The Architecture of Provence and the Riviera — Key Ideas to Explore

Roman Foundations and Medieval Transformations

The catalog subjects list 'Architecture -- France -- Provence' and 'Architecture -- France -- Riviera,' but the excerpts reveal a more specific focus: the survival and reuse of Roman forms. MacGibbon notes that Arles contains 'abundant ruins of the ancient Roman architecture' alongside 'numerous palaces in the classic style of the sixteenth century.' He observes that the revival of classicism was likely 'helped to forward with suggestions' by the ancient works. This is not a simple survey but an argument about continuity. The description of the church of St. Honorat at Arles illustrates this: its west doorway is 'evidently of the twelfth century,' yet the tower bears 'the usual character of Provençal Romanesque,' with a dome that is 'a somewhat unusual feature.' MacGibbon treats each building as a palimpsest, reading layers of construction and repair.

The Cloister as an Epitome of Provençal Art

One of the most detailed passages describes the cloister of a church in Arles (likely St. Trophime). MacGibbon calls it 'an epitome of Provençal art,' combining three distinct styles: the 'richly decorated Provençal form of Romanesque' in the cloisters and porch; the 'plain reformed style of the Cistertians' in the nave; and a 'weak sort of Northern Gothic imported in the fifteenth century' in the choir. He is precise about materials: the coupled columns and caps are 'executed in grey marble,' and the caps are 'amongst the finest examples of the “storied” carving of the period, every cap containing a subject from sacred history.' He also notes structural details—the Gothic parts have piers alternating with coupled columns, executed to 'correspond in design with the older work.' This attention to craftsmanship and stylistic mixture is characteristic of the book.

Renaissance Houses and the Urban Fabric

MacGibbon extends his analysis beyond churches to domestic architecture. In Arles, he finds 'fine examples of Renaissance work' in the narrow streets, particularly 'the early picturesque style of French Renaissance, so usual in Anjou and on the banks of the Loire.' He singles out a house (Fig. 78) for its 'striking arrangement of the staircase in the courtyard,' showing 'how picturesque this style may be made when suitably and naturally treated.' This observation ties the region's architecture to broader French trends while maintaining a local focus. The excerpts also mention the 'Alyscamps,' the famous cemetery of Arles, with its remains of churches and chapels, though the description is brief. The book thus balances monumental and vernacular buildings, offering a comprehensive view of the built environment.

Readers should approach this work as a period piece of architectural history, grounded in on-site observation and a clear stylistic taxonomy. MacGibbon's comparisons—between Provençal Romanesque and Northern Gothic, or between ancient and Renaissance classicism—are instructive but reflect late-19th-century tastes. The excerpts suggest a book rich in specific detail about materials, dates, and structural features, making it useful for anyone studying the region's architecture or the history of architectural writing.

There’s something about the way MacGibbon’s Provençal cloisters linger in the mind—heavy stone lightened by shadows. It reminds me of how the best architectural writing leaves you feeling you’ve walked those streets yourself. A newer companion, American Architecture: Studies — Themes and Context, stirs a similar ache for places I’ve never quite visited, yet somehow miss.