 ,from this point the road steadily ascends1 till1 after a long climb1 ,grasse1 which stands about #ajjj feet above the sea1 comes into view1 its houses clustering round the old cathedral1 and rising in the form of an amphitheatre 7,fig4 #ahd71 tier over tier up the hillside on which it is built4 ,from the height at which the town stands1 the view over the luxuriant lower ground between it and ,cannes is very commanding and delightful1 the whole of the valley being laid out as gardens for the cultivation of the roses1 violets1 and other sweet scented flowers1 from which the perfumes for which ,grasse is famous are distilled4 ,illustration3 ,,fig4 #ahc4 ,,auribeau4 ,from an early time ,grasse was an industrious and commercial town4 ,it thus became rich1 and its wealth brought upon it frequent attacks from the ,saracens while they had their headquarters at the ,great ,fraxinet4 ,early in the twelfth century the inhabitants followed the example of the ,italian towns with which they had commerce by constituting themselves a free republic4 ,their consuls formed treaties with ,pisa and ,genoa1 and unfortunately the town got mixed up with ,italian politics and the disputes of the ,guelphs and ,ghibellines4 ,this led to the usual unhappy result of dividing the people into violent factions1 and enabled ,raymond ,branger1 ,count of ,provence1 in #abbf1 under pretext of aiding the ,guelph party1 to render himself master of the town4 ,in the sixteenth century ,grasse shared the unhappy fate of the rest of this part of ,france1 when ,francis ,i4 found himself unable to defend it against ,charles ,v41 and therefore laid the whole country waste4 ,the town also suffered greatly during the religious wars of the seventeenth century4 ,illustration3 ,,fig4 #ahd4 ,,grasse4 ,illustration3 ,,fig4 #ahe4 ,,plan ,,of ,,grasse ,,cathedral4 ,illustration3 ,,fig4 #ahf4 ,,grasse ,,cathedral1 ,,west ,,end4 ,the most important building in ,grasse is the cathedral4 ,it is the first church we have seen1 on our way eastwards1 which represents a type essentially different from that of ,provence1 and markedly akin to the architecture of ,italy--a characteristic which we shall find more and more strongly developed in our progress along the ,riviera4 ,the plan 7,fig4 #ahe71 like that of most of the churches of ,italy1 consists of a central nave and side aisles1 all originally terminated with eastern apses1 the ,illustration3 ,,fig4 #ahg4 ,,grasse ,,cathedral 7,campanile at ,n4,e4 angle74 existing choir1 which is square1 being a late addition4 ,the character of the exterior is essentially ,italian 7,fig4 #ahf71 being similar in its forms and ornament to the churches of ,pisa and ,genoa1 with which towns1 as above-mentioned1 ,grasse had commercial relations4 ,the arcaded ornament at the eaves is very ,lombardic1 and the doorways of the west front and north side 7,fig4 #ahg7 are of the ordinary ,italian design of the thirteenth century1 with low pitched roof4 ,the tall and simple square campanile is also ,italian in conception4 ,the design of the interior 7,fig4 #ahh7 is somewhat remarkable1 the massive circular piers with their cushion caps having more of the character of a ,northern than of a ,southern edifice4 ,they remind one1 however1 of those of ,carcassonne4 ,the solid square groins of the vault1 springing from very simple corbels1 are of a usual ,provenal form--such1 for instance1 as those of ,frjus ,cathedral4 ,close to the cathedral stands one of the square towers 7,fig4 #ahi71 similar to that of the ,mont du ,chevalier at ,cannes1 which we have noticed as being common in the towns of this ,illustration3 ,,fig4 #ahh4 ,,grasse ,,cathedral4 ,illustration3 ,,fig4 #ahi4 ,,keep ,,tower1 ,,grasse4 province4 ,it is built with the usual rough-faced ashlar work1 but its other distinctive features are now lost1 the interior being occupied as dwelling-rooms4 ,this tower adjoins the ancient ,bishop's ,palace1 now the ,municipal ,buildings4 ,near this--and1 indeed1 scattered everywhere through the narrow and busy streets of ,grasse--are ,illustration3 ,,fig4 #aij4 ,,staircase1 ,,grasse4 to be seen many fragments of the massive architecture of its ancient palaces4 ,these are easily distinguished from their being built with the same rough-faced1 solid masonry as the tower2 and they often still retain a door or window of pointed form1 recalling the older palaces occasionally found in the similar crowded lanes of ,genoa4 ,there are also some examples in ,grasse of the great houses of the merchant princes of the ,renaissance period1 so distinctive of the ,italian cities4 ,the picturesque staircase of one of these is still preserved 7,fig4 #aij74 ,this building stands at the east end of one of the charming open 8places10 surrounded with arcades1 planted with trees1 and enlivened with fountains1 in which ,grasse abounds1 and which form such attractive subjects for the artist4 ,in one of the narrow streets stands the ,church of the 8,oratoire10 7,fig4 #aia71 the strikingly ,italian faade of which at once arrests attention4 ,it is evidently a building of the fifteenth century1 and is exactly such a design as may be found in any of the cities of ,northern ,italy4 ,the annexed sketch 7,fig4 #aib7 of one of the caps of the main piers is suggestive1 and corresponds with similar details of the same period in ,italy4 ,illustration3 ,,fig4 #aia4 ,,church ,,of ,,the ,,oratoire1 ,,grasse4 ,from ,grasse several very interesting excursions may be made1 and a number of ancient buildings investigated4 ,a very fine1 although a long day's expedition1 is the drive to ,st ,csaire and ,callian4 ,the former is reached by a side road1 which branches off the main road to ,draguignon1 about six miles west of ,grasse1 and after a climb of three miles further up amongst the mountains finally arrives at ,st ,csaire1 beyond which all progress westwards is stopped on the crest of the great cliffs which hem in the gorge of the ,siagne4 ,illustration3 ,,fig4 #aib4 ,,from ,l',,oratoire1 ,,grasse4 ,illustration3 ,,fig4 #aic4 ,,st ,c,,saire1 ,,ancient ,,gateway4 ,it is therefore necessary to return to the main road1 itself sufficiently winding and romantic1 along which a further course of eight to nine miles conducts to ,montauroux and ,callian4 ,the whole journey there and back to ,grasse thus extends to about thirty-seven miles1 but can easily be accomplished in one day with a pair of the hardy ponies of the country4 ,the main road from ,grasse descends by numerous wide loops towards the valley1 and skirts the lofty mountains on the right1 where several picturesque looking villages are seen clustering on the hillsides4 ,at ,tignet the ruins of an ancient commandery of the templars are passed1 but there is nothing of architectural interest sufficient to detain the traveller till ,st ,csaire1 amongst its remote and snow-clad hills1 is reached4 ,illustration3 ,,fig4 #aid4 ,,at ,,st ,c,,saire4 ,the town of ,,st ,c,,saire is charmingly situated about nine miles west from ,grasse4 ,it stands on the edge of a lofty precipice overlooking the valley of the ,siagne1 which is here full of remarkable scenery and interesting grottoes and fountains1 forming a romantic region1 from which starts the aqueduct which supplies fresh water to ,cannes and ,antibes4 ,st ,csaire possesses still some remains of its ancient walls and gates 7,fig4 #aic71 some quaint pieces of carving over doorways etc4 7,fig4 #aid74 ,but its most interesting feature architecturally1 is the ancient church which stands in its quiet churchyard outside the town1 relieved against a background of snowy mountains 7,fig4 #aie74 ,it is similar in its ,cistertian simplicity to those of ,cannes and ,vallauris1 and differs only in having1 instead of plain pilasters1 rounded vaulting shafts1 with simple caps and bases 7,fig4 #aif71 the former very similar to those of ,thoronet4 ,the church is #de feet long by #bj wide 7,fig4 #aig71 divided into three bays1 with apse #i feet deep to the eastward4 ,as at ,vallauris there are two doors1 one at the west end and one in the south side1 the latter pointed externally and round internally4 ,the windows have round arches1 with the usual deep external splay1 at the inner edge of which the opening is narrowed by two half roll mouldings1 probably with a view to prevent draughts in this lofty and exposed region4 ,for the same reason there are only three very small windows1 two on the south side and one in the apse4 ,illustration3 ,,fig4 #aie4 ,,church ,,of ,,st ,c,,saire4 ,this church probably dates from the early part of the thirteenth century4 ,both the exterior and the interior are well preserved4 ,the walls have been heightened at a later date1 but why is not clear4 ,as the alteration does not affect the interior1 it has probably been done to make the slope of the roof harmonise with the west front1 which has been altered and a belfry added4 ,illustration3 ,,fig4 #aif4 ,,church ,,of ,,st ,c,,saire4 ,as in all the churches of the style1 the tiles of the roof rest directly on the outside of the arches4 ,an ancient carved front 7shewn in ,fig4 #aid7 is lying outside the church4 ,illustration3 ,,fig4 #aig4 ,,plan ,,of ,,church1 ,,st ,csaire4 ,illustration3 ,,fig4 #aih4 ,,ch,,teau ,,de ,,tournon1 ,,near ,,st ,c,,saire4 ,the main road1 from the point where the branch to ,st ,csaire leaves it1 continues westwards and descends with many wide and bold sweeps till it reaches the ,siagne1 which it crosses at ,les ,veyans1 and again ascends the steep and wooded valley on the opposite side4 ,soon the rugged ruins of the castle of ,tournon 7,fig4 #aih7 are seen frowning over the pass from their rocky eminence1 which can only be reached after a hard climb through the thick wood and thorny heath which clothe the hillside4 ,but that trouble is rewarded by the discovery of a rude and remarkable edifice4 ,this consists of a ,keep of semi-circular form built on the edge of a precipice which forms the diameter of the circle1 and has apparently been considered a sufficient defence of the structure on that side4 ,a semi-circular lofty wall of enceinte surrounds the keep on the side next the hill4 ,the entrance gateway was doubtless in this wall where there is now a ruinous gap4 ,the building is reduced to bare and shattered walls1 so that its interior arrangements cannot be determined1 but it must have been a very singular and unique structure4 ,illustration3 ,,fig4 #aii4 ,,town ,,and ,,castle ,,of ,,callian4 ,near the highest point of the road1 in continuing westwards1 the village of ,la ,colle-,noire stands across the way1 and in olden times stopped all passage by means of gates in its walls4 ,beyond this1 an open country rich in vines and olives is traversed1 from which another long ascent leads to the town of ,montauroux1 standing on a promontory1 crowned with the ruins of the ,fort ,st ,barthlemy1 destroyed in #aeib4 ,a wide curve of the road1 round a fine amphitheatre of terraced lands1 leads from ,montauroux to ,callian1 another little town perched on the hillside1 and commanded by the immense ruins of an old castle 7,fig4 #aii71 which like all the others in the province1 was sacked in #agib1 and of which only the shattered shell remains4 ,it would appear from the mullioned windows and round tower1 to have been built in the fifteenth century1 and has evidently been altered in the seventeenth1 by the insertion of numerous large oblong openings4 ,in the sixteenth century this pile was inhabited by ,jean de ,grasse4 ,illustration3 ,,fig4 #bjj4 ,,le ,,bar1 ,s4 ,,doorway ,,of ,,church4 ,from ,grasse another excursion of surpassing interest1 not only on account of the magnificent natural scenery passed through1 but also from the variety of the architectural remains1 may be made to the eastward leading by ,le ,bar and ,vence to ,cagnes1 where the ,paris1 ,lyons1 and ,mediterranean ,railway is reached4 ,the whole distance is about twenty-five miles4 ,the first place of note arrived at after leaving ,grasse is ,,le ,,bar1 about six miles to the eastward4 ,it stands on a platform at a considerable height and enjoys a fine view to the southwards4 ,the church1 not remarkable otherwise1 has a ,roman inscription built into the tower1 and a fine ,italian ,gothic doorway 7,fig4 #bjj7 in the south side4 ,this doorway1 with its twisted nook shafts and arch mouldings1 plain caps1 and enclosing notched weather table1 might have been found in almost any part of ,italy4 ,wooden doors covered1 like this one of ,le ,bar1 with elaborate carvings1 are a feature of common occurrence in every part of the province1 and are often of much interest and beauty4 ,the church contains two remarkable ,medival paintings which were thought worthy of notice at the great ,exhibition of ,paris1 to which they had been sent4 ,the town is still dominated by the relics of a great castle of the ,middle ,ages1 of which some towers remain1 but it is now greatly ruined and shorn of its grandeur4 ,some of the old walls of the town also still survive1 and give this quaint old place1 perched as it is on the steep slope of the hill1 an unusual and striking aspect4 ,from ,le ,bar the main road descends in wide curves towards the valley of the river ,loup1 but long before reaching the bottom of the gorge the eye is attracted by the unusual appearance of towers and pinnacles rising from the summit of a lofty pyramidal mountain to the northwards 7,fig4 #bja74 ,these distant peaks are found on nearer approach to be the edifices of the town of ,,gourdon1 an eyrie built for security from the assaults of the ,corsairs on this inaccessible and naturally fortified eminence4 ,illustration3 ,,fig4 #bja4 ,,gourdon4 ,a post road1 branching off the main road at ,le ,bar1 passes1 after many windings and ascents round the rocky sides of the opposite cliffs1 within a short distance of ,gourdon2 but for those who intend going on to ,vence1 the latter course is too great a deviation from the route4 ,their only way of reaching ,gourdon is by the steep and stony footpath which is seen rising to it in innumerable zig-zags from near the bridge over the ,loup4 ,it is a splendid ascent1 although a somewhat arduous one1 and affords a lovely series of views2 but it may be questioned whether one is sufficiently rewarded by the specimens of architecture which he finds in ,gourdon4 ,it is now a melancholy and deserted village1 occupied apparently only by a few women and children4 ,some of the houses are picturesque in their grouping1 like those in ,fig4 #bjb1 but there is nothing fine about the place except the magnificent view to the south1 east1 and west from the terrace in front of the old church4 ,one very large building seems to swamp all the rest of the little town4 ,this is a great chteau 7,fig4 #bjc71 built by the family of ,lombard in the style of the seventeenth century1 and which1 we believe1 is still occupied in summer1 when the cool breezes of this elevated pinnacle form a grateful change from the heat of the plains4 ,illustration3 ,,fig4 #bjb4 ,,houses ,,in ,,gourdon4 ,from the point where the main road crosses the ,loup1 a delightful excursion may be made up the gorge amongst the mountains1 as far as a famous waterfall called the 8,saut du ,loup40 ,illustration3 ,,fig4 #bjc4 ,,ch,,teau1 ,,gourdon4 ,the road now gradually ascends the northern side of the valley of the ,loup1 which is seen flowing at some distance below on the right through a richly cultivated plain4 ,in some of the cuttings by which the road is carried round the rocks1 numerous oyster and other fossil shells may be observed1 characteristic of the tertiary limestone which here occurs of great thickness1 and forms the immense cliffs which at some parts of the coast overhang the ,mediterranean4 ,on approaching ,,tourettes the road sweeps round the abrupt side of a gorge where the rock is hollowed out into caverns1 some of which are occupied as houses and stores4 ,from this point a fine view is obtained of the grey old town of ,tourettes1 with its crumbling walls and houses rising from the margin of precipitous rocks of the same sad dusty colour4 ,there seems to be nothing of special interest in the town1 but outside the walls on the north side there is a wide open 8place10 on which stand the ,htel de ,ville and the church of the fourteenth century4 ,the latter is a specimen built on the plan of the simple hall without aisles4 ,in this instance it is vaulted with groined arches 7,fig4 #bjd71 the ribs having the unusual form of a plain bead1 and springing from small primitive looking corbels1 such as are common in ,provenal churches4 ,illustration3 ,,fig4 #bjd4 ,,church1 ,,tourettes4 ,the font 7,fig4 #bje7 in this church is of a rather remarkable design4 ,a few miles' further drive through fine mountain scenery brings us to the ancient city of ,vence 7described further on71 whence the railway station of ,vence-,cagnes is about six miles distant4 ,illustration3 ,,fig4 #bje4 ,,font1 ,,tourettes4 ,we shall now return to ,cannes and follow the route eastwards along the coast of the ,mediterranean4 ,this takes us first by the fine sheltered roadstead of ,golfe ,jouan to the city of ,,antibes1 which stands upon a rocky peninsula jutting out into the sea1 and enclosing a sheltered bay and harbour1 defended on the opposite point by a great star-shaped fortification called the ,fort ,carr1 erected by ,vauban4 ,the town itself is surrounded with walls1 and strongly fortified in the style of the seventeenth century1 of which it is a good and little altered specimen4 ,the views of the town from the sea coast are charming 7,fig4 #bjf74 ,surrounded on the land side with its great stone ravelins and bastions1 and protected on the south by its rocky seaboard1 with the snowy peaks of the ,maritime ,alps forming a background1 and the bright blue of the ,mediterranean in the foreground1 a finer picture can hardly be imagined4 ,the town of ,antibes is of very ancient origin4 ,according to ,m4 ,lenthric1 a sacred stone of the ,phnicians has here been found1 with a ,greek inscription1 giving proof of the ancient worship of the ,hellenes having been observed in this locality in the fifth century ,b4,c4 ,this town was also an important station under the ,romans4 ,in very early ,christian times it became the see of a bishop1 ,illustration3 ,,fig4 #bjf4 ,,antibes 7from ,w47 but being greatly exposed to the attacks of the ,saracen ,corsairs1 from whom it suffered severely1 the see was in #abdc removed for security to ,grasse4 ,there were originally four bishoprics in this part of the ,riviera1 viz43--,nice1 ,antibes 7afterwards ,grasse71 ,vence1 and ,frjus4 ,the whole are now comprised in the two dioceses of ,nice and ,frjus4 ,as a frontier town ,antibes was necessarily much damaged during the wars between ,francis ,i4 and ,charles ,v41 being frequently attacked and pillaged4 ,its ancient buildings have thus been almost entirely demolished1 either by the direct effects of war or in the construction of the fortifications1 so that scarcely a trace of ,roman occupation remains1 save in some tombs1 inscriptions1 and urns which have been dug up4 ,the oldest existing structures stand on the highest point of the rock facing the sea4 ,here we find some parts of the cathedral of the thirteenth century1 and two towers in the style of those of the ,mont du ,chevalier at ,cannes4 ,the church is very simple in design1 and seems to have been originally similar to that of ,vence1 but it has been greatly altered and a new front added in the seventeenth century 7,fig4 #bjg74 ,the two towers at ,antibes are of peculiar interest4 ,at ,cannes there is only one tower or keep1 which was attached to the castle of the ,chevalier4 ,at ,antibes one of the towers 7,fig4 #bjh7 is in connection with an old palace 7now a barrack71 which doubtless occupies the site of the ancient castle1 being on the summit of the rock1 and suitably placed for keeping a look-out seawards4 ,the other tower is close to the cathedral 7,fig4 #bjg71 and is still connected with it by a covered way on the first floor4 ,it seems probable that the first was the keep of the temporal ,commandant and the other that of the spiritual ,lord4 ,the frequent incursions of the ,corsairs would render such a place of security desirable in ,illustration3 ,,fig4 #bjg4 ,,tower ,,or ,,keep ,,attached ,,to ,,cathedral1 ,,antibes4 connection with the cathedral1 and would also enable the bishop to be independent of the temporal power4 ,both keeps are constructed in the same manner as that of the ,mont du ,chevalier with rough faced ashlar blocks1 and in both the entrance doorway is on the first floor4 ,that of the castle 7,fig4 #bjh7 is recessed under a plain round arch1 and has a moulded step to receive the ladder or moveable stair by which it was approached4 ,there are also two corbels1 one on each side of the doorway1 as if for the purpose of carrying a pent house roof4 ,the stair is carried up round the inside of the walls and supported on corbels as at ,cannes4 ,the castle tower has in modern times been lowered and covered with a sloping roof4 ,the bishop's tower is now used as the belfry of the church1 and has had large round headed openings cut in it near the top to let out the sound of the bells4 ,illustration3 ,,fig4 #bjh4 ,,tower ,,or ,,keep ,,of ,,the ,,castle1 ,,antibes4 ,on the left of this tower in the sketch 7,fig4 #bjg7 may be observed some remains of similar workmanship in the masonry1 which indicate the position of another ancient structure above which a modern house has been erected4 ,some fragments of ancient walls1 and a gateway with two large round towers1 may be observed on the eastern side of the ,rue ,aubernon1 and these1 together with the arcades on the opposite side1 and the double row of trees which line the boulevard1 form a striking and picturesque promenade4 ,these walls doubtless enclosed the ancient cit1 and the ,rue ,aubernon occupies the position of the original ditch4 ,the fortifications of the existing town extend a long way beyond this ancient boundary4 ,in passing along the coast eastwards from ,antibes a fine view is obtained on the right over the sea towards ,nice1 while on the other hand glimpses occur between the olive groves and up the valleys to the mountains beyond4 ,the first of these openings1 the valley of the ,brague1 shews the interesting old town of ,biot in the distance1 set as usual on a rocky height4 ,a little further on the tower of the castle of ,villeneuve-,loubet rises above the river ,loup1 and immediately thereafter the town of ,cagnes bursts suddenly upon the view4 ,this town consists as usual of a series of houses clustering in terraces round the sides of a detached and precipitous hill1 crowned with an ancient castle on its summit4 ,the station of ,vence-,cagnes is easily reached by railway either from the direction of ,nice or ,cannes1 and from it several pleasant excursions may be made to the places above referred to1 which have just been passed1 and also to the ancient towns of ,st ,paul-du-,var and ,vence1 already mentioned4 ,,cagnes is a place of some industry1 being the point of export for the products of the valleys of the ,loup1 the ,malvan1 and the ,cagne4 ,on leaving the railway station and approaching the town1 the lower part of the hill on which it stands is seen to be richly clad with the dark green foliage of the orange trees1 enlivened with their golden fruit1 planted in stone-built terraces rising steeply one over the other up to the walls of the town4 ,illustration3 ,,fig4 #bji4 ,,castle ,,of ,,cagnes 7from the ,s47 ,entering at the south end of the hill a steep and narrow street leads straight up to the top at the north end1 where stands the old castle of the ,grimaldis 7,fig4 #bji74 ,this is evidently an ancient structure1 having the bold machicolated parapet of the fourteenth and fifteenth centuries4 ,but it has been greatly altered in the seventeenth century1 when large windows have been opened in the walls1 the machicolations being in numerous places cut away to receive them 7,fig4 #baj72 while at the entrance front a wide outer staircase with double ramp and marble balustrade has been introduced leading up to a principal entrance doorway on the first floor4 ,from this access is obtained to a small inner courtyard surrounded with ,renaissance columns forming a staircase and corridor above of two storys in height1 which1 adorned as it is with beautiful plants by the present proprietor1 has a peculiarly pleasing effect4 ,some of the apartments are finely decorated4 ,that of the 8,belle ,chemine0 has a sculptured marble fireplace and a ceiling painted with the fall of ,phaeton1 said to be by ,carlowe4 ,from the platform lying to the north of the chteau a magnificent view is obtained to the northward up the valley of the ,malvan towards ,st ,paul and ,vence1 and the lofty precipices of ,st ,jeannot beyond1 backed to the right with the snowy ridges of the distant ,alps4 ,illustration3 ,,fig4 #baj4 ,,castle ,,of ,,cagnes 7from the ,n4,e47 ,the nearest place of prominence from ,cagnes is the ,castle of ,,villeneuve-,,loubet--about two miles to the north-west4 ,this castle has been modernised and nearly rebuilt1 but enough of the original work remains to render a visit very interesting4 ,on nearing it1 the edifice 7,fig4 #baa7 is seen to consist of a central castle strengthened with four towers at the angles1 and surmounted by a lofty1 quaint1 and ,moorish-looking watch-tower1 the whole being enclosed with a strong wall of enceinte1 defended with round towers at the angles 7,fig4 #bab71 provided with large port-holes for guns1 and separated from the surrounding county by a deep ditch4 ,the entrance gateway consists of an iron grating1 guarded by two round towers1 and furnished with a drawbridge over the moat4 ,the round towers and walls of enceinte are by no means modern2 they probably belong to the sixteenth century1 but they have been shorn of their proud battlements1 and thus present a very squat and subdued appearance4 ,illustration3 ,,fig4 #baa4 ,,castle ,,of ,,villeneuve-,,loubet 7from the ,n4,w47 ,the central castle is in part much more ancient1 but also for the most part greatly altered and modernised4 ,the ,illustration3 ,,fig4 #bab4 ,,castle ,,of ,,villeneuve-,,loubet 7from the ,s4,e47 original plan was probably not dissimilar to the existing one1 comprising a central courtyard with buildings surrounding it4 ,the exterior walls are modern1 but those of the interior of the courtyard are partly ancient1 although altered4 ,they are built with the rough-faced ashlar of the thirteenth century1 and contain some decayed coats of arms on which may still be traced the lances of the ,villeneuves and the star of ,les ,baux4 ,externally1 the east face 7,fig4 #bab7 presents two noteworthy features in the apse of the chapel and the tall watch-tower4 ,the chapel1 although now converted into apartments1 still retains the outlines and buttresses of an apse which seems to belong to the fifteenth century4 ,the watch-tower is one of the most perfect examples of those characteristic features of the ,maritime ,alps4 ,it is of the same nature as the keep towers we have met with at ,cannes1 ,grasse1 and ,antibes1 having the same rough ashlar facing1 but instead of being square on plan like them1 it has the eastern side projected in the form of a sharp angle 7like the tower of ,la ,trinit in the same locality1 to be described immediately1 and of which a plan is given74 ,the access to the top is by a narrow wheel-stair on the side next the quadrangle4 ,the important point about the tower is that it preserves its battlemented top almost unaltered4 ,it is carried up to the height of about #ij feet1 and near the summit has several courses of a dark-coloured stone1 which give it a ,moorish or ,italian character4 ,these may at one time have been enriched with carving1 of which one fancies some traces may still be observed1 but they are so completely weather-worn that no forms can be distinguished4 ,the level platform on the top is defended with a simple crenellated parapet without machicolations4 ,from this lofty station a wide outlook could be kept over sea and land4 ,this castle and tower belonged in the thirteenth century to ,rome de ,villeneuve1 the chief of that powerful family and the guardian of ,beatrix1 daughter of ,raymond ,branger ,,iv41 the last of the ,counts of ,provence of that line4 ,it was through the marriage with the heiress ,beatrix that ,charles of ,anjou1 the brother of ,st ,louis1 succeeded to the title and estates of the ,count of ,provence4 ,the estate was sold at a later period to the ,lascares of ,ventimiglia1 and is now the property of the ,count of la ,panisse-,pacy4 ,in #aech this castle entertained an illustrious guest in the person of ,francis ,i41 who stayed here while ,pope ,paul ,,iii4 carried on negotiations between him and ,charles ,v4 ,the latter had landed at ,villefranche in order to meet the ,french king2 but so great was the antipathy and distrust of the two monarchs for each other1 that they could not be brought to encounter a personal interview4 ,these negotiations ended in the signature1 by ,francis in the ,castle of ,villeneuve-,loubet1 of the ,treaty of ,nice 7,see 8,the ,maritime ,alps and their ,sea ,board407 ,illustration3 ,,fig4 #bac4 ,,tower ,,of ,,la ,,trinit 7,plan74 ,from the top of ,rome de ,villeneuve's tower another similar tower is observed rising above the pine wood about a mile up the valley to the north-west4 ,to reach it we descend from the castle so as to gain the bridge across the ,loup1 and in doing so the steep streets of the old town of ,villeneuve1 terraced in tiers on the slope of the ,illustration3 ,,fig4 #bad4 ,,tower ,,of ,,la ,,trinit 7from the ,chapel74 hill1 are traversed1 and the old church on its fine platform is passed on the left4 ,the road up the valley is easy and agreeable1 but the ascent of the conical hill1 the summit of which is crowned with the tower of ,,la ,,trinit1 is no light work4 ,from a distance this tower looks like a lofty pedestal erected to support the colossal statue of the ,virgin and child which now surmounts it4 ,but on closer inspection it is found to be a remarkable example of a keep1 defended with that accumulation of obstacles with which the old builders used to block up the access to their strongholds4 ,after the steep hillside has been climbed1 one finds himself at the base of the pointed rock on which the keep is set 7,fig4 #bac74 ,from here a sloping path leads up to the ruins of the chapel1 of which only the vestiges of wall shewn in the sketch 7,fig4 #bad71 mingled with the scattered fragments of the font and other relics1 now remain4 ,the ruins of a strong gateway in the outer walls which closed the access are passed just before reaching the chapel1 and a lower bastioned terrace is continued round the northern part of the eminence at this level4 ,from the chapel1 when one turns his eyes upwards to the tower 7as in ,fig4 #bad71 he discovers such a series of winding stairs interrupted at frequent intervals with walls and gateways as must certainly have rendered a hostile approach in that direction impracticable1 while perpendicular rocks and lofty walls made the access equally hopeless on the other sides4 ,besides this1 on the side next the hill1 which was perhaps the least invulnerable point1 stands the keep 7,fig4 #bae71 strengthened with a projecting beak of similar form to that of the tower of ,rome de ,villeneuve4 ,the lower story is original1 and contained the doorway at the level of the top of the rock4 ,this inaccessible point1 on which there is a small platform1 was probably reached by a rude stair cut in the rock 7as indicated on the plan7 and was defended with outworks1 the approach to which was overlooked from the upper platform4 ,the doorway1 it will be observed1 is placed on the opposite side of the tower from the platform1 at a point where the foothold is narrow1 and the door therefore all the more secure4 ,the upper portion of the tower dates from #ahfc1 when1 as the following inscription1 which is carved on a marble slab let into the wall1 announces1 the old tower was reconstructed by the ,comte and ,comtesse de la ,panisse-,pacy1 and dedicated to the blessed ,virgin3-- ,,hoc ,,antiquum ,,castellum ,,vulgo ,,dictum ,,la ,,trinit ,,henricus ,,de ,,marck ,,tripoli ,,comes ,,de ,,panisse-,,passis ,,et ,,maria ,,theresa ,,de ,,robin ,,de ,,barbentane ,,ejus ,,uxor ,,instauraverunt ,,beat,,que ,,mariae ,,virgini ,,immaculatae ,,testimonium ,,fidei ,,ac ,,pietatis ,,dedicaverunt ,,anno ,,domini ,,mdccclxiii4 ,the tower alone has been restored in the manner shewn by the sketches2 all the other portions remain undisturbed in their ruins4 ,the rooms in the tower are only #aj ft4 #f in4 long by #g ft4 wide1 and there is no indication of any other habitation connected with the fort4 ,the place has all the appearance of a typical robber's stronghold1 and1 as ,james ,v4 said of a similar ,scottish keep1 8,he that built it was a thief in his heart40 ,according to tradition1 ,la ,trinit was originally a keep of the ,templars4 ,that order had extensive possessions in this part of ,provence1 and they may have erected this tower as a post for watching and giving notice of the approach of an enemy4 ,after the suppression of the order ,la ,trinit passed into the possession of the ,mathurins or ,redfriars4 ,they were also called the ,order of the ,trinity1 and their special duty was to succour prisoners4 ,the name of the tower may possibly have been derived from them4 ,the chapel is #bi ft4 long by #ad ft4 wide1 and the raised step at the east end is still traceable4 ,the ,illustration3 ,,fig4 #bae4 ,,tower ,,of ,,la ,,trinit 7from the ,s4,w47 walls have been about #h ft4 #f in4 high to the plain ovalo forming the string course from which sprung the semi-circular barrel vault of the roof4 ,from the upper platform of the fortress a splendid view is obtained 7,fig4 #bae71 especially to the northwards1 comprising ,st ,paul-du-,var in the middle distance1 and ,vence backed by the towering precipices of ,st ,jeannet4 ,beneath these stood the powerful ,commandery of the ,templars at ,st ,martin 7to be afterwards described71 from which a signal at their watch-tower of ,la ,trinit would be easily observed4 ,illustration3 ,,fig4 #baf4 ,,biot4 ,from ,la ,trinit a rough footpath leads across the pine-clad hills to ,,biot1 a distance of about two and a half miles as the crow flies1 but about an hour's walk over the heath-covered heights1 and through the deep ravines which have to be traversed4 ,some extensive quarries are passed on the way at ,les ,aspres4 ,after a hot tramp over these rocky and barren hills1 it is refreshing to reach the fertile and cultivated valley of the ,brague with its steep and terraced banks richly clad with olive and orange trees4 ,a very steep descent leads to the bottom of the valley1 from which the walls and towers of ,biot are seen rising on the crest of the hill above 7,fig4 #baf74 ,this is one of the most primitive old towns in the district4 ,a very circuitous post road has now been constructed up to it1 but the old accesses by long flights of wide steps1 on which the peasants and their mules are constantly ascending and descending1 are still preserved1 and are in their way amongst the most picturesque streets in the ,riviera4 ,climbing patiently up flight after flight1 and winding round the narrow streets1 we at length reach the highest point1 on which stands the church4 ,the following inscription is carved in the interior wall3--8,hanc ,ecclesiam consecravit ,illus1 primus et reveredismus ,inxpo ,p4,d4,d4 ,isndus ,d4 ,grassa ,episcopus ,grassen1 #adgb ,illustration3 round symbol ,,die #ai4 ,,janu40 thus shewing that the church was consecrated by the bishop of ,grasse at the above date4 ,some of the work corresponds with that period1 e4g41 the doorway in the west end 7,fig4 #bag74 ,but the south doorway 7,fig4 #bag7 has an earlier character4 ,the exterior is all altered1 and the interior has also been modernised in a very extraordinary manner1 but some traces of the original building are still observable4 ,biot belonged to the ,templars in #abdg1 and afterwards to the knights of ,malta4 ,in #adgj the bishop of ,grasse brought hither forty-eight ,genoese families1 probably to help to re-people the town after the plague or some destructive assault of the ,corsairs4 ,this was evidently the occasion on which the bishop re-consecrated the church1 which then no doubt required to ,illustration3 ,,fig4 #bag4 ,,church ,,of ,,biot4 be to a great extent rebuilt4 ,but some of it bears the signs of having been erected at an earlier date by the ,templars4 ,the plan 7,fig4 #bah7 is very unusual4 ,a simple oblong divided into three aisles with three terminal apses such as we see here is common enough1 but the plain round columns which separated the nave and aisles are very uncommon4 ,the bases and caps are of a simple and early character 7,fig4 #bai74 ,the pillars are too light to have been intended to carry vaulting1 and the original church would thus seem to have had a row of plain arches on each side1 with perhaps a clerestory wall above supporting a wooden roof4 ,the building would thus have originally the characteristics of a primitive basilica1 somewhat like ,san ,miniato at ,florence 7,fig4 #cc1 p4 #aja74 ,but this design has now been ingeniously altered and destroyed1 and the whole character of the interior degraded from being one of the most interesting churches of ,provence into a commonplace ,renaissance chapel4 ,by means of stucco the old round pillars have been converted on the side next the nave into flat ,illustration3 ,,fig4 #bah4 ,,plan ,,of ,,church ,,of ,,biot4 pilasters which are carried up and finished with ,ionic caps1 supporting an entablature which runs along each side of the church above the old arches4 ,a groined vault in plaster springing from the top of the cornice is ,illustration3 ,,fig4 #bai4 ,,church ,,of ,,biot4 thrown across the nave4 ,the old pillars with their caps and bases have1 however1 been allowed to remain unchanged on the side next the aisles1 where their archaic forms contrast strikingly with the modern plaster work on the other side4 ,an attempt has been made to ,italianise the apse also1 but the pilasters and entablature fit lamely into the old apse4 ,a wide flight of steps at the west end leads down from the doorway into the church1 and has a rather peculiar effect4 ,this no doubt arose from the irregularity of the site4 ,to the west of the church lies the public place1 surrounded with plain houses1 all arcaded on the ground floor1 and presenting a pleasing example of that picturesque feature of the towns of the ,riviera4 ,a walk of about three miles through the olive gardens of the valley of the ,brague leads to the ,antibes ,railway station4 ,biot may of course be visited directly from the latter2 there is a good carriage road4 ,one of the most delightful excursions from ,cagnes is that to ,,st ,,paul-,,du-,,var1 and ,,vence1 two of the most interesting old towns of the ,riviera4 ,the distance to ,st ,paul is from three to four miles1 and to ,vence two to three miles further4 ,this may be accomplished either by driving or on foot4 ,a carriage may be hired near the ,cagnes ,railway ,station4 ,the route in driving goes by a rather circuituous road round the west side of the valley of the ,malvan1 passing within a short distance of the castle of ,villeneuve-,loubet4 ,the most direct road is either along the base of the hill on which ,cagnes stands1 or through the town4 ,for the pedestrian the latter is by far the most agreeable4 ,starting from the terrace of the old castle 7already described71 a rough footpath is followed along the ridge which separates the valley of the ,malvan from that of the ,cagne1 and affords a delightful prospect of both4 ,the rich colour of the russet leaves of the forest trees1 mingled with the dark green of the pines and the grey tint of the olives1 gives a special charm to the walk4 ,looking northwards the towns of ,la ,gaude and ,st ,jeannet stand out prominently on their rocky heights against the lofty and precipitous mountains immediately behind them2 while in the distance the white peaks of the ,maritime ,alps close the valley of the ,var4 ,to the south there is a splendid view of ,cagnes with the ,mediterranean on the horizon4 ,after half an hour's walk the footpath joins the main road ,illustration3 ,,fig4 #bbj4 ,,st ,,paul-,,du-,,var 7from the ,e47 opposite ,st ,paul1 and near the point where the mule path branches off to descend to the ,malvan1 before again ascending by a rough and steep track to the town4 ,from the main road a fine view is obtained of ,st ,paul 7,fig4 #bbj71 surrounded with its massive walls1 and standing on a detached promontory1 with steep terraced slopes descending to the river4 ,other pleasing and varied prospects of the town and valley occur at intervals amongst the ancient olives in following the above footpath 7,fig4 #bba74 ,about half way up the path on the side next the town an outwork on a detached peak is passed1 then a ruined fortification bars the road1 and finally the ancient gateway and barbican1 and the cemetery just outside the walls1 are reached1 and the main street of the town1 which is but a narrow lane1 is before us4 ,the architectural interest of the place is at once apparent4 ,on every hand are evidences of genuine ancient and ,illustration3 ,,fig4 #bba4 ,,st ,,paul-,,du-,,var 7from the ,w47 unaltered work4 ,the doorways 7,fig4 #bbb7 are of old and varied forms1 almost every one having a panelled lintel1 supported by corbels1 many of the former containing carved shields and ornaments1 and the latter being enriched with leaves and scrolls4 ,most of these doorways are of the beginning of the sixteenth century1 and indicate early ,renaissance work4 ,others again are carved and moulded with the double curvature of the late ,gothic style1 and a few shew marks of a simpler and earlier design 7,figs4 #bbc and #bbd74 ,the windows also contain many specimens of ,gothic shafts and mullions1 but they are much more altered than the doorways4 ,even the ancient woodwork of the latter is in many instances retained1 and the unpainted oak or walnut give1 in addition to the picturesque and fanciful designs1 a rich and antique character4 ,one of the most interesting points connected with the main1 and almost the only street in the town1 is the preservation of its ,illustration3 ,,fig4 #bbb4 ,,details ,,from ,,st ,,paul-,,du-,,var4 ancient shops4 ,at almost every step one meets with the wide arch which contained both the door and window of the shop1 the former being cut down to the door step1 while the latter had the stonework built so as to form a sill about #b feet high1 on which the goods were exhibited4 ,these sills are sometimes projected and moulded on the edge4 ,at ,st ,paul many of the shop fronts are now built up1 but several are still in use 7,fig4 #bbc71 and when piled up with their complex store of vegetables and fruits1 mixed with the quaint and richly coloured jars of the country1 present very tempting subjects for the artist4 ,the street floor ,illustration3 ,,fig4 #bbc4 ,,old ,,shops ,,and ,,houses1 ,,st ,,paul-,,du-,,var4 of the houses adjoining the north gateway 7,fig4 #bbf7 is amongst the oldest and least altered examples4 ,numerous narrow lanes branch off the main street and descend by steps and arcades to the roads which run round the walls4 ,in other cases arches are thrown across the street1 and picturesque effects are thus produced 7,figs4 #bbe and #bbg74 ,most of the buildings in the main street date from the time of ,francis ,i4 ,after the destructive invasion of ,provence by ,charles ,v41 ,francis found that his frontier in this quarter was insufficiently protected1 and employed an engineer from ,arles called ,mandon to inspect the locality and fix on the best site for a fortress4 ,mandon chose the isolated hill on which stood the ancient town of ,st ,paul as the best suited for this purpose2 and it was accordingly fortified and surrounded with the walls and bastions which still subsist almost in their entirety4 ,st ,paul was thus raised into a place of some importance and security1 and became the residence of a governor and several families of distinction4 ,this no doubt led to the improvement of the architecture of which we have seen so many examples4 ,of the town houses of the governor and nobility some specimens still remain--one well preserved mansion of a somewhat later period is seen in sketch1 ,fig #bbe1 and relics of others are also to be found1 though in a sadly degraded and dilapidated state4 ,in the ,maison ,suraire 7formerly ,du ,port71 remains of ancient magnificence still exist in two richly decorated mantelpieces1 of which ,fig4 #bbh is one4 ,the original staircase of this house is also still in use2 its richly-carved and ornamental balustrade of marble 7,fig4 #bbi7 forming a strange contrast with its present humble position as an access to peasants' houses4 ,the mode of junction of the pedestals at the turn of the staircase by placing a boldly cut lion rampant between them is novel and effective4 ,illustration3 ,,fig4 #bbd4 ,,side ,,street1 ,,st ,,paul-,,du-,,var4 ,this house stands in the very diminutive and only little 8place0 in the town1 where also is the fountain1 and whence branches off the way to the church1 which stands on the highest point of the site4 ,the main street1 and all the side alleys1 are but continuations of the mule paths of the country1 interrupted here and there with steps1 and all too narrow to admit a cart or carriage of any kind4 ,they are thus often so completely swept by the loads of firewood and brushwood on the mules' backs1 that passengers have to seek shelter in the recesses of the doorways4 ,the walks round the walls are in part wider1 and the small gardens of the houses sloping down to them1 with the dark foliage and golden fruit of their orange groves1 form a fine foreground to the lovely prospects visible in every direction4 ,illustration3 ,,fig4 #bbe4 ,,main ,,street1 ,,st ,,paul-,,du-,,var4 ,the gateway 7,fig4 #bcj7 at the entrance to the town from the north has an older character than the fortifications of ,mandon4 ,this gateway seems to have formed the ancient entrance through a square tower placed for defence on the neck of land which joins the promontory to the mainland4 ,it presents the same character as the square gate towers of ,avignon1 having a plain pointed archway and portcullis groove on the exterior1 defended by a machicolated parapet above1 the interior of the tower being left open towards the town1 so that1 if captured1 it could not be turned to account against it 7see ,fig4 #bbf74 ,illustration3 ,,fig4 #bbf4 ,,interior ,,of ,n4 ,,gateway1 ,,st ,,paul-,,du-,,var4 ,this tower has been incorporated by ,mandon in his works1 and is strengthened externally by a bastion with another portcullis1 and a narrow passage commanded from above4 ,illustration3 ,,fig4 #bbg4 ,,main ,,street ,,in ,,st ,,paul-,,du-,,var4 ,but ,st ,paul possesses memorials of a much older time even than this fourteenth century tower1 in the ancient church and keep which crown the summit of its rocky site4 ,the church is a small but remarkable monument4 ,externally the west front 7,fig4 #bca7 shews a central portion of plain ashlar work1 with a simple pointed doorway1 and a small pointed window above4 ,there are also some corbels remaining1 which probably supported the wall plate of the lean-to roof of an outer porch or narthex4 ,the adjoining walls at the sides1 and above the corbels1 are all evidently much more modern than the central portion4 ,the lofty square tower attached to this front appears1 from an inscription it bears1 to have been erected in the seventeenth century4 ,on entering the building1 the lowness of the central nave 7,fig4 #bcb71 and the extreme simplicity of its construction and vaulting1 are seen to correspond with the style of the central part of the exterior4 ,the plain character of the whole recalls the work of the early ,cistertian school4 ,the church has probably been originally a simple nave1 like ,frjus on a small scale4 ,the aisles appear to have been added afterwards1 the side walls having been cut through to give access to them 7see ,plan1 ,fig4 #bcc74 ,but so devoid is the building of ornament or features whereby a date may be determined1 that the aisles may possibly have been original1 although altered at a later date4 ,the vaulting of the aisles1 with its rounded or octagonal ribs1 is certainly of more recent date than the plain intersecting vault without ribs of the central nave4 ,illustration3 ,,fig4 #bbh4 ,,chimney-,,piece ,,in ,,the ,,maison ,,suraire1 ,,st ,,paul-,,du-,,var4 ,close to the church stands a very interesting example of the tower-built keeps of the ,maritime ,alps 7,fig4 #bcd74 ,it is similar in general character to those of the ,mont ,illustration3 ,,fig4 #bbi4 ,,staircase ,,in ,,the ,,maison ,,suraire1 ,,st ,,paul-,,du-,,var4 du ,chevalier1 ,grasse1 and ,antibes1 but has some peculiar and remarkable features of its own4 ,the original masonry is of the usual rough-faced kind1 but it has been repaired in several places with work of a smoother description4 ,the top has evidently been modernised1 and is covered with a tile roof instead of the proper crenellated parapet4 ,windows of an antique character are provided to light the apartments on the upper floors1 instead of mere square holes in the wall like those of the ,tour du ,chevalier4 ,indeed1 this keep seems to have been more of a habitation than the others we have met with1 and was apparently connected with an ancient building of the same description of masonry1 a few remains of which are visible to the left in the sketch4 ,but the most remarkable features about this tower are the entrances and their defences4 ,the lowest doorway is on the first floor level4 ,illustration3 ,,fig4 #bcj4 ,,north ,,gateway1 ,,st ,,paul-,,du-,,var4 ,it is semi-circular and is now built up4 ,this doorway seems to have given access only to a guardroom on the first floor1 from which the vaulted basement would be entered in the usual manner by an aperture in the floor4 ,at the level of the doorway there was evidently a wooden platform projected outside of the door1 from which a wooden overhanging stair led up to the chief entrance to the principal apartments of the keep on the floor above4 ,the stone-work shews a projecting ledge at the line of junction of the wooden stair with the wall4 ,the corbels1 which supported a level platform above this stair1 still remain1 and it will be observed that there is no corbel opposite the place where the stair would pass through1 as no floor would be required at that point4 ,illustration3 ,,fig4 #bca4 ,,west ,,end ,,of ,,church1 ,,st ,,paul-,,du-,,var4 ,the two string courses on the next floor were no doubt inserted1 one for the purpose of carrying the struts of a sloping roof1 and the other to cover the junction of the roof with the stone-work4 ,although partly cut away1 these strings are yet fairly preserved4 ,the sloping roof ,illustration3 ,,fig4 #bcb4 ,,church ,,of ,,st ,,paul-,,du-,,var4 would cover the wooden gallery or hoarding which1 we have seen1 protected the principal doorways and staircase4 ,illustration3 ,,fig4 #bcc4 ,,plan ,,of ,,church1 ,,st ,,paul-,,du-,,var4 ,the outer approaches to this keep were thus most carefully defended4 ,an assailant1 who managed by scaling ladders to get up to the first floor or guardroom level and overpower the guard1 would find no access from the interior to the upper floors4 ,to reach these he would have to climb a steep stair1 enclosed within a wooden casing with trapdoor shut1 and would thus be exposed to attack with all kinds of missiles from the platform above1 where the defenders stood within the shelter of their projecting hoarding or gallery4 ,illustration3 ,,fig4 #bcd4 ,,tower ,,or ,,keep1 ,,st ,,paul-,,du-,,var4 ,a somewhat similar wooden balcony for the defence of the doorway existed at ,preston ,tower in ,scotland1 but so far as we have observed1 that of ,st ,paul is quite unique in the ,riviera4 ,the refinement shewn1 both in the defensive features and in the windows of this tower1 indicate a somewhat later date than those of ,cannes or ,antibes4 ,the defensive works here correspond with the hoardings so common in ,france in the thirteenth century1 such as those at ,carcassonne and ,aigues ,mortes4 ,,vence4--,a walk of about three miles along a good road gradually ascends from ,st ,paul to ,vence on either side of the ,malvan ,valley4 ,that on the eastern side is the nearer1 if the direct old mule path is taken about a mile from ,vence1 instead of the carefully engineered but winding modern roadway4 ,should the visit be made in ,december or ,january1 a fine opportunity will probably present itself of witnessing the olive harvest on the way4 ,large sheets are spread out into which the ripe blackberries are showered down by shaking the branches4 ,men1 women1 and children all unite to expedite the work1 and help to gather up the fruit which may have dropped upon the ground4 ,the road on the western side of the valley is more winding than the other1 in consequence of a great gorge in the rocky mountain side having to be compassed and crossed4 ,the descent to the point1 where bridging it is practicable1 also adds to the length and steepness of the ascent to the town4 ,but the rugged way is interesting1 the rocks being full of natural caves1 evidently the result of the waves of a previous geological epoch4 ,the town consists of two distinct parts--the old town enclosed within a circular or oval enceinte 7now represented by a line of houses71 and a circle of houses built outside the ancient ramparts4 ,the position of the latter is now occupied by a wide street or boulevard running all round between the old and new divisions4 ,one or two ancient gateways 7similar to that of ,mougins1 ,fig4 #ahb7 are still preserved1 but they are small and unimportant4 ,in the narrow streets specimens of old shop fronts1 like those of ,st ,paul1 may be detected here and there1 and in the newer part of the town some fair ,renaissance designs are observable in the houses1 that of the ,htel de ,ville being the finest4 ,illustration3 ,,fig4 #bce4 ,,vence ,,cathedral4 ,vence is a very ancient city4 ,it was the ,ventium of ,roman times1 of which period numerous inscriptions and relics are preserved and built into the northern wall of the cathedral4 ,in medival times ,vence was originally the see of a bishop1 but was afterwards joined to that of ,frjus4 ,the town suffered the usual casualties from the attacks of the ,saracens and assaults during the wars of ,illustration3 ,,fig4 #bcf4 ,,plan ,,of ,,vence ,,cathedral4 religion4 ,the cathedral1 which is evidently very old1 is supposed to have been rebuilt after the destruction of the original one by the ,saracens in the ninth or tenth centuries4 ,owing to the simplicity of its style internally 7,fig4 #bce71 it has a most archaic appearance4 ,unfortunately1 the exterior cannot be well seen in consequence of the chapels1 houses1 c41 which are built against it4 ,originally the church has consisted 7,fig4 #bcf7 of a central nave #ah ft4 #f in4 wide1 with two side aisles each about #aj ft4 wide4 ,the chapels shewn projecting beyond the aisles are comparatively modern1 and are lighted from the roof4 ,the nave piers are 7as regards design7 simply portions of the side walls left standing1 while the remainder is omitted so as to form round arched openings into the aisles4 ,the side aisles are carried 7as was often done7 to a sufficient height to abut the central vault of the nave1 and are divided into two storys--the upper story being a gallery--an arrangement very common in ,lombardy and ,germany4 ,a more total absence of anything like ornament can scarcely be conceived4 ,this plainness1 taken in conjunction with the somewhat similar work at ,st ,paul's1 seems to indicate that the design here owes its origin to the reign of the early ,cistertian principles in the twelfth century4 ,the choir and the tower at the north-east angle 7,fig4 #bcg7 are evidently of a more recent date4 ,the choir1 with its circular apsidal termination1 internally1 converted into a square east end externally1 is somewhat remarkable4 ,it may be observed that the eastern termination of the churches of ,antibes and ,st ,paul are also square externally4 ,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 modillions4 ,the impost of the eastern door 7,fig4 #bcf7 is also quite ,italian1 and judging from the style of this part of the church1 it probably belongs to the thirteenth century4 ,the campanile adjoining the church likewise recalls those of the ,italian cities4 ,at ,vence1 as at ,antibes1 there are two such towers or keeps for defence1 one being ,illustration3 ,,fig4 #bcg4 ,,east ,,end1 ,,vence ,,cathedral4 attached to the church1 while the other was formerly connected with the castle1 and now with the ,htel de ,ville 7see ,fig4 #bdb74 ,the ground floor of the former tower enters from the church1 and forms a chapel where are deposited two very finely carved ,gothic doors1 which no doubt once served as the doors to the church4 ,the font 7,fig4 #bch7 stands in a small chapel at the west end4 ,its design is peculiar and striking1 and it is said to be very ancient4 ,adjoining the cathedral on the north are some ruinous remnants of the bishop's palace1 now converted into other uses 7,fig4 #bci74 ,in the 8place0 at the east end of the cathedral 7see ,fig4 #bcg7 stands a granite column raised on a pedestal1 and said to have been the gift of the city of ,massilia to her sister of ,vence4 ,in the same place some picturesque fragments of old houses are still preserved 7,fig4 #bdj71 the late ,gothic doorway on the right being given on a larger scale in ,fig4 #bda4 ,illustration3 ,,fig4 #bch4 ,,font1 ,,vence ,,cathedral4 ,there are several small 8places0 in the old town all containing a few relics of olden times4 ,the tower of the ,consuls 7for ,vence1 like the other towns in the province1 had her consuls and an independent government71 has already been mentioned1 and is shewn in ,fig4 #bdb1 adjoining a gateway leading into a 8place0 with a fountain on one side1 and the ,htel de ,ville on the other4 ,this tower is of the same style of masonry as those we have met with in other towns1 but it is now cut up into shops and houses1 and has lost its primitive features4 ,illustration3 ,,fig4 #bci4 ,,behind ,,cathedral1 ,,vence4 ,from the wide terrace in front of the ,htel de ,ville1 a magnificent view is obtained of the mountains to the northwards4 ,at the base of their lofty precipices the ruins of the ,commandery of ,st ,martin may be observed4 ,it seems to be a very short way off1 but is found to be a good half hour's walk and a stiff climb4 ,however1 the trouble is repaid1 for the view presented1 when the lofty point on which the ,commandery stands is attained1 is magnificent1 extending over ,vence1 ,st ,paul1 and ,cagnes to the sea1 and embracing the whole coast from the ,cap d',antibes to the headlands beyond ,nice4 ,the ,commandery itself is a shapeless ruin 7,fig4 #bdc74 ,the eastern wall and the great gateway1 with its wide machicolation in the style of the ,pope's palace1 are the only parts sufficiently entire to ,illustration3 ,,fig4 #bdj4 ,,ancient ,,house1 ,,vence4 ,illustration3 ,,fig4 #bda4 ,,doorway ,,in ,,vence4 give any indication of the nature of the buildings1 which from these seem rather to have resembled a castle than a monastery4 ,this was the chief house of the ,templars in the district1 and overlooked numerous and extensive lands with which the order was enriched4 ,the tower of ,la ,trinit1 as already mentioned1 formed one of the outlying forts of the ,templars1 and is well seen from the ,commandery4 ,when violent hands were laid upon the order by ,philip the ,fair1 ,hugorian was ,master of ,st ,martin-les-,vence4 ,he was seized in #acjh1 and carried off to prison in ,tarascon4 ,this country was then under the dominion of ,charles ,,ii4 of ,naples and ,duke of ,provence1 whom ,philip had persuaded to join in the destruction of the ,templars4 ,but in ,provence the greater number of the ,knights were allowed to escape1 only forty-eight in all being captured4 ,their lands were chiefly bestowed on the ,knights ,hospitallers1 who thus acquired great possessions in this part of ,provence4 ,illustration3 ,,fig4 #bdb4 ,,tower ,,or ,,keep ,,of ,,the ,,consul1 ,,vence4 ,illustration3 ,,fig4 #bdc4 ,,commandery ,,of ,,st ,,martin-,,les-,,vence4 ,a short railway journey conducts from ,vence-,cagnes to ,,nice1 across the ,var1 the 8dyke0 or wall which keeps the floods of this impetuous river within bounds being one of the most notable of ,french ,engineering ,works4 ,the existing town of ,nice is almost entirely modern4 ,the streets1 with their rows of shops and lines of trees1 look like a small piece of ,paris transported to the south4 ,the wide promenade des ,anglais by the shore1 however1 commands a prospect which nothing in ,paris can match4 ,the old town1 with its narrow streets crowded round the port1 is of ancient origin1 being one of the original ,phocan colonies1 and in the modern 8,nice0 may still be recognised its original ,greek name of ,nike 7victory74 ,but it became a place of secondary importance under the ,romans1 who made ,cemenelum1 an ancient town of the ,ligurians on the hill which overlooks ,nice from the north1 the chief city of the ,maritime ,alps1 to which ,nice acted merely as the port4 ,being so near the frontier1 both ,cemenelum and ,nice were exposed to attack on all hands1 and suffered severely from the invasions of the ,barbarians4 ,in #egh the ,lombards destroyed the strong city of ,cemenelum or ,cimis1 an event which1 to some extent1 restored the ancient importance of ,nice4 ,in #fag ,nice joined the other towns of the coast in a league to free themselves from the ,frankish kings4 ,the town was frequently attacked by the ,saracens1 and more than once taken and destroyed4 ,but after the ,moors were driven from the ,great ,fraxinet in #ige1 the inhabitants of the town were comparatively free from their inroads4 ,although ,nice stoutly defended her independence1 she was1 like the other towns of ,provence1 forced to yield to the ,counts of ,provence1 who rebuilt the ,castle both as a defence and menace to the inhabitants4 ,charles of ,anjou was greatly indebted to ,nice for ships to enable him to carry out his designs upon ,naples4 ,the incessant struggles between the powerful ,nobles in the neighbourhood1 the ,grimaldi of ,monaco1 the ,lascaris of ,tende1 and the ,dorias of ,dolce ,aqua devastated the land1 and brought famine and plague in their train4 ,in the wars which followed the death of ,queen ,jeanne1 the ,niois took the side of ,ladislaus of ,hungary1 and called in the ,count of ,savoy to aid them against the ,king of ,naples4 ,under the protection of ,savoy1 ,nice soon regained her prosperity4 ,the ,counts of that house strengthened the ,castle by every means in their power1 and for this purpose the ancient ,cathedral and ,bishop's ,palace were removed4 ,in the sixteenth and seventeenth centuries ,nice was exposed to damage from the armies both of the ,french and the ,emperor1 and suffered severely--so much so that the merest fragment is all that remains of the ancient castle ,illustration3 ,,fig4 #bdd4 ,,cross ,,at ,,cimi,s4 which gallantly withstood so many sieges1 and not a single ancient building is preserved4 ,illustration3 ,,fig4 #bde4 ,,castle ,,of ,,st ,,andr1 ,,near ,,nice4 ,the environs of ,nice1 although full of natural beauties1 are remarkably destitute of architectural interest4 ,the few ,roman relics at ,cemenelum have already been described4 ,near these is an old convent1 where from the churchyard a fine view of the lofty and rugged banks of the valley of the ,paillon 7which runs through ,nice7 may be obtained4 ,in the ,parvis in front stands a remarkable cross 7,fig4 #bdd71 bearing the image of the crucified seraph who appeared to ,st ,francis of ,assisi4 ,the cross bears a quatrefoil on each of its three upper points1 with the figure of a ,bishop and a ,monk carved in the side quatrefoils1 and that of the emblematic ,pelican on her nest feeding her young in the top quatrefoil4 ,the cross is supported on a twisted marble shaft1 some #i or #aj feet high1 having a composite capital1 containing a shield bearing the arms of the founder4 ,an inscription runs along the abacus1 in which #adgg is legible4 ,this date quite corresponds with the character of the design4 ,descending by a steep mule path from the height of ,cimis to the valley of the ,paillon past some great monasteries1 or similar establishments1 including that of ,st ,pons1 all surrounded with walls and studded with cypresses1 we reach the high road4 ,following this road for three miles up the valley brings us in view of the ,castle of ,st ,andr1 the sketch of which 7,fig4 #bde7 gives some idea of the nature of the scenery4 ,passing through the village of ,st ,andr1 and penetrating a short way further up the gorge of the torrent of the same name1 ,falicon is reached1 famous for its grotto and natural bridge4 ,the view looking back upon ,st ,andr 7,fig4 #bdf7 is strikingly picturesque4 ,from ,nice the railway proceeds eastwards by a long tunnel under the ridge1 formerly dominated by the old ,castle1 on emerging from which we find ourselves in one of the most charming scenes in the ,riviera1 the land-locked bay of ,,villefranche4 ,on the margin of this sheltered and beautiful arm of the sea stands the old 8,free-town10 surrounded with fortifications1 and reflected in the quiet waters1 on which1 too1 there are generally afloat one or two majestic representatives of foreign fleets4 ,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 it4 ,at one of the sharp turns round the rocks1 a first distant glimpse is caught of the old town and ,castle of ,,eza 7,fig4 #bdg71 set like an eyrie on the summit of its bare and lofty pyramidal peak4 ,there is a railway station at the base of the mountain1 and one feels tempted to alight and scale ,illustration3 ,,fig4 #bdf4 ,,st ,,andr1 ,,near ,,nice4 ,illustration3 ,,fig4 #bdg4 ,,eza1 ,,from ,,the ,,railway ,,station4 the height1 the buildings look so enticingly picturesque4 ,but it is no easy task2 there is scarcely any track for part of the way1 and when visible1 the path is rough and full of running stones1 as well as steep and winding4 ,one is glad to take a rest occasionally1 and enjoy the various fine views of the town on its lofty pinnacle1 and the extensive seaboard visible from this elevation4 ,fig4 #bdh gives some idea of the character of one of these prospects4 ,when at last the ascent is scaled1 the result1 as regards the architecture1 is1 it must be confessed1 on the whole rather disappointing4 ,the entrance gateway to the town is interesting from the remarkable and strong way in which its defences are ,illustration3 ,,fig4 #bdh4 ,,eza 7from ,e47 ,illustration3 ,,fig4 #bdi4 ,,approach ,,to ,,the ,,town ,,gate1 ,,eza4 arranged4 ,the outer approach 7,fig4 #bdi7 is by a passage faced by a cannon port-hole4 ,from this access a gate at right angles leads to a second narrow enclosed passage commanded by a machicolated tower1 through which a winding and ascending vaulted way conducts into the town 7,fig4 #bej47 ,the view of the interior of this gateway is very picturesque 7,fig4 #bea47 ,the town itself consists of a few narrow tortuous lanes bordered by decaying houses1 chiefly tenanted by donkeys1 pigs1 and poultry4 ,on the top of the bare rock1 and approached by great steps cut in the solid limestone1 a few scanty and unintelligible fragments of the castle are yet visible1 but the greater portion has been entirely swept away4 ,illustration3 ,,fig4 #bej4 ,,entrance ,,gateway ,,to ,,town1 ,,eza4 ,eza was the ,arisium of ,antonine's ,itinerary1 and it formed1 like ,gourdon1 during medival times1 a pretty secure retreat from the assaults of the ,corsairs4 ,the castle was1 however1 demolished by the ,turks under ,barbarossa in #aedc4 ,the arcaded tower house1 and the door lintel1 shewn in ,figs4 #beb and #bec1 were the only objects of architectural interest discoverable in the place4 ,illustration3 ,,fig4 #bea4 ,,interior ,,of ,,entrance ,,gateway1 ,,eza4 ,between ,eza and ,monaco the railway continues to run along the base of the immense cliffs which overhang the sea1 or through the frequent tunnels which penetrate them4 ,one station short of ,monaco we arrive at that for ,,la ,,turbie2 from which1 by a very steep and zig-zag path1 one may ascend the bare and nearly vertical hill above the railway1 whence a pleasant walk of a mile or two through the pine forest leads to the town of ,la ,turbie4 ,this elevated situation is1 however1 more easily approached by a long well-paved but steep mule-path from ,monaco4 ,the ,illustration3 ,,fig4 #beb4 ,,house ,,in ,,eza4 monument to ,augustus1 which here marks the limit between ,gaul and ,italy1 has already been described 7ante1 p4 #hg74 ,this monument has provided a quarry1 out of which the more important buildings of the town have been constructed4 ,this is apparent from the great size of the stones used in the erection of the outer gateway to the ,illustration3 ,,fig4 #bec4 ,,doorway ,,in ,,eza4 ,illustration3 ,,fig4 #bed4 ,,outer ,,south ,,gateway1 ,,la ,,turbie4 south 7,fig4 #bed47 ,passing through this archway1 an inner encircling street is entered1 from which another picturesque and pointed gateway 7,fig4 #bee7 gives access to the centre of the town4 ,there is also a third gateway of pointed form1 with a long machicolation over it at the eastern entrance 7,fig4 #bef71 and some further fragments of the olden time are to be seen in the streets 7,fig4 #beg74 ,the great trophy of ,augustus1 from which the place derives its name1 was converted in medival ,illustration3 ,,fig4 #bee4 ,,inner ,,south ,,gateway1 ,,la ,,turbie4 times into a fortress1 when the upper part has been rebuilt4 ,the double tier of pointed arcade-ornaments 7,fig4 #cb71 which formed the support of the parapet1 have quite an ,italian character4 ,they remind one of the similar ornament on ,grasse ,cathedral4 ,this tower was blown up by ,marshal ,villars at the end of the seventeenth century4 ,illustration3 ,,fig4 #bef4 ,,eastern ,,gateway1 ,,la ,,turbie4 ,in descending by the steep and well-paved footpath from ,la ,turbie to ,monaco1 delightful glimpses are obtained from amongst the luxuriant olives and citrons of the latter town on its isolated rock4 ,most of the towns on the sea-board have a prominent rock for their site1 but that on which ,monaco is built is the most detached and sea-girt of them all4 ,it is of considerable height1 and has perpendicular faces on all sides4 ,on three sides these plunge sheer down into the sea1 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 beach4 ,on the inaccessible platform above these precipices stands the ancient town1 surrounded with its walls and bastions1 and giving shelter and protection to the quiet harbour on its eastern flank4 ,of all these features we have a commanding prospect as we descend from the heights of the ,cornice road1 which passes by ,la ,turbie4 ,the history or traditions of ,monaco extend further back than those of most of the localities of the ,riviera4 ,it derives its name from ,hercules1 who is supposed to have touched here on his way into ,spain1 and to have gained a great victory over the native tribes4 ,hence the name of ,portus ,herculis1 by which the place was known in the early centuries of our era4 ,this was afterwards changed to ,portus ,herculis ,monci1 and finally into ,monaco4 ,the rocky fortress subsequently fell into the hands of the ,saracens1 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 ,fraxinet1 and whose successors became the ,princes of ,monaco4 ,illustration3 ,,fig4 #beg4 ,,houses ,,at ,,la ,,turbie4 ,in the eleventh century the place seems to have been abandoned1 and in #aafb the ,emperor ,frederick ,i4 presented it to the ,republic of ,genoa1 who took possession1 and rebuilt the fortifications in #abae4 ,during the struggles of the ,italian ,republics1 and the wars of the ,guelphs and ,ghibellines1 ,monaco several times changed hands1 but was most frequently in the possession of the ,grimaldi1 and sometimes became the shelter of bands of pirates who scoured the ,mediterranean4 ,the ,grimaldi sided with the ,french in the ,italian wars of ,charles ,,viii4 and ,louis ,,xii41 and through the influence of the latter became the governors of the whole of the ,western ,riviera4 ,during the struggle between ,france and ,spain in the sixteenth and seventeenth centuries1 ,monaco was alternately under the protection of each4 ,the boundaries of the principality then included ,mentone and ,roquebrune1 but in #ahdh ,mentone declared itself a free town4 ,since the annexation of the county of ,nice by ,france1 the principality1 which is about three miles long by about half a mile wide1 is entirely surrounded by the ,french ,canton of 8,menton40 ,a comparatively easy drive to the town has now been made up the east side of the rock1 but the original approach was by a steep flight of steps1 carefully defended with strongly fortified gates1 and commanded by the battlements above 7see sketch1 ,fig4 #beh74 ,the existing works at this point are evidently of the seventeenth century4 ,the north side1 which overlooks the mainland1 was fortified with a large circular bastion at the western angle 7,fig4 #bei71 and a square one at the eastern angle4 ,the former still retains some of the large corbels which carried the original parapet of the fifteenth century2 but the bastions have been heightened and made suitable for artillery at a later date4 ,on arriving at the top of the entrance to the town1 a wide open staircase ascends to the front of the ,ducal ,palace 7,fig4 #beh74 ,this edifice is a picturesque assemblage of buildings of several dates1 chiefly of the ,renaissance period4 ,some of the old towers retain their forked battlements1 a form common in the ,north of ,italy4 ,the whole place is vast and palatial1 and from its lofty site and splendid background1 composed of a rugged mountain called the ,tte de ,illustration3 ,,fig4 #beh4 ,,ducal ,,palace1 ,,monaco4 ,chien1 has a noble and impressive appearance4 ,the courtyard of the palace is also a fine though somewhat peculiar specimen of ,italian design1 the fresco paintings on the walls giving it a rich and southern aspect4 ,illustration3 ,,fig4 #bei4 ,,ducal ,,palace1 ,,monaco 7,n4,w4 ,bastion47 ,the town consists of three parallel streets1 and contains some good bits of old work4 ,a large new church in the early ,romanesque or ,provenal style of architecture has recently been erected4 ,the old church contained specimens of capitals1 and other details very similar to those of the lower arcade in the ,castle of ,st ,honorat4 ,the gardens of the palace1 which extend round the western side of the rock1 where every chink and crevice is filled with fig trees1 aloes1 pears1 and palms1 form a delightful promenade2 and the views from the walls towards ,monte ,carlo and ,mentone1 ,illustration3 ,,fig4 #bfj4 ,,entrance ,,to ,,town1 ,,roquebrune4 with the mountain ranges behind them1 are most charming4 ,only a few miles off 7about an hour's walk7 the remark remarkable town of ,,roquebrune is seen embosomed in orange groves on the slope of the mountain4 ,the ascent from the railway station is by a steep and narrow path1 which penetrates into the town by a long vaulted and stepped passage1 the entrance to which is through a small arched gateway1 defended by a wide overhanging machicolation 7,fig4 #bfj74 ,the church of ,st ,margaret is then reached1 in which the old font 7,fig4 #bfa7 is worthy of note4 ,the peculiarity of this town arises from the huge masses of rock which stand up amongst the houses1 and at a short distance present the appearance of a great castle4 ,these give the town its name1 and one of them1 larger than the rest1 is actually crowned with the remains of the ancient fortress of the ,lascaris 7,fig4 #bfb71 which1 however1 is now but an empty shell4 ,one or two open 8places0 amongst the great rocks form beautiful terraces1 commanding fine and extensive prospects4 ,illustration3 ,,fig4 #bfa4 ,,font1 ,,roquebrune4 ,the railway1 after leaving ,roquebrune1 sweeps round the ,cap ,martin1 and enters the bay of ,,mentone1 which is only about four miles off4 ,this town1 like all the others on the coast1 had its castle on the summit of a promontory which juts out into the sea1 and divides the coast into two portions1 called the eastern and western bays4 ,the ,counts of ,ventimiglia and the ,genoese had1 at different times1 possession of the town and castle1 but it was for the most part an appanage of ,monaco1 and followed its fortunes4 ,in #ahdh the inhabitants formed themselves into a free ,republic1 and enjoyed autonomy for thirteen years1 after which ,mentone became the 8chef lieu0 of a ,french ,canton4 ,the town was at one time surrounded with walls1 which rose straight up from the sea4 ,it thus completely occupied ,illustration3 ,,fig4 #bfb4 ,,roquebrune ,,castle4 the narrow strip of land between the shore and the hill on which the castle stood1 and barred the way along the coast4 ,the eastern gate of the town1 and the 8,long ,street10 which is also a very narrow one1 leading through it1 still remain1 but a new and wider roadway1 which forms part of the ,cornice ,road1 has been constructed along the back of the houses in the eastern bay1 and now encloses the harbour on the side next the town4 ,an old square tower at the extreme point of the promontory is one of the few relics of the fortifications of the town4 ,above the 8,long ,street0 the houses are built in terraces1 rising rapidly tier above tier on the hillsides1 and approached by long flights of steps and narrow vaulted lanes4 ,in the midst of these stand the churches1 buildings of the seventeenth century1 of clumsy character4 ,the towers and spires1 however1 form a picturesque group 7,fig4 #bfc72 and along with the houses1 as seen from the harbour1 together with the magnificent background of lofty and partly snow-clad mountains which shelter ,mentone on the north1 they compose a splendid picture4 ,illustration3 ,,fig4 #bfc4 ,,mentone 7from the ,harbour74 ,the old castle which formerly crowned the summit1 has been entirely demolished1 and its site is occupied as a cemetery1 from which very fine views are obtained both of the coast line and of the mountains on the north4 ,numerous narrow valleys and gorges run up from the sea towards the mountains1 forming beautiful and interesting promenades and excursions1 but there is little to attract the student of architecture4 ,at ,,gorbio1 beautifully situated about five miles from ,mentone to the west1 and some distance up a charming valley1 there are an old church with a dark nave1 and the remains of a castle of the ,lascaris4 ,the houses here are united by arches thrown across the narrow streets1 an arrangement very common in this district1 and supposed to be for the purpose of resisting to some extent the effect of earthquakes4 ,,ste ,,agn,s1 not far from ,gorbio1 is also a favourite excursion4 ,it is a lofty and beautiful spot1 with the remains of an old castle said to be of ,saracenic origin4 ,the ascent to ,,castellar forms another delightful walk of about an hour and a-half1 giving a fine idea of the richness of the valleys of ,mentone in lemons1 in the growth of which they excel every place north of ,palermo4 ,the town of ,castellar is of some extent1 and its situation on a 8col0 at the top of a steep ascent is fine1 but there is no architecture of importance4 ,it is clumsily built1 and has been at one time surrounded with walls1 which now form the exterior of houses4 ,some remains of ditches and towers--one of the latter being converted into the belfry of the church--also still exist4 ,about a mile eastwards from ,mentone the ,cornice ,road crosses by the bold arch of the ,pont ,st ,louis the ravine which now forms the boundary between ,france and ,italy4 ,since #ahfa the limits of ,france have been extended considerably further eastwards than in ancient times1 when ,la ,turbie marked the boundary of ,gaul4 ,in the course of our journey we have observed that as we approach the frontier1 the towns possess a good deal of the ,italian character1 and that both historically and architecturally they have much in common with ,italy4 ,the architectural styles of ,france and ,italy were observed to overlap each other in the district we have just examined4 ,but when we pass the modern boundary of ,france at the ,pont ,st ,louis1 we may ,illustration3 ,,fig4 #bfd4 ,,west ,,portal ,,of ,,cathedral1 ,,ventimiglia4 be said to have left nearly all trace of ,french and ,provenal architecture behind1 and in our further progress eastwards we shall meet with almost nothing which is not entirely ,italian in style4 ,we shall therefore in concluding our journey give only a rapid sketch of some of the more important buildings between ,mentone and ,genoa4 ,illustration3 ,,fig4 #bfe4 ,,interior ,,of ,,cathedral1 ,,ventimiglia4 ,the railway eastwards from ,mentone follows the coast line1 and cuts through some lofty rocks at the mouth of the ,illustration3 ,,fig4 #bff4 ,,street ,,in ,,dolce ,,aqua4 torrent of ,st ,louis1 famous from containing the caves in which have been discovered human remains1 associated with the bones of extinct animals1 such as the mammoth1 the great bear1 the elk1 c4 ,illustration3 ,,fig4 #bfg4 ,,castle ,,of ,,the ,,dorias1 ,,dolce ,,aqua4 ,about seven miles from ,mentone1 the line passes ,illustration3 ,,fig4 #bfh4 ,,dolce ,,aqua 7from the ,s4,w47 ,illustration3 ,,fig4 #bfi4 ,,street ,,in ,,san ,,remo4 through a tunnel1 on emerging from which the frontier town of ,,ventimiglia is seen towering above the plain of the river ,roya4 ,it stands on a bold rocky headland1 defended on one side by the sea1 and on the other by the river4 ,like all border towns1 its possession was constantly disputed by the neighbouring suzerains1 and it endured many sieges1 but was generally under the authority of the town of ,genoa4 ,the streets are narrow and tortuous1 and have the usual picturesque staircases and arches4 ,the porch of the cathedral seen in the sketch 7,fig4 #bfd7 is old1 and is decidedly ,italian in character1 but the rest of the front is modern4 ,the interior again 7,fig4 #bfe7 might be a ,provenal ,cistertian design1 such as that of ,thoronet4 ,two miles eastwards from ,ventimiglia1 the valley of the ,nervia opens to the left4 ,an easy and agreeable walk of about five miles up the valley leads to the very quaint old town of ,,dolce ,,aqua4 ,on the way we pass through the decaying but picturesque town of ,campo ,rosso with an open 8place0 lined with arcaded footways4 ,illustration3 ,,fig4 #bgj4 ,,houses ,,in ,,san ,,remo4 ,the most ancient part of ,dolce ,aqua lies on the left side of the river1 which is crossed by an old bridge of one span1 having the roadway stepped up on each side1 and showing traces of old fortifications4 ,above this the houses rise in tiers1 forming a dense and confused labyrinth of narrow lanes and dark tunnels--many of the former ,illustration3 ,,fig4 #bga4 ,,san ,,siro1 ,,san ,,remo 7,n4 ,doorway74 crossed by strengthening arches thrown between the houses on each side 7,fig4 #bff74 ,dominating the whole stand the proud ruins of the castle of the ,dorias 7,fig4 #bfg71 a family famous in the history of ,genoa and the ,riviera4 ,it is a building of a late date 7seventeenth century71 and has been defended with great bastions mounted with cannons 7,fig4 #bfh71 surrounded with walls1 and provided with a drawbridge4 ,the castle has evidently contained large and sumptuous apartments1 but the interior is now reduced to total ruin4 ,the town has also been provided with fortifications1 of which one tower near the river has been appropriated and heightened into a church steeple 7,fig4 #bfh74 ,the castle has been abandoned since the wars of #agdh1 and the descendants of the ,dorias now occupy a mansion1 situated under the walls1 in which there is a finely carved chimney piece1 and an interesting collection of family portraits4 ,the town of ,,pigna1 about ten miles further up the valley1 is said to contain a good church of the fifteenth century1 with pointed arches1 and a fine painting of the sixteenth century4 ,illustration3 ,,fig4 #bgb4 ,,gateway ,,and ,,street ,,in ,,taggia4 ,passing the ancient republic of ,bordighera1 with its arcaded streets and splendid palm gardens1 we soon reach ,,san ,,remo4 ,this ancient town1 originally independent1 came ultimately1 like the rest of the ,riviera1 under the authority of ,genoa4 ,it consists as usual of one principal street along the narrow strip of ground between the base ,illustration3 ,,fig4 #bgc4 ,,doorway ,,in ,,taggia4 of the hill on which the old town stands and the sea4 ,the town consists of the ordinary pile of terraced houses with narrow tortuous streets and steep flights of steps leading up to them4 ,there is here an extraordinary profusion of the arches1 of which we have met with examples elsewhere1 thrown across the narrow streets1 in order to strengthen the houses against the shocks of earthquake to which this region is liable4 ,these features sometime produce1 together with the stairs and tall houses1 extraordinary combinations and effects 7,figs4 #bfi and #bgj74 ,the cathedral of ,san ,siro1 which stands detached in a small 8place10 has some good ,italian features still preserved1--amongst which are the north and south doorways 7,fig4 #bga71 the remainder having been greatly modernised and spoiled4 ,in the main street there are some fair specimens of ,renaissance palaces1 somewhat in the style of those of ,genoa4 ,illustration3 ,,fig4 #bgd4 ,,doorway ,,in ,,taggia4 ,from the railway station of ,arma di ,taggia1 some miles east of ,san ,remo1 an expedition may be made about five miles up the valley to the exquisitely quaint old town of ,,taggia4 ,it concentrates in itself all the various remarkable features of the towns of the ,riviera in its arcaded streets and vaulted footpaths1 narrow lanes crossed with arches1 and approached by steep stairs and dark tunnels2 and these features are here all combined in so profuse and picturesque a manner as to present an epitome of those of all the rest4 ,in the midst of these striking general ,illustration3 ,,fig4 #bge4 ,,cloisters1 ,,st ,,cristofero1 ,,taggia4 ,illustration3 ,,fig4 #bgf4 ,,church ,,at ,,alassio4 effects1 so captivating to the artist1 it is difficult1 however1 to pick out anything which may be regarded as really good architecture4 ,fig4 #bgb gives some idea of the picturesqueness of the arcaded streets and gateways1 while ,figs4 #bgc and #bgd give a few good architectural details4 ,the first 7,fig4 #bgc7 might1 from its style1 be the lintel of any fifteenth century house in ,genoa 7a splendid example of a similar style of doorway at ,genoa being shown in ,fig4 #bha71 and the other 7,fig4 #bgd7 is a ,renaissance doorway in black marble ornamented with raised arabesques4 ,close to the town is the monastery of ,san ,cristofero1 where the ancient cloister and tower 7,fig4 #bge7 are good specimens of early ,italian work4 ,the vaulting of ,illustration3 ,,fig4 #bgg4 ,,towers ,,and ,,west ,,end ,,of ,,church1 ,,albenga4 the cloister is late1 the original roof being probably of timber4 ,the tower is a good ,italian campanile1 with string courses of the arcaded ornament so common in ,lombardy and the ,rhineland4 ,illustration3 ,,fig4 #bgh4 ,,albenga 7from ,railway ,station74 ,we are now in the centre of the district which suffered so severely from the earthquakes of #ahhg4 ,,bussana is passed on the right in returning to the railway4 ,the towns of ,,porto ,,maurizio 7which stands on a solitary rock71 ,,oneglia1 and ,,diano ,,marina1 all names too well known in connection with the above catastrophe1 are reached in succession before arriving at ,,alassio1 the furthest east of the health resorts of the ,riviera4 ,the tower of the church here 7,fig4 #bgf7 has the usual form of the ,italian campanile4 ,a few miles further east bring us to ,,albenga1 which is1 architecturally speaking1 the most interesting town on this part of the coast4 ,it lies in a hollow near the mouth of the river ,acosia1 and is defended from the cold winds of the ,north by an amphitheatre of lofty1 snow-clad mountains4 ,the general view of the town from the ,illustration3 ,,fig4 #bgi4 ,,tower ,,at ,,north-,,east ,,of ,,church1 ,,albenga4 railway station 7,fig4 #bgh7 shews the peculiar preponderance of square towers for which it is remarkable4 ,on closer inspection these are found to be no less surprising than when seen from a distance4 ,they are generally quite plain and are built of brick4 ,the view of the west end of the church 7,fig4 #bgg7 shews four of these towers crowded close together1 exhibiting examples of several different designs4 ,that over the north entrance to the church has a strong resemblance to the campaniles of ,lombardy1 such as that of ,mantua1 and is thoroughly ,italian in every detail1 while the plain square towers adjoining recall similar examples at ,bologna and elsewhere in ,italy4 ,that again at the east end of the church1 which has the figure of the lion at its base 7,fig4 #bgi71 with its plain brick shaft1 its triple arcaded top1 and fork-shaped battlements1 is almost identical with those of ,verona4 ,the church has originally been an ,italian design of the thirteenth century4 ,although now much altered and spoiled it has evidently had the same arcaded ornament at the eaves as we have observed at ,grasse1 ,san ,remo1 and elsewhere4 ,the doorways also correspond in style with the above churches4 ,to the north of the church is a very interesting baptistery1 which reminds one of those of ,frjus and ,aix4 ,it is of octagonal form1 #bh feet long by #bf feet wide1 with a vault supported on ,corinthian-like pillars1 and has a very ancient but dismal and neglected appearance4 ,one of the windows is filled with stone tracery of a ,byzantine or ,moorish character4 ,in moving eastwards we pass in succession ,,ceriale1 with its fortifications1 and ,,loano with its great monasteries1 ,,verezzi with one good campanile1 and ,,flnalmarino with two4 ,from the latter a view is obtained of ,,finalborgo in the distance 7about two miles off71 where there are evidently the remains of a fine castellated structure4 ,at ,illustration3 ,,fig4 #bhj4 ,,cloisters1 ,,san ,,matteo1 ,,genoa4 ,illustration3 ,,fig4 #bha4 ,,doorway1 ,,piazza ,,san ,,matteo1 ,,genoa4 ,noli there is an ancient entrance tower with an archway through it4 ,savona retains its fortifications of the ,vauban ,school1 and ,verazze the shattered ruins of an old castle4 ,illustration3 ,,fig4 #bhb4 ,,church1 ,,cloisters1 ,,etc41 ,,genoa4 ,it is not intended to attempt to describe the architecture of ,,genoa4 ,that has already formed the subject of special works1 and would require a volume to itself4 ,only1 in closing this account of the architecture of the ,riviera1 one or two examples from ,genoa are given1 in order to make more distinct the analogies to which attention has been drawn between the architecture of a large part of the ,riviera and that of the famous ,republic1 as well as the style of ,italy generally4 ,thus the side doorway of the cathedral exhibits1 in a remarkable manner1 the same imitation of ,roman architecture 7see ,vignette on title page1 and ,heading p4 #be71 modified by the introduction of ,romanesque or ,teutonic ornament1 which we observed at ,st ,gilles1 ,arles1 and other churches of ,provence4 ,this doorway is part of the original building of the eleventh century1 although the greater part of the cathedral was restored about #acjj4 ,illustration3 ,,fig4 #bhc4 ,,campanile1 ,,genoa4 ,the faade of ,san ,matteo1 on which are engraved so many inscriptions in honour of the various distinguished members of the family of ,doria and that of ,san ,stefano1 shew the arcaded caves1 and the inlaid moulding under the cornice which exist at ,grasse1 ,san ,remo1 ,ventimiglia1 c4 ,the doorways of these churches have the same flat porch1 with small projection1 and plain pointed gable1 and the same sort of arch and shafts as several of the examples we have met with in the ,riviera4 ,san ,matteo dates from #abgh4 ,the cloister 7,fig4 #bhj7 which adjoins that church is of the beginning of the fourteenth century1 and contains the monuments of the ,dorias1 which have been brought here from the suppressed church of ,santa ,dominica4 ,the cloisters of ,san ,matteo1 and also those of ,san ,lorenzo1 present shafts and caps in the same ,italian style as we have observed extended as far westwards as the cloisters at ,frjus1 and the upper cloister of the castle of ,st ,honorat4 ,the sculptured lintel in the ,piazza ,san ,matteo 7,fig4 #bha71 exhibiting the combat of ,st ,george and the ,dragon1 although more elaborate1 is similar in style to the lintel of the house at ,taggia 7,fig4 #bgc72 while the campaniles and arcades of other churches in ,genoa 7,figs4 #bhb and #bhc7 recall the ,italian style1 of which we have met with so many examples in ,provence4 ,illustration3 ,,fig4 #bhd4 ,,knocker1 ,,elne ,,cathedral4 ,illustration3 ,,fig4 #bhe4 ,,lamp ,,from ,,old ,,church1 ,,monaco4 ,,index4 ,aegitna1 #cjh4 ,aigues ,mortes1 #bjf4 ,aix-en-,provence1 #bag4 ,alassio1 #ded4 ,albenga1 #def4 ,albigensian ,crusades1 #bg4 ,antibes1 #hd1 #cga4 ,arles1 #ej1 #ahc4 ,autun1 #cc4 ,aurelian ,way1 #gi4 ,auribeau1 #chj4 ,avignon1 #c1 #cd1 #acg4 ,barbarians1 ,invasions of1 #ad4 ,beaucaire1 #agc4 ,bziers1 #bbb4 ,biot1 #chg4 ,burgundy1 ,style of1 #aji4 ,bussana1 #def4 ,byzantine ,architecture1 #ig4 ,cagnes1 #cgf4 ,callian1 #cfd4 ,camargue1 ,the1 #gg4 ,cannes1 #hc1 #cjh4 ,cannet1 #bge4 ,carcassonne1 #bdc4 ,carpentras1 #dg1 #afg4 ,castellar1 #dda4 ,castellaras1 #cej4 ,castellated ,architecture1 #aaf4 ,cavaillon1 #dh1 #afg4 ,cemenelum 7,cimis71 #hf1 #dba4 ,ceriale1 #deh4 ,charlemagne1 ,revival under1 #ag4 ,chartreuse du ,val de ,bndiction1 #afd4 ,christian ,buildings1 ,early1 #ie4 ,church1 ,early ,organisation of1 #ab2 ,revival of1 #ai4 ,cistertian ,architecture1 #aaj1 #bgd4 ,citeaux1 ,monks of1 #bb4 ,clausonne1 #hd4 ,cluny1 ,abbey of1 #ai4 ,cogolin1 #cjb4 ,courthzon1 #acg4 ,crau1 ,the1 #gg4 ,cruas1 #abh4 ,crusades1 #bc4 ,crussol1 #abh4 ,dolce ,aqua1 #ddh4 ,dome1 ,the use of1 #aje4 ,elne1 #bci4 ,esterel1 #cjd4 ,eza1 #dbd4 ,feudal ,system1 #aab4 ,finalborgo1 #deh4 ,finalmarino1 #deh4 ,france1 ,northern ,architecture1 #a4 8 ,southern 81 #c4 ,fraxinet1 le ,grand1 #cjd4 ,frjus1 #hj1 #bhe4 ,garde ,adhmar1 #acd4 ,gaul1 ,southern1 ,history1 #e1 #i4 ,genoa1 #dfa4 ,gorbio1 #ddj4 ,gothic1 ,northern1 #aad4 ,gourdon1 #cff4 ,grasse1 #cej4 ,greek and ,roman ,colonies--in ,towns--#aj4 ,grimaud1 #cjb4 ,holy ,roman ,empires1 #ae4 ,hyres1 #bgj4 ,iles de ,lrins1 #cai4 ,la ,garde ,freinet1 #cjd4 ,lagunes1 ,the1 #bba1 #bce4 ,la ,trinit1 ,tower of1 #chb4 ,la ,turbie1 #hg1 #dbh4 ,le ,bar1 #cfe4 ,le ,cannet1 #cdg4 ,le ,luc1 #hj4 ,le ,thor1 #afg4 ,les ,baux1 #agh4 ,les ,maures1 #bii4 ,les ,saintes ,maries1 #bab4 ,loano1 #deh4 ,lyons1 #cd1 #aba4 ,marseilles1 #gi1 #bac4 ,mediterranean1 ,littoral of--,history1 #g4 ,mentone1 #ddj4 ,mollges1 #afh4 ,monaco1 #dcb4 ,monasteries1 ,origin of1 #ab4 8 ,growth of1 #ai4 ,mont ,majour1 #aid4 ,mont ,st ,cassien1 #cjg4 ,mougins1 #cdh4 ,municipalities of the ,middle ,ages1 #aa4 ,muse ,calvert1 #cd4 ,napoule1 #cje4 ,narbonne1 #bcj4 ,nice1 #hf1 #dah4 ,nimes1 #fd4 ,noli1 #dfa4 ,notre ,dame de ,vie1 #cdi4 8 8 du ,pr1 ,le ,mans1 #ajb4 ,oneglia1 #def4 ,orange1 #dj4 ,pernes1 #afg4 ,perpignan1 #bce4 ,phocans in ,gaul1 #g4 ,phnicians do41 #g4 ,pigna1 #ddi4 ,pointed ,arch1 #ajg1 #aac4 ,pomponiana1 #hj4 ,pont du ,gard1 #gf4 8 ,st ,bnezet1 #aea4 8 ,st ,esprit1 #acf4 ,porto ,maurizio1 #def4 ,provence1 ,history of1 #be4 8 passed to ,france1 #cj4 ,provenal ,architecture1 #aje1 #aah1 #baa4 ,puisalicon1 #bbi4 ,ravenna1 #if4 ,riez1 #bib4 ,riviera1 ,the1 #gi4 ,roman ,architecture1 ,early1 #ij4 8 8 ,the ,arch in1 #ia4 ,roman ,architecture1 ,continued under ,christianity1 #id4 ,roman ,architecture1 ,remains in ,provence1 #cc4 ,roquebrune1 #dcg4 ,ste ,agns1 #dda4 ,st ,andr1 ,castle of1 #aee1 #dba4 8 ,csaire1 #cei4 8 ,chamas1 #gg4 8 ,front1 ,perigueux1 #ajd4 8 ,gabriel1 #ahb4 8 ,gilles1 #bjd4 8 ,honorat1 ,castle of1 #cbc4 8 8 ,island of1 #cai4 8 ,mark's1 ,venice1 #ih4 ,ste ,margurite 7,lrins71 #cdc4 ,st ,martin de ,londres1 #bbi4 8 8 les ,vences1 #dah4 8 ,maximin1 #bhb4 8 ,paul-,trois-,chteaux1 #acd4 8 8 -du-,var1 #cib4 8 ,peyr1 #cjf4 8 ,pierre de ,reddes1 #bbi4 8 ,raphel1 #bii4 8 ,remy1 #dh4 8 ,ruf1 #afd4 8 ,sauveur 7,lrins71 #cbc4 ,ste ,trinit 7,lrins71 #cbj4 ,st ,tropez1 #cjj4 8 ,veran1 #afd4 ,san ,miniato1 #ajj4 8 ,remo1 #dej4 ,saracens1 ,invasion of1 #ae4 ,saut du ,loup1 #cfi4 ,savona1 #dfa4 ,sculpture in ,provence1 #ajg4 ,single-nave ,churches1 #aje4 ,syrian ,churches1 #ih1 #baj4 ,taggia1 #deb4 ,tarascon1 #afh4 ,thoronet1 #bgd4 ,toulon1 #gi4 ,tourettes1 #cfi4 ,tournon1 #cfc4 ,vaison1 #afe4 ,valence1 #abg4 ,vallauris1 #cdd4 ,vaulting1 ,introduction of1 #ajj4 8 in ,provence1 #ajb4 ,vaulting in ,aquitaine1 #ajc4 ,venasque1 #afg4 ,vence1 #hd1 #djh4 ,ventimiglia1 #ddb4 ,verazze1 #dfa4 ,verezze1 #deh4 ,verngues1 #gh4 ,vienne1 #cd1 #abd4 ,villeneuve1 ,town of1 #aed4 8 ,church1 #afc4 ,villeneuve-,loubet1 #cgh4 ,villes ,mortes1 #bbj4 ,visigoths1 #aj4 ,viviers1 #acd4 ,illustration3 ,,finis ,,from ,,arles ,,museum4 99 99 99 99 99 ,,the ,,castellated ,,and ,,domestic ,,architecture ,,of ,,scotland ,,from ,,the ,,twelfth ,,to ,,the ,,eighteenth ,,century ,,by ,,david ,,macgibbon and ,,thomas ,,ross ,,architects ,with about #ajjj ,illustrations of ,ground ,plans1 ,sections1 ,views1 ,elevations1 and ,details4 ,in #b ,volumes4 ,royal #hvo4 ,four ,guineas nett4 8,one of the most important and complete books on ,scottish architecture that has ever been compiled4 ,its value to the architect1 the archologist1 and the student of styles is at once apparent4 ,it consists almost exclusively of what may be called illustrated architectural facts1 well digested and arranged1 and constituting a monument of patient research1 capable draughtsmanship1 and of well sustained effort1 which do the authors infinite credit40--,scotsman4 8,their descriptions are good1 and their arguments always worth attention and generally convincing4444 ,the plans 444 are clear and good1 and by themselves make the book a most valuable addition to the library of any man who wishes to study and understand the defensive architecture of the ,middle ,ages4 ,the book has another value in that it preserves a record of so many buildings in the state they are now4 ,many are neglected and daily falling more and more into ruin40--,athenum4 8,no one acquainted with the history of ,great ,britain can take up this neatly-bound volume 444 without being at once struck by its careful completeness and extreme archological interest1 while all students of architectural style will welcome the work specially for its technical thoroughness40--,building ,news4 8,the authors merit the thanks of all architectural readers1 professional and amateur1 for the production of a very well studied and illustrated hand-book of a most interesting class of ancient buildings40--,the ,builder4 8,careful observation and accurate description appear to specially characterise this work40--,british ,architect4 8,in its complete form the merits of the work are more apparent1 and we have no hesitation in saying that we consider it to be far superior to any of the preceding books on the subject40--,the ,architect4 8,a learned1 painstaking1 and highly important work40--,scottish ,review4 8,the best authority upon the architecture of ,scottish ,castles yet issued40--,dundee ,advertiser4 8,to the intelligent readers of all classes1 we can cordially recommend it as a very interesting and suggestive book40--,daily ,free ,press1 ,aberdeen4 8,messrs4 ,mac,gibbon and ,ross now show in sketches of ground plans and elevations such a series of domestic structures as not only indicates the gradual progress of ,scottish architecture from times comparatively rude1 but permits the development to be traced in such a way as determines the stages of progress or #8,periods' into which its history may be naturally divided40--,glasgow ,herald4 8,highly interesting and picturesque work40--,edinburgh ,review4 ,,edinburgh3 ,,david ,,douglas1 #ae ,,castle ,,street4 ,,footnote3 ,a ,elevations and details are given in ,viollet-le-,duc's ,dictionnaire1 to which we are also indebted for most of the above particulars4