Northward from Place Gambetta, Avenue Borriglione runs to the populous quarter of St. Maurice, to the west of which is the quarter St. Barthélemy, with a church and monastery founded on the site of a church destroyed by the Turks in 1543.
An inscription under the sundial asserts that “The passing hour wounds us the final one kills us.”
The spot can easily be reached by way of Boulevard Auguste Raynaud, which runs northward from the centre of Boulevard Joseph Garnier. At the top of the boulevard one bears to the left and almost at once to the right. The burial-ground, now only used by families having tombs in it, is the last resting-place of many aristocratic Nicois.
At No. 73 Avenue St. Barthélemy is the Musée du Vieux Logis. Farther north is the St. Syivestre quarter.
The Boulevard Carabacel, to which lead all the thorough-fares running eastward from the Avenue de la Victoire, lies on the south side of elevated Carabacel, one of the most bracing parts of Nice, and favoured by those loving a quiet life. The boulevard is continued northward by the Avenue Désambrois, from which rises the Boulevard de Cimiez, affording fine views and having at its upper end a Statue of Queen Victoria.
This is at the foot of the grounds of the former Hotel Réqina, where Her Majesty staved.
Cimiez, the most fashionable part of Nice, occupies the site of the Roman Cemenelum, the capital of their province of the Alpes Maritimes. It is said to have had a population of 30,000. Having been burnt by the Lombards in the sixth century and afterwards used as a quarry, there are very few Roman remains.
On bearing right from the Queen Victoria Statue one sees the remnant of the Amphitheatre. Just beyond it a road on the right leads to a fifteenth-century cross (note the six-winged seraph that appeared to St. Francis of Assisi in a vision), the cemetery, church and ancient monastery.
The Monastery, now belonging to the town, was founded in 1543, after the destruction of an earlier building. In the church are fine ceiling frescoes, a carved and gilded screen behind the high altar, and, classed as ” historic monuments,” a triptych and two other pictures by one of the sixteenth-century Bréas of Nice. The monk’s garden, open to the public, commands extensive and beautiful views.
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