The most ancient part of Dolce Aqua lies on the left side of the river, which is crossed by an old bridge of one span, having the roadway stepped up on each side, and showing traces of old fortifications. Above this the houses rise in tiers, forming a dense and confused labyrinth of narrow lanes and dark tunnels—many of the former

crossed by strengthening arches thrown between the houses on each side (Fig. 266). Dominating the whole stand the proud ruins of the castle of the Dorias (Fig. 267), a family famous in the history of Genoa and the Riviera. It is a building of a late date (seventeenth century), and has been defended with great bastions mounted with cannons (Fig. 268), surrounded with walls, and provided with a drawbridge. The castle has evidently contained large and sumptuous apartments, but the interior is now reduced to total ruin. The town has also been provided with fortifications, of which one tower near the river has been appropriated and heightened into a church steeple (Fig. 268). The castle has been abandoned since the wars of 1748, and the descendants of the Dorias now occupy a mansion, situated under the walls, in which there is a finely carved chimney piece, and an interesting collection of family portraits. The town of Pigna, about ten miles further up the valley, is said to contain a good church of the fifteenth century, with pointed arches, and a fine painting of the sixteenth century.

Passing the ancient republic of Bordighera, with its arcaded streets and splendid palm gardens, we soon reach San Remo. This ancient town, originally independent, came ultimately, like the rest of the Riviera, under the authority of Genoa. It consists as usual of one principal street along the narrow strip of ground between the base

of the hill on which the old town stands and the sea. The town consists of the ordinary pile of terraced houses with narrow tortuous streets and steep flights of steps leading up to them. There is here an extraordinary profusion of the arches, of which we have met with examples elsewhere, thrown across the narrow streets, in order to strengthen the houses against the shocks of earthquake to which this region is liable. These features sometime produce, together with the stairs and tall houses, extraordinary combinations and effects (Figs. 269 and 270).

The cathedral of San Siro, which stands detached in a small “place,” has some good Italian features still preserved,—amongst which are the north and south doorways (Fig. 271), the remainder having been greatly modernised and spoiled.

In the main street there are some fair specimens of Renaissance palaces, somewhat in the style of those of Genoa.

From the railway station of Arma di Taggia, some miles east of San Remo, an expedition may be made about five miles up the valley to the exquisitely quaint old town of Taggia. It concentrates in itself all the various remarkable features of the towns of the Riviera in its arcaded streets and vaulted footpaths, narrow lanes crossed with arches, and approached by steep stairs and dark tunnels; and these features are here all combined in so profuse and picturesque a manner as to present an epitome of those of all the rest. In the midst of these striking general

effects, so captivating to the artist, it is difficult, however, to pick out anything which may be regarded as really good architecture. Fig. 272 gives some idea of the picturesqueness of the arcaded streets and gateways, while Figs. 273 and 274 give a few good architectural details. The first (Fig. 273) might, from its style, be the lintel of any fifteenth century house in Genoa (a splendid example of a similar style of doorway at Genoa being shown in Fig. 281), and the other (Fig. 274) is a Renaissance doorway in black marble ornamented with raised arabesques. Close to the town is the monastery of San Cristofero, where the ancient cloister and tower (Fig. 275) are good specimens of early Italian work. The vaulting of

the cloister is late, the original roof being probably of timber. The tower is a good Italian campanile, with string courses of the arcaded ornament so common in Lombardy and the Rhineland.

We are now in the centre of the district which suffered so severely from the earthquakes of 1887. Bussana is passed on the right in returning to the railway. The towns of Porto Maurizio (which stands on a solitary rock), Oneglia, and Diano Marina, all names too well known in connection with the above catastrophe, are reached in succession before arriving at Alassio, the furthest east of the health resorts of the Riviera. The tower of the church here (Fig. 276) has the usual form of the Italian campanile.

A few miles further east bring us to Albenga, which is, architecturally speaking, the most interesting town on this part of the coast. It lies in a hollow near the mouth of the river Acosia, and is defended from the cold winds of the North by an amphitheatre of lofty, snow-clad mountains. The general view of the town from the

railway station (Fig. 278) shews the peculiar preponderance of square towers for which it is remarkable. On closer inspection these are found to be no less surprising than when seen from a distance. They are generally quite plain and are built of brick. The view of the west end of the church (Fig. 277) shews four of these towers crowded close together, exhibiting examples of several different designs. That over the north entrance to the church has a strong resemblance to the campaniles of Lombardy, such as that of Mantua, and is thoroughly Italian in every detail, while the plain square towers adjoining recall similar examples at Bologna and elsewhere in Italy. That again at the east end of the church, which has the figure of the lion at its base (Fig. 279), with its plain brick shaft, its triple arcaded top, and fork-shaped battlements, is almost identical with those of Verona. The church has originally been an Italian design of the thirteenth century. Although now much altered and spoiled it has evidently had the same arcaded ornament at the eaves as we have observed at Grasse, San Remo, and elsewhere. The doorways also correspond in style with the above churches. To the north of the church is a very interesting baptistery, which reminds one of those of Fréjus and Aix. It is of octagonal form, 28 feet long by 26 feet wide, with a vault supported on Corinthian-like pillars, and has a very ancient but dismal and neglected appearance. One of the windows is filled with stone tracery of a Byzantine or Moorish character.

In moving eastwards we pass in succession Ceriale, with its fortifications, and Loano with its great monasteries, Verezzi with one good campanile, and Flnalmarino with two. From the latter a view is obtained of Finalborgo in the distance (about two miles off), where there are evidently the remains of a fine castellated structure. At

Noli there is an ancient entrance tower with an archway through it. Savona retains its fortifications of the Vauban School, and Verazze the shattered ruins of an old castle.

It is not intended to attempt to describe the architecture of Genoa. That has already formed the subject of special works, and would require a volume to itself. Only, in closing this account of the architecture of the Riviera, one or two examples from Genoa are given, in order to make more distinct the analogies to which attention has been drawn between the architecture of a large part of the Riviera and that of the famous Republic, as well as the style of Italy generally. Thus the side doorway of the cathedral exhibits, in a remarkable manner, the same imitation of Roman architecture (see Vignette on title page, and Heading p. 25), modified by the introduction of Romanesque or Teutonic ornament, which we observed at St Gilles, Arles, and other churches of Provence. This doorway is part of the original building of the eleventh century, although the greater part of the cathedral was restored about 1300.

The façade of San Matteo, on which are engraved so many inscriptions in honour of the various distinguished members of the family of Doria and that of San Stefano, shew the arcaded caves, and the inlaid moulding under the cornice which exist at Grasse, San Remo, Ventimiglia, &c. The doorways of these churches have the same flat porch, with small projection, and plain pointed gable, and the same sort of arch and shafts as several of the examples we have met with in the Riviera. San Matteo dates from 1278. The cloister (Fig. 280) which adjoins that church is of the beginning of the fourteenth century, and contains the monuments of the Dorias, which have been brought here from the suppressed church of Santa Dominica. The cloisters of San Matteo, and also those of San Lorenzo, present shafts and caps in the same Italian style as we have observed extended as far westwards as the cloisters at Fréjus, and the upper cloister of the castle of St Honorat. The sculptured lintel in the Piazza San Matteo (Fig. 281), exhibiting the combat of St George and the Dragon, although more elaborate, is similar in style to the lintel of the house at Taggia (Fig. 273); while the campaniles and arcades of other churches in Genoa (Figs. 282 and 283) recall the Italian style, of which we have met with so many examples in Provence.

INDEX.

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

Aegitna, 308.
Aigues Mortes, 206.
Aix-en-Provence, 217.
Alassio, 454.
Albenga, 456.
Albigensian Crusades, 27.
Antibes, 84, 371.
Arles, 50, 183.
Autun, 33.
Aurelian Way, 79.
Auribeau, 380.
Avignon, 3, 34, 137.

Barbarians, Invasions of, 14.
Beaucaire, 173.
Béziers, 222.
Biot, 387.
Burgundy, Style of, 109.
Bussana, 456.
Byzantine Architecture, 97.

Cagnes, 376.
Callian, 364.
Camargue, The, 77.
Cannes, 83, 308.
Cannet, 275.
Carcassonne, 243.
Carpentras, 47, 167.
Castellar, 441.
Castellaras, 350.
Castellated Architecture, 116.
Cavaillon, 48, 167.
Cemenelum (Cimiès), 86, 421.
Ceriale, 458.
Charlemagne, Revival under, 17.
Chartreuse du Val de Bénédiction, 164.
Christian Buildings, Early, 95.
Church, Early Organisation of, 12;
Revival of, 19.
Cistertian Architecture, 110, 274.
Citeaux, Monks of, 22.
Clausonne, 84.
Cluny, Abbey of, 19.
Cogolin, 302.
Courthézon, 137.
Crau, The, 77.
Cruas, 128.
Crusades, 23.
Crussol, 128.

Dolce Aqua, 448.
Dome, The use of, 105.

Elne, 239.
Esterel, 304.
Eza, 424.

Feudal System, 112.
Finalborgo, 458.
Finalmarino, 458.
France, Northern Architecture, 1.
” Southern ”, 3.
Fraxinet, le Grand, 304.
Fréjus, 80, 285.

Garde Adhémar, 134.
Gaul, Southern, History, 5, 9.
Genoa, 461.
Gorbio, 440.
Gothic, Northern, 114.
Gourdon, 366.
Grasse, 350.
Greek and Roman Colonies—in Towns—10.
Grimaud, 302.
Holy Roman Empires, 15.

Hyères, 270.

Iles de Lérins, 319.

La Garde Freinet, 304.
Lagunes, The, 221, 235.
La Trinité, Tower of, 382.
La Turbie, 87, 428.
Le Bar, 365.
Le Cannet, 347.
Le Luc, 80.
Le Thor, 167.
Les Baux, 178.
Les Maures, 299.
Les Saintes Maries, 212.
Loano, 458.
Lyons, 34, 121.

Marseilles, 79, 213.
Mediterranean, Littoral of—History, 7.
Mentone, 440.
Molléges, 168.
Monaco, 432.
Monasteries, Origin of, 12.
” Growth of, 19.
Mont Majour, 194.
Mont St Cassien, 307.
Mougins, 348.
Municipalities of the Middle Ages, 11.
Musée Calvert, 34.

Napoule, 305.
Narbonne, 230.
Nice, 86, 418.
Nimes, 64.
Noli, 461.
Notre Dame de Vie, 349.
” ” du Pré, Le Mans, 102.

Oneglia, 456.
Orange, 40.

Pernes, 167.
Perpignan, 235.
Phocæans in Gaul, 7.
Phœnicians do., 7.
Pigna, 449.
Pointed Arch, 107, 113.
Pomponiana, 80.
Pont du Gard, 76.
” St Bénezet, 151.
” St Esprit, 136.
Porto Maurizio, 456.
Provence, History of, 25.
” passed to France, 30.
Provençal Architecture, 105, 118, 211.
Puisalicon, 229.

Ravenna, 96.
Riez, 292.
Riviera, The, 79.
Roman Architecture, Early, 90.
” ” The Arch in, 91.
Roman Architecture, Continued under Christianity, 94.
Roman Architecture, Remains in Provence, 33.
Roquebrune, 437.

Ste Agnès, 441.
St André, Castle of, 155, 421.
” Césaire, 359.
” Chamas, 77.
” Front, Perigueux, 104.
” Gabriel, 182.
” Gilles, 204.
” Honorat, Castle of, 323.
” ” Island of, 319.
” Mark’s, Venice, 98.
Ste Marguérite (Lérins), 343.
St Martin de Londres, 229.
” ” les Vences, 418.
” Maximin, 282.
” Paul-Trois-Châteaux, 134.
” ” -du-Var, 392.
” Peyré, 306.
” Pierre de Reddes, 229.
” Raphäel, 299.
” Remy, 48.
” Ruf, 164.
” Sauveur (Lérins), 323.
Ste Trinité (Lérins), 320.
St Tropez, 300.
” Veran, 164.
San Miniato, 100.
” Remo, 450.
Saracens, Invasion of, 15.
Saut du Loup, 369.
Savona, 461.
Sculpture in Provence, 107.
Single-nave Churches, 105.
Syrian Churches, 98, 210.

Taggia, 452.
Tarascon, 168.
Thoronet, 274.
Toulon, 79.
Tourettes, 369.
Tournon, 363.

Vaison, 165.
Valence, 127.
Vallauris, 344.
Vaulting, Introduction of, 100.
” in Provence, 102.
Vaulting in Aquitaine, 103.
Venasque, 167.
Vence, 84, 408.
Ventimiglia, 442.
Verazze, 461.
Verezze, 458.
Vernégues, 78.
Vienne, 34, 124.
Villeneuve, Town of, 154.
” Church, 163.
Villeneuve-Loubet, 378.
Villes Mortes, 220.
Visigoths, 10.
Viviers, 134.

THE

CASTELLATED AND DOMESTIC

A R C H I T E C T U R E

OF SCOTLAND

FROM THE TWELFTH TO THE EIGHTEENTH CENTURY

BY

DAVID MACGIBBON and THOMAS ROSS

ARCHITECTS

With about 1000 Illustrations of Ground Plans, Sections, Views, Elevations, and Details. In 2 Volumes. Royal 8vo. Four Guineas nett.

“One of the most important and complete books on Scottish architecture that has ever been compiled. Its value to the architect, the archæologist, and the student of styles is at once apparent. It consists almost exclusively of what may be called illustrated architectural facts, well digested and arranged, and constituting a monument of patient research, capable draughtsmanship, and of well sustained effort, which do the authors infinite credit.”—Scotsman.

“Their descriptions are good, and their arguments always worth attention and generally convincing.... The plans ... are clear and good, and by themselves make the book a most valuable addition to the library of any man who wishes to study and understand the defensive architecture of the Middle Ages. The book has another value in that it preserves a record of so many buildings in the state they are now. Many are neglected and daily falling more and more into ruin.”—Athenæum.

“No one acquainted with the history of Great Britain can take up this neatly-bound volume ... without being at once struck by its careful completeness and extreme archæological interest, while all students of architectural style will welcome the work specially for its technical thoroughness.”—Building News.

“The authors merit the thanks of all architectural readers, professional and amateur, for the production of a very well studied and illustrated hand-book of a most interesting class of ancient buildings.”—The Builder.

“Careful observation and accurate description appear to specially characterise this work.”—British Architect.

“In its complete form the merits of the work are more apparent, and we have no hesitation in saying that we consider it to be far superior to any of the preceding books on the subject.”—The Architect.

“A learned, painstaking, and highly important work.”—Scottish Review.

“The best authority upon the architecture of Scottish Castles yet issued.”—Dundee Advertiser.

“To the intelligent readers of all classes, we can cordially recommend it as a very interesting and suggestive book.”—Daily Free Press, Aberdeen.

“Messrs. MacGibbon and Ross now show in sketches of ground plans and elevations such a series of domestic structures as not only indicates the gradual progress of Scottish architecture from times comparatively rude, but permits the development to be traced in such a way as determines the stages of progress or ‘Periods’ into which its history may be naturally divided.”—Glasgow Herald.

“Highly interesting and picturesque work.”—Edinburgh Review.

EDINBURGH: DAVID DOUGLAS, 15 Castle Street.

FOOTNOTE: