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. [Illustration: FIG. 283. CAMPANILE, GENOA.] 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. [Illustration: FIG. 284. KNOCKER, ELNE CATHEDRAL.] [Illustration: FIG. 285. LAMP FROM OLD CHURCH, MONACO.] INDEX. 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.