The Fortezza del Annunziata is an ancient Ligurian fortress, located near the town of Ventimiglia. Together with other fortresses of Castel d'Appio and Forte San Paolo it was part of a defensive system created around Ventimiglia during the rule of the Genoese Republic and the reign of Napoleon. In particular, the fortress was built in the first decades of the 19th century - after the signing in 1815, the year of the Treaty of Paris, caused the overthrow of Napoleon. In this agreement, at the request of the Austrian Empire part of the compensation that was supposed to pay the French state, was provided to the Sardinian Kingdom to strengthen the Western borders of Piedmont and Liguria. In addition, the opening of the new coastal road to France (today's via Aurelia), was the reason that Austria has come forward with new claims. Therefore, it was decided to build in Ventimiglia, which was considered a strategic point, a fortified citadel to control the passage to the North-West of Italy and the Po plain.
The original structure of the Fortezza del Annunziata was used as a monastery of the order of friars minor and was known as the Convento del Annunziata. In 1831, the year the Colonel and Lieutenant Colonel Malaussena Podesta was commissioned to transform the building of the monastery in the casemates - the project also involved the Lieutenant Benso Camillo, count Cavour. The new fortress was connected with powerful defensive walls and underground tunnels from the Fort Sao Paolo 13th century. However, in 1883, the year of Ventimiglia lost their status of a fortress and a year later Ridotta was disarmed and converted into infantry barracks, and the Fort of San Paolo was demolished. Subsequently Ricotta was abandoned, and after the Second World war, was transferred to the municipality of Ventimiglia, who in turn, gave the fortress to the Council for tourism and rest.
From 1990, the year at the Fortezza del Annunziata houses the City's archaeological Museum Girolamo Rossi. The Museum is named after local scholar and discoverer of the ruins of the Roman theatre and fragments of residential buildings ancient Albintimilium. In six halls with a total area of 1200 sq. m. exposed important archaeological finds of terracotta figurines, one of the most interesting in Liguria tombstones of the 1st to 4th centuries ad, the collection of sculptures of Thomas Hanbury, a collection of ceramics, artifacts from cemeteries, etc.References:
From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.
The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.
At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.
The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.
The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.
Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).
The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.
At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».
The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.