Uncovering Vence’s Roman Legacy
Exploring the Roman Artifacts of Vintium

Walking through Place Clemenceau, the oldest square in the town of Vence, reveals many aspects of the ancient history of the town. Dominating the north east corner of the ancient square is the Cathédrale Notre Dame de la Nativité (Cathedral of Our Lady of the Nativity) with its 19th century façade and the 12th century Lambert tower. The cathedral itself dates back over one thousand years, but if one looks a bit closer there are remnants and artifacts attached to the exterior of the cathedral which are almost twice as old, dating back to the second century CE and earlier. They provide a fascinating glimpse into Vence’s history as the Roman settlement of Vintium.

You can read a more in-depth account of the Vence’s Roman history in this article: From Vintium to Vence: Exploring the Ancient Roman Roots of Modern Day Vence.

Although time has taken its toll on many of these remnants, a number of significant Roman artifacts have survived in Vence, each offering unique insights into the lives of its early inhabitants. The town was a Roman municipal town (civitas) situated along the Via Julia Augusta, a vital Roman road that connected Italy with southern Gaul. This strategic location made Vintium an important administrative and trading center.

Over the centuries, layers of history have accumulated, but traces of Vence’s Roman origins still remain embedded in the town’s fabric, both literally and figuratively. Six Roman stone inscriptions are embedded in the western exterior wall of the cathedral. Two more are embedded on the left and right of the entrance to the cathedral.

Although no fully intact Roman public buildings (such as a temple, a colosseum or an amphitheatre) have survived, some traces of the town’s forum and administrative structures have been unearthed over the years. Unfortunately, no serious archaeological excavations have ever been carried out in Vence. If they were, we would certainly find a treasure trove of Roman ruins and artifacts below the surface of the modern-day town.

The forum, once the bustling heart of Roman Vintium, was likely adorned with columns, statues, and other architectural features, though the exact layout remains uncertain. A few scattered remnants of these structures, including fragments of capitals and column bases, have been recovered, offering clues about the layout and scale of the ancient town center.

To date, almost fifty Roman inscriptions or fragments of inscriptions have been recovered in and around Vence. Twenty-nine were found within the old town, or very close to it. Many of these Roman objects in Vence are badly damaged, with some reduced to mere fragments with minimal significance. However, there are almost two dozen notable pieces that deserve attention. While some of these are showcased in public spaces for all to see, others are stored out of view for safekeeping.

Over the years many historians have undertaken serious studies of the Roman artifacts found in Vence. As early as 1572 Jules-Raymond de Solier wrote about various inscriptions in his book Rerum antiquarum et nobiliorum Provinciae liber secundus (The Second Book of Ancient and Noble Matters of Provence). In 1636 Nicolas-Claude Fabri de Peiresc, a notable French scholar, antiquarian and patron of the arts and sciences, documented Roman monuments, inscriptions and artifacts from cities in the Provence region, including some from Vence.

In 1869 Jules René Bourguignat, a well-respected French naturalist and malacologist (a scientist who studies mollusks), published his Inscriptions Romaines de Vence, the first in-depth study of these remnants, although he was not a specialist in Roman archaeology. Cinzia Vismara (an Italian archaeologist and academic) published a study in 1991 entitled Les Inscriptions de la Cité de Vence (Vintium). More recently, in 2010, Stéphane Morabito published Inscriptions Latines des Alpes Maritimes, a huge in-depth volume which covers not only those artifacts found in Vence but throughout the entire Alpes-Maritimes department. At this point in time, Morabito’s work must be considered the most complete and accurate. Most of the information in this article comes from Morabito and Bourguignat.

Roman Inscriptions

A modest collection of Roman stone inscriptions, almost fifty in total, have survived in Vence over the centuries. However, only twelve of them can currently be viewed by the general public. Of the rest, around fifteen are currently being stored in the Chapelle Sainte-Anne, at least eight are believed to be in the hands of private collectors, one is in a Nice museum, and the rest are either missing, lost, or stolen.

I’ve written here mostly about the artifacts that can be easily viewed walking around the Vence old town. I’ve also included a few important pieces currently stored in the Chapelle Sainte-Anne, as well as one missing piece. There’s information about a Roman sarcophagus that once housed the remains of Saint Véran as well. Though it does not fall into the category of “inscriptions” like the other pieces here, it is an important Roman artifact in Vence. Finally, there is a bit of information about a small Lapidary Museum that for a short time existed in Vence and where many of these inscriptions were held.

These inscriptions can be divided into four categories: votive inscriptions, honorific inscriptions, funerary inscriptions, and milestone inscriptions. Due to space, many of these inscriptions contain abbreviations, some more than others. Additionally, single words are often split onto two separate lines of text. Once these abbreviations are expanded and the portions of the broken words are combined, we can generally get a full understanding of the text, though in some cases uncertainties remain. Throughout these descriptions, you will find the missing portions of abbreviated words in italics.

Votive Inscriptions

A Roman votive inscription is a dedication carved into stone, metal, or another durable material, often placed at a sacred site such as a temple, shrine, or sanctuary. These inscriptions were created as an offering or expression of gratitude to a deity, spirit, or divine force in fulfillment of a vow (in Latin, votum). Often, they were made in thanks for blessings received, such as recovery from illness, success in battle, or safe travel.

1. Pierre du Taurobole

One of the most significant and well-known Roman artifacts in Vence is what is referred to as the Pierre du Taurobole or Taurobolium Stone. This stone measures .91 meters from top to bottom and .42 meters from side to side. It can currently be seen embedded in the western wall of the cathedral on Place Clémenceau. Made from limestone, the base is broken, with several areas of damage noticeable on the right side. It is likely that it originally featured moldings at the top and bottom that were removed when it was embedded into the cathedral wall. Carved into it is the following:

IDAEAE MATRI
VALERIA MAR
CIANA VALE
RIA CARMO
SINE ET CASSI
VS PATERNVS
SACERDOS TAV
RIBOLIVM SVO SVM
PTV CELEBRAVER.

If we expand the abbreviations and fix the broken words we have: “IDAEAE MATRI; VALERIA MARCIANA, VALERIA CARMOSINE ET CASSIVS PATERNVS, SACERDOS, TAVRIBOLIVM, SVO SVMPTV, CELEBRAVERUNT.,” which can be translated as: “To the Idean Mother; Valeria Marciana, Valeria Carmosine and Cassius Paternus, priest, at their own expense, performed the Taurobolium sacrifice.”

The Taurobolium sacrifice was an ancient Roman religious ritual originally associated with the worship of the Anatolian mother goddess Cybele, also known as the mother of the gods, the Idean Mother, the Mother of Mount Ida (Cybele was said to have her favorite residence on Mount Ida, behind Troy), Magna Mater, and the Great Mother. On this stone she is referred to as IDAEAE MATRI. (Anatolia, also known as Asia Minor, encompassed the peninsula that now makes up modern-day Turkey.) This is the only confirmed evidence that Cybele was worshipped in this province. Other evidence exists for the cult of Cybele in nearby places such as Antibes and Riez (in the Alpes-de-Haute-Provence department).

Performed as a purification rite or as an offering for protection or gratitude, the ceremony was believed to bring about spiritual renewal or rebirth for those involved. According to some late sources, a deep pit was dug in the earth, covered with a platform—often boards with holes in them. A priest, dressed in a silk robe and wearing a crown with ribbons, would stand in the pit while a bull was slaughtered above him. The priest positioned himself so that the bull’s blood would cover his body, symbolically purifying him from past sins and granting spiritual rebirth.

Once the ceremony was completed, he would emerge from the pit, and the others involved in the ceremony would bow before him, as it was said he now represented the god for whom the sacrifice had been made. The blood-soaked garments of the priest were considered sacred and preserved with great care and devotion.

This ceremony originated with the Phrygians (a region of Anatolia) and was later integrated into Roman religious practices, especially from the 2nd century CE onward. It was particularly popular among the elite and was often performed to mark important events. Some historians have speculated that it may have developed in part as a ritual parallel to, or in response to, the emerging Christian practice of baptism, though this remains debated.

There have been many other similar Roman stones found throughout France recounting the Taurobolium sacrifice including ones in Riez, Arles and Lyon.

2. & 3. The Marseille Columns

The most significant and cherished Roman artifacts in Vence are the two granite columns, commonly known as the Marseille Columns, dating back to the early part of the 3rd century. Over the years, their original purpose has sparked considerable debate. Some historians argue that the columns were part of a Roman temple, presenting persuasive evidence to back their claim. Others suggest they may have served as territorial markers, delineating the boundaries between Marseille and Vence, while some propose they were simple mile markers, though this is generally considered less likely today. There is even speculation that additional columns once existed, but only these two have survived, and there is no physical evidence to support the idea that there were others.

Bourguignat believed that because the columns are so perfectly carved and polished, they must have been some type of votive columns, probably used to adorn and embellish a Roman temple dedicated to the god Mars.

In his small book Vence – Ses Monuments – Ses Saints – Ses Évêques – Ses Curés – Son Église – Son Trésor – Ses Reliques – Ses Chapelles, the Vence historian Jacques Daurelle seemed to agree, writing, “The temple of Mars in Vence must have been renowned throughout Provence, as the people of Marseilles sent it votive columns, likely in memory of some victory achieved by them.” This tradition, while evocative, is based on local historical interpretation rather than direct documentary or archaeological evidence.

Ultimately, the true purpose of the columns remains a mystery. What little we do know for certain about them comes from the inscriptions carved at the top of each one. Bourguignat believed that these columns are fragments of larger columns, pointing to the fact that there are three lines of text on the Grand Jardin column but five on the Place Godeau column. While the engravings provide some insight, their exact meaning is subject to debate. What is clear, however, is that the inscriptions reference Marseille and a man named Julius Honoratus, who is credited with their creation.

Taken individually, the text on each of the two columns makes no sense. The inscriptions continue from the left column to the right, so to read them accurately you must have the two columns placed side by side. It is here that the inhabitants of Marseille are expressly mentioned, but scholars and epigraphists can’t seem to agree on exactly what these inscriptions mean. Some experts believe that portions of the inscriptions are missing, which significantly complicates their interpretation.

There is also some controversy over the materials from which these two columns are made. Most historians and scholars agree that both columns were carved from porphyritic granite (a type of granite with a mix of large and small crystals). They do not agree, however, on the origins of this stone. Early writers thought it came from one of the quarries in the Estérel (in the Var department, not far west of Vence). A Roman quarry is indeed known near Boulouris that produced a blue-gray, white-speckled stone matching that of the two Vence columns.

However, modern research has suggested that the stone for these columns may have been brought from farther away. Cinzia Vismara proposed that the Grand Jardin column originated in Asia Minor, while the Place Godeau column came from the island of Elba. More recently, geologist and writer René Mazeran (2010) argued that both columns came from Balagne in Corsica.

The two columns are believed to have stood side by side for over a thousand years. For several centuries, they supported the choir vaulting inside the Vence Cathedral. In the late 18th century, likely around 1770, they were separated during an expansion of the cathedral, when the columns were removed and temporarily set aside. One was eventually placed in Place Godeau, a square in the old town behind the cathedral that once served as the town cemetery. The other column found a new purpose as a support for a fish market in Place Clémenceau. Later, it was relocated to the Grand Jardin, the large public square at the heart of Vence, where it still stands today.

You can read a more in-depth account of the Marseille Columns in this article: The Marseille Columns of Vence.

Honorific Inscriptions

A Roman honorific inscription is a commemorative text, often carved into stone or metal, that celebrates or recognizes an individual, group, or deity for their achievements, status, or contributions to the community or the Roman state. These inscriptions were intended to publicly honor someone for exceptional service, virtue, or accomplishments, and/or to demonstrate loyalty to the emperor, senators, or local leaders. They were commonly associated with statues, monuments, or architectural elements like arches and columns.

4. Dedication to Élagabal

This stone measures 1.44 meters tall and 0.74 meters wide. The top and bottom are molded, though it is uncertain whether all four sides were originally molded as well. At one point, the letters were painted red. It was discovered in 1807 when work was done in Place Clémenceau to level and lower the surface of the square. Found more than two meters deep in the earth, it features a dedication to Marcus Aurelius Antoninus, otherwise known as Élagabal (and sometimes as Heliogabalus or Elagabalus). Today it can be seen embedded on the right side of the entrance to the cathedral. Carved into it is the following:

IMP. CAES.
DIVI ANTONINI
FIL. DIVI SEVERI
NEPOTI
M. AVREL. ANTO
NINO PIO FEL.
AVG. TRIB. POT. III
COS II. P.P.

If we expand the abbreviations and fix the broken words we have: “IMPERATORI CAESARI, DIVI ANTONINI FILIO, DIVI SEVERI NEPOTI, MARCO AVRELIO ANTONINO PIO, FELICE, AVGUSTO, TRIBUNITIA POTESTATE III, CONSULI II, PATRI PATRIOE.,” which can be translated as: “To Emperor Caesar Marcus Aurelius Antoninus, pious, favored by the gods, Augustus, son of the divine Antoninus, grandson of the divine Severus, invested for the third time with tribunician power, consul for the third time, father of the fatherland.”

Élagabal was born around 203 and became emperor of Rome in 218 at the age of 14 or 15. He was rumored to be the illegitimate son of Emperor Caracalla, with Julia Soaemias as his mother. Julia Soaemias was in fact Caracalla’s niece and was married to the senator Varius Marcellus.

Élagabal is one of the most eccentric figures in Roman history, known for his unconventional behavior, religious practices, and political actions. His lavish lifestyle reportedly shocked many Romans, as he indulged in extravagant feasts and unusual ceremonies with little regard for Roman traditions. He promoted the worship of the Syrian sun god Elagabal, the deity of his native city Emesa, causing considerable friction with Rome’s traditional religious practices.

He married and divorced several women, took male lovers, and often dressed in women’s clothing. He is sometimes seen as one of the earliest recorded figures to display signs of gender nonconformity, though this is a modern interpretation of ancient reports. Today he is considered one of the most extravagant and erratic emperors of the Roman Empire, and his reign is marked by scandal and controversy.

Élagabal was assassinated in March 222, along with his mother, in a coup partly orchestrated by his grandmother Julia Maesa. Ironically, it was Julia Maesa who had helped secure his rise to power by spreading the rumor that he was Caracalla’s son — a claim for which there is no firm historical evidence and which was almost certainly a politically motivated fabrication.

Élagabal’s unorthodox rule and controversial religious reforms led to widespread disdain. After his death, he was subjected to damnatio memoriae, a formal process in ancient Rome where a person’s legacy was systematically erased from public record and collective memory, often applied to disgraced individuals, including Roman emperors. The goal was to obliterate the person’s existence and influence as if they had never lived. Élagabal’s memory was condemned, and his likeness was removed from most public spaces. This tribute in Vence seems to be one of the rare instances where a dedication to him survived.

We know that this stone was inscribed in 220 CE because two parts of the dedication refer to his role as consul and his tribunician power. The office of consul was the most senior office in the Roman Republic. Normally, two consuls were elected annually. They had military command and significant judicial and administrative powers, presided over the Senate, led armies, and represented the Roman state. Many Roman emperors assumed the consulship themselves to publicly affirm their authority.

The tribunician power granted the emperor the legal and political powers originally held by the tribunes of the plebs (officials who represented the common people of Rome and other Roman cities) during the Republic. This was a key component of an emperor’s authority, allowing him to exercise significant control over both the Senate and the Roman people while maintaining a connection to Republican traditions. It included the ability to veto laws, summon the Senate, propose legislation, and protect citizens.

Élagabal ruled the Roman Empire for five years, during which time he was consul three times. He died during the year of his third consulship. The inscription on the stone indicates that Élagabal was in the third year of his tribunician power (TRIB. POT. III) and had been consul twice (COS II) — which allows us to date the stone to between December 10 and 21, 220 CE, just before his third consulship began on January 1, 221.

5. Dedication to Gordien III

This limestone plaque measures 0.96 meters tall and 0.52 meters wide. At one point, the letters were painted red. It was engraved by order of the city of Vintium to honor the emperor Gordian III, who at the time was only 15 years old and in the second year of his reign. Today it can be seen embedded on the left side of the entrance to the cathedral. Its provenance is unknown, but for a long time, it was part of the altar of a small shrine dedicated to Saint Pierre near Vence.

Carved into it is the following:

IMP. CAES.
M. ANTONIO
GORDIANO PIO FEL.
AVG. PONT. MAX.
TRIB. POT. II. P.P. COS.
CIVITAS VINT. DEVO
TA NVMINI MAJES
TATIOVE EJVS

If we expand the abbreviations and fix the broken words we have: “IMPERATORI CAESARI MARCO ANTONIO GORDIANO PIO, FELICE AVGUSTO, PONTIFICE MAXIMO TRIBUNITIA POTESTATE II. PATRI PATRIOE COSULI CIVITAS VINTIENSIUM DEVOTA NVMINI MAJESTATIQVE EJVS.,” which can be translated as: “To Emperor Caesar Marcus Antonius Gordianus, pious, favored by the gods, Augustus, supreme pontiff, invested for the second time with tribunician power, father of the fatherland, consul. The city of the Vintienses, devoted to his divine power and majesty.”

Marcus Antonius Gordianus, known as Gordian III and sometimes as Gordian the Pious, was born in 225. He was elected emperor in 238 at the age of 13 and became consul during the second year of his reign in 239. This dedication is the sole inscription referencing Gordian III within the Alpes Maritimae and the other Alpine provinces. He reigned for almost six years, and as with the preceding stone, we can set the date of this dedication based on the following line:

TRIB. POT. II. P.P. COS.

This indicates that Gordian held at the time the tribunician power for the second time, was Pater Patriae (father of the fatherland), and was consul for the first time. This places the date of the dedication in the year 239 CE.

6. Dedication to Publius Licinius, Prince of Youth

This stone measures 1.4 meters tall and 0.57 meters wide. It was engraved by order of the decurions of Vence. The inscription refers to a very young child, Publius Licinius, who was the son and grandson of two Roman emperors. It was originally uncovered in 1763 and displayed near the cathedral. Today it can be found at the corner of Rue du Lambert and Impasse de la Rouette in the old town of Vence. Due to its shape — an altar with a base and molded crown on three sides — it is believed to have once served as the pedestal or base of a statue. At some point, the letters were painted black. 

Carved into it is the following:

P. CORNELIO
LICINIO VALE
RIANO NOBILIS
SIMO CAES
PRINCIPI IVVEN
TVTIS.
NEPOTI ET FILIO
DDNN VALERIA
NI ET GALLENI (1)
AVGG ORDO
VINTIENSIVM.

If we expand the abbreviations and fix the broken words we have: “PUBLIO CORNELIO LICINIO VALERIANO, NOBILISSIMO CAESARI PRINCIPI IVVENTVTIS, NEPOTI ET FILIO DOMINORUM NOSTRORUM VALERIANI ET GALLENI AVGUSTORUM ; ORDO VINTIENSIVM.,” which can be translated as: “To Publius Cornelius Licinius Valerianus, most noble Caesar, prince of youth, grandson and son of our two lords Valerian and Gallienus, Augusti. The order (of decurions) of the Vintienses.”

This child was most likely born in 249 or 250 and was almost certainly very young when this inscription was created. His grandfather, Valerian, became emperor in 253 during a time when the Roman Empire was under assault from all sides. Around age 64, Valerian led a campaign against the Persians but was defeated and captured by the Persian king Shapur I in 260. His son Gallienus was already emperor alongside him and had been sent to Gaul around 255 to repel Germanic invasions. Gallienus achieved many successes fighting the Germans and eventually drove them back across the Rhine. During his military campaigns in Gaul, his wife Julia Cornelia Salonina often accompanied him, and it is likely she spent the winters with her children in Cimiez and Vence. This is when the decurions of Vence ordered the stone to be engraved with the name of her son. It dates from between 257 and 260.

During the Roman Republic, the title Prince of Youth (princeps iuventutis) was given to a young noble who led the youth in festivals and public games. It was a position of dignity, renewed every five years, and was almost always conferred on a member of the emperor’s family.

When Valerian was defeated and captured in 260, Gallienus returned to Rome, where he was recognized as sole emperor. It is worth noting that Bourguignat mentions a stone dedicated to Publius’ brother embedded in the wall of the Church of the Black Penitents in Briançonnet, not far from Vence. However, today there seems to be no trace of this church — perhaps it has been destroyed since Bourguignat’s time. There is also another stone dedicated to Publius’ mother, which was discovered near the walls of the amphitheater at Cimiez.

Funerary Inscriptions

A Roman funerary inscription is a text carved onto a tombstone, sarcophagus, or other grave marker that commemorates and memorializes the dead. These inscriptions were intended to honor the deceased and preserve their memory, as well as express personal or familial grief and respect. They often provide details about the individual, their life, and their family, and they frequently reflect Roman beliefs about death and the afterlife.

Roman tombs came in many sizes and shapes, some made of marble, others of simple stone. The status and wealth of each person usually determined the type of tomb they would be buried in upon their death. Based on the tombstones that have survived in Vence, we can surmise that the tombs here were fairly simple.

Each funerary inscription typically began with the letters “DM” or “DMS,” indicating a dedication to the Manes, the spirits or souls of the dead, often understood as benevolent ancestors who were venerated and honored. The term Manes means “the good ones,” reflecting the Romans’ effort to treat the dead with respect and avoid offending them. These spirits were considered protectors of their living descendants and were closely tied to Roman funerary practices and traditions.

Following the invocation to the Manes, the name of the deceased would be written. Roman names originally consisted of just one name, later expanded to two, and eventually — during the Republic and early Empire — to three names, known as the praenomen, nomen, and cognomen. In funerary inscriptions, the praenomen was almost always abbreviated, while the other names were usually written in full.

7. Epitaph of Maecia Valeria

This inscription, made of limestone, measures 1 meter tall and 0.54 meters wide. Moldings that once existed on the upper and lower portions have been leveled, most likely so it could be embedded flat in a wall. It was first mentioned by Peiresc in the 17th century as being located in the Vence Cathedral. Today it can be found embedded in the exterior western wall of the cathedral. It is a simple funeral stone for a woman named Maecia Valeria.

Carved into it is the following:

D. M.
MAECIA
MAECIANI FIL.
VALERIA
VIVA SIBI FECIT.

An ascia (a carpenter’s axe) is present in the first line, between the D and the M. Its use reflects Roman values surrounding the sanctity of burial spaces and sometimes the connection between individuals and their professions or the tools of their trade. If we expand the abbreviations and fix the broken words we have: “DIIS MANIBUS MAECIA MAECIANI FILIA VALERIA VIVA SIBI FECIT,” which can be translated as: “To the Manes gods. Maecia Valeria, daughter of Maecianus, had (this monument) erected for herself during her lifetime.”

As we see from the inscription, this funeral stone was commissioned by Maecia Valeria herself, before her death. For the Romans, the deprivation of burial was the ultimate disgrace, typically reserved only for criminals and traitors. Many citizens were so fearful of not receiving a proper funeral and burial that they arranged and prepared their own tombs during their lifetime. Most of the funeral inscriptions that have survived in Vence fall into this category and were indeed prepared while the person was still alive.

There was, however, one complication with this practice: it was considered bad luck to place the name of a living person on a tomb. To avoid this, the Romans added the letter V or formulas like vivus fecit (he made this while alive) or viva sibi posuit (she placed this for herself while alive), often abbreviated as VF or VSP, after the name.

The presence of an ascia on this inscription suggests a date in the second half of the 2nd century CE, as the symbol became common from that period onward.

8. Epitaph of Julius Eugenius

This limestone inscription measures 1.09 meters tall and 0.50 meters wide. It was discovered in a village cellar sometime in the 1600s. Today it can be found embedded in the exterior western wall of the Vence Cathedral. It is most likely a funeral stone for a young abandoned child who was raised by his foster father.

Carved into it is the following:

IVLIO EVGE
NIO
IVLIVS CLE
MENS ALVM
NO PIENTIS
SIMO FECIT

If we fix the broken words we have: “IVLIO EVGENIO, IVLIVS CLEMENS, ALVMNO PIENTISSIMO FECIT,” which can be translated as: “To Iulius Eugenius. Iulius Clemens made (this monument) for his most devoted alumnus.” (The customary “DM,” the invocation to the Manes, is missing from the beginning of this tombstone and we assume that it must have been broken off.)

The term alumnus was used in Roman times to refer to an orphaned or abandoned child who had been adopted or fostered. The Romans had no orphanages for such children. Instead, local authorities often placed these children in the homes of poor families or individuals, who received a small payment for feeding and raising them. It appears that this young child, whose surname was Eugenius, was the adopted son of his foster father, Julius Clemens, whose name he also shared. Morabito also considers the possibility that Eugenius was not an adopted son but rather a freed slave (since the term alumnus was sometimes used in that context), reflecting the relationship between the freedman and his former owner, now patron.

The stone itself appears to be of very modest quality. A large crack forced the stonemason to carve the final “S” in “IVLIVS” at a noticeable distance from the preceding letters. This may reflect either limited resources or the humble social standing of the family.

Morabito dates this stone to the very beginning of the 2nd century CE, based on the absence of a dedication to the Manes (DM), the use of a laudatory epithet, and other textual clues.

9. Epitaph of Onesiphorus

This stone measures .56 meters tall and .65 meters wide. Morabito proposes that it might have once been the front face of a simple funeral urn. It was discovered sometime in the 16th century and at one time rested in front of the Guigon House. Today it can be found embedded in the exterior western wall of the Vence Cathedral. It is a funeral stone for a young man who died at the age of 25, raised by his mother.

Carved into it is the following:

D. M.
IVCVNDILL
A MAT. FILIO
ONESIPHO
O PIENT. VIVA
FECIT. V. A. XXV.

If we expand the abbreviations and fix the broken words we have: “DIIS MANIBUS IVCVNDILLA MATER FILIO ONESIPHORO PIENTISSIMO, VIVA FECIT. VIXIT ANNOS XXV ,” which can be translated as: “To the Manes gods. Iucundilla, his mother, to Onesiphorus, her devoted son, erected (this monument) during her lifetime. He lived twenty-five years.” We might note that the A is not “barred” which is somewhat unusual.

From the fact that both the mother and son are represented by single names, without any reference to family lineage, Morabito concludes that they were likely slaves or freedpersons. Both names are uncommon: the mother’s name (which Morabito suggests has Italian roots) and the son’s name, Onesiphorus (of Greek origin), may reflect a mixed heritage within the household. Morabito dates this stone to the 2nd century CE.

10. Epitaph of Aurelia and Cornelia Sabinilla

This stone, made of white limestone, measures 1.32 meters tall and 0.52 meters wide. It once had a molded top and base, but the moldings were later hammered down to create a flat surface. Today it can be found embedded in the exterior western wall of the Vence Cathedral, though earlier records show that it was previously embedded in the wall of the old Blacas House. The letters on the stone were painted red at some point.

This is a funeral stone with an epitaph divided into two parts. The first part is a dedication by a man named Julius Marcianus to his deceased wife, Aurelia Sabinilla (Roman women did not take their husband’s name but kept their paternal family name). The second part is a dedication to the same woman by Maximia Quintina, who was Aurelia’s grandmother. Aurelia’s mother, Cornelia Sabinilla, is also mentioned. Bourguignat appears to have misinterpreted this inscription: he concluded that the stone was dedicated to two sisters, Aurelia and Cornelia, with Maximia as their mother — a reading we now know is incorrect.

Carved into it is the following:

IVLIVS MARCIA
NVS AVRELIE SABI
NELE CONIVGI
MERENTISSIMAE FEC
IT MAXIMIA QVINT
INA VIVIA CORNE
LES SABINELLES
SVE PIENTISSIMAE
FECIT.

If we expand the abbreviations and fix the broken words we have: “IVLIVS MARCIANVS AVRELIAE SABINILLAE CONIVGI MOERENTISSIMAE FECIT. MAXIMIA QVINTINA VIVIA CORNELIAE SABINILLAE (filiæ) SVAE PIENTISSIMAE FECIT.,” which can be translated as: “Julius Marcianus had (this monument) erected for Aurelia Sabinilla, his very deserving wife, and Maximia Quintina had (this monument) erected for the devoted daughter of Cornelia Sabinilla, her own daughter.”

In his book Inscriptions Romaines de Vence, Bourguignat says that “the stonemason, while engraving this inscription, as is often the case, showed extreme negligence and a great deal of inattention.” He points out that an “A” is missing from AVRELIE (which should read AVRELIAE) and similarly from SABINELLAE, CORNELIAE, and SVAE. He observes that the names AVRELIE SABINELLE end with “E,” while CORNELES SABINELLES end with “S,” and he notes inconsistent spelling of Sabinella (once with one “l,” once with two), as well as an extra “I” in VIVIA. Bourguignat calls these “gross errors, made by an unskilled stonemason,” which likely contributed to later misinterpretations of the inscription.

Based on the vocabulary and formulae in this inscription, Morabito dates the stone to the 2nd or 3rd century CE.

11. Epitaph of Lucius Valerianus and Vibia Paterna

This white limestone plaque measures 1 meter tall and 0.83 meters wide. Today it can be found embedded in the exterior western wall of the Vence Cathedral, where unfortunately a small portion of the left side is covered by pipes. The upper portion of the stone is broken. It is a funerary stone erected by a married couple, Lucius Veludius Valerianus and his wife, Vibia Paterna, while they were still alive.

Carved into it is the following:

L. VELVDIVS
VALERIANVS
DEC. VINT. MAG
ET SACERDO
TIO FVNCTVS
SIBI VIBIAE
MVCI FILIAE
PATERNAE
VXORI
VIVIS F.

If we expand the abbreviations and fix the broken words we have: “LUCIUS VELVDIVS VALERIANVS, DECURIO VINTII MAGISTERIO ET SACERDOTIO FVNCTVS, SIBI, VIBIAE MVCI FILIAE PATERNAE VXORI VIVIS FECERUNT. ,” which can be translated as: “Lucius Veludius Valerianus, decurion of the Vintienses, having held the offices of magistratus and priest, for himself and for Vibia Paterna, daughter of Mucus, his wife, during their lifetime, had this monument erected.”

The word magisterio on this inscription indicates that Lucius Veludius Valerianus held a municipal office in the city of Vintium and was once the head of a sacred college, possibly one of the augural colleges or one of the youth colleges. The word sacerdotio shows that he also served as a Roman priest. Roman funerary inscriptions often highlighted public offices and religious roles as a way of preserving the family’s honor and social standing. Based on certain features of the dedication, Morabito dates this stone to the 1st century CE.

Milestone Inscriptions

Vence was connected to nearby Roman settlements — notably Cemenelum (now Cimiez), Antipolis (Antibes), and Forum Julii (Fréjus) — via an extensive and sophisticated network of Roman roads. Vence benefitted enormously from its proximity to these towns and the connections they provided. Roads were key components in integrating the region into the Roman Empire, facilitating trade, military movements, and communication. They were engineered with durability and efficiency in mind and were often paved with large, flat stones in particularly busy sections. The Romans tended to build their roads in straight lines whenever possible to reduce travel times, though adjustments were sometimes made for difficult terrain. The main roads generally ran east to west, while secondary roads ran south to north.

These roads included the Via Aurelia, which ran along the Mediterranean coast; the Via Julia Augusta, an inland continuation through Gaul in the same east-west direction; the Via Cemeneliana, which ran from Cimiez to Riez; the Via Alpina, which branched off the Via Cemeneliana heading north into the Tinée Valley; and the Via Vintiana, which ran from Vence to Gréolières, Séranon, and through the Thorent Valley to Castellane, where it connected to the Via Cemeneliana. The Via Vintiana is mainly reconstructed from local and archaeological evidence, and its exact course remains a topic of scholarly discussion.

A milestone was normally placed every thousand paces along Roman roads, with each Roman mile equivalent to approximately 1,481.75 meters. In his Inscriptions Romaines de Vence, Bourguignat lists three Roman milestones that have survived from these roads. Two of them do not, in my opinion, relate directly to Vence, so I have chosen not to include much information about them here. Bourguignat seems to have included them simply because they were markers on the Via Vintiana, which began in Vence.

12. Dedication to Emperor Maximinus

This stone milestone was discovered in one of the small Roman quarries that once existed near the top of the Col de Vence.

Carved into it is the following:

IMP CAES
C IVLIVS VERVS
MAXIMINVS
PIVS FELIX INVI
CTVS AVG PONT
MAX P PATRIAE
PROC COS DESIG
NATVS RESTITV
IT.

If we expand the abbreviations and fix the broken words we have: “IMPERATOR CAESAR CAIUS IVLIVS VERVS MAXIMINVS, PIVS FELIX, INVICTVS AVGUSTUS PONTIFEX MAXIMUS PATER PATRIAE, PROCONSUL, CONSUL DESIGNATVS RESTITVIT.,” which can be translated as: “The emperor César, Caius Julius Verus Maximinus, pious, fortunate, undefeated, Augustus, supreme pontiff, father of the fatherland, proconsul, designated consul, restored this road.”

During one of his visits to Vence in the 1860s, Bourguignat was informed by locals that there were stones near the top of the Col de Vence (between Vence and Coursegoules) bearing inscriptions. He was also told that as recently as twenty years earlier, four or five large columns, each two to three meters high and inscribed, still stood near these quarries. Apparently, they were knocked down and partially destroyed by local shepherds for reasons unknown, though he was told that just five or six years earlier, three of the columns could still be seen lying on the ground.

When Bourguignat reached the area, he was surprised to discover the remains of an ancient Roman quarry. He noted five large depressions, each more than 100 feet long and about 20 feet deep. Scattered in and around these depressions was an immense quantity of broken and split stones, many with visible chisel marks. It was here that he discovered the first of the three milestones he includes in his book. The others he had been told about had disappeared.

Based on part of the inscription referring to Maximinus’ time as consul, this milestone can be dated to 235 CE. It indicates that Emperor Maximinus was responsible for restoring the Via Vintiana. Born around 173 CE in Thrace, Maximinus reportedly began life as a shepherd. Ancient sources describe his parents as “barbarians,” with his mother said to be of Alan nationality (an ancient nomadic people of the Sarmatian world) and his father a Goth. He ascended to the throne in 235 CE but was assassinated by his own soldiers only three years later, in 238.

The second milestone, dedicated to Emperor Marcus Aurelius Antoninus (commonly known as Caracalla), is currently located at the junction of the road to Thorenc and the Chemin de la Valette, near Gréolières. The third, a small fragment also dedicated to Caracalla, is said to be embedded in a retaining wall, though Bourguignat does not specify where. Based on the inscriptions, both of these milestones can be dated to 213 CE.

13. Aqueduct Dedication

Vence boasts over 20 charming freshwater fountains, each with its own unique appeal. Some are modest and easily overlooked, known mostly to local residents, while others, like the Fontaine du Peyra and the Basse Fontaine, stand out as stunning landmarks that frequently serve as picturesque backdrops for photos. The Fontaine du Peyra, in particular, holds historical significance, having been designated a Historical Monument in 1920. What unites all these fountains is their shared source: the nearby Foux spring. This spring, known in local tradition as the Petit-Loup, also supplied water to the ancient town via a Roman-built aqueduct.

Up until the mid-1800s, some remnants of the ancient Roman aqueducts were still visible along the route from Vence to the Pont de la Foux, a small bridge close to the spring. Certain stretches were reportedly in excellent condition, with some even continuing to serve their original purpose.

A fragment of a Roman inscription, almost certainly created to commemorate the aqueduct’s builders, is still visible today, embedded in the wall of the cathedral’s vestibule. It measures .59 meters wide and .61 meters tall. All four sides of the stone are damaged and the inscription is visibly worn, most likely from repeated rubbing.

Carved into it is the following:

IVO N
FAVENTI
TVM STRV

Originally, two pieces of this inscription were housed in the cathedral, but unfortunately, the second piece has been lost. For a time, this second piece appears to have been set into the cathedral’s floor near the stairs leading to the choir. It seems to have disappeared sometime between 1874 and 1878. Fortunately, drawings exist of this missing piece, so we have some idea of its appearance and text:

SIS M CL
I AQVAEDV

Most historians agree that these two fragments are not enough to allow for a completely reliable translation. Nevertheless, several writers have proposed hypotheses. Stéphane Morabito analyzed the stones and, adding what he thinks would be the missing parts, reconstructed the text as(letters which Morabito added are italicized): “ORDO VINTIENSIS MARCVS CLAVDIVS QVOD CIVITATI AQVAEDVC – DIVO NERVAE FAVENTINVS PROCVRATOR TVM STRVXIT.,” which can be translated as “…to the deified Nerva, the order of decurions of Vintium and M. Claudius Fauentinus, procurator (?), because he constructed an aqueduct for the city…”

If this reconstruction is accurate, the stone is a dedication to the deceased Emperor Nerva, who likely played a role in bringing an aqueduct to Vintium. Additionally, a certain M. Claudius Fauentinus appears to have played an important part in the project. Though this stone attests to the existence of an aqueduct in Vence, no physical evidence of one currently exists in or around the old town — though, as noted earlier, some evidence reportedly remained visible until the mid-1800s.

Based on the dedication to Emperor Nerva, this stone can be dated to the first half of the 2nd century CE.

Stones Currently Stored at the Chapelle Sainte-Anne

14. Dedication to Mars Vintius

This stone measures .88 meters tall and .62 meters wide. It features a base and top molded on all four sides. This stone was originally discovered near the entrance to town on the road to Tourrettes-sur-Loup. It was once sealed in the wall of the courtyard of the old Bishopric but was later removed and placed in the Chapelle des Pénitents Blancs. Today it is kept in the Sainte-Anne Chapel. Carved into it is the following:

MARTI VINTO
M RVFINIVS FELIX
SAL IIIIIIVIR ET IN
COLA CEMENEL.
EX VOTO.

If we expand the abbreviations and fix the broken words we have: “MARTI VINTIO, MARCUS RVFINIVS FELIX, SALINIENSIS IIIIIIVIR ETINCOLA CEMENELEI. EX VOTO.,” which can be translated as: “To Mars Vintius. Marcus Rufinius Felix, a native of Salinae, sevir and inhabitant of Cemenelum. In fulfillment of his vow, he made this offering.”

Here we have a votive inscription dedicated to the god Mars showing that a man named Marcus Rufinius Felix has fulfilled an unnamed vow. Dedications to Mars are the most common in the Alpes Maritimae. Other tributes have been found in Briançonnet and Glandèves. The surname of Vintien is given to the god, which Bourguignat says would indicate that “there was a temple dedicated to this deity in Vence and that the worship of Mars was held in high esteem in the region.”

The fact that “Vinto” (Vintien) has been added to the name of the god, Mars in this case, is an example of how the Romans would often add the names of certain localities where certain gods were particularly revered. This naming pattern was widespread in the Roman West, especially in Gaul and the provinces. Hence we have ended up with Junon Argienne (from Argos) and Jupiter Olympien (from Mount Olympus).

Marcus Rufinius Felix was a sevir, originally from Salina (now likely corresponding to Castellane) who was then living in Cemenelum, which is today known as Cimiez. Located about 2 kilometers north of Nice, Cimiez was located on the Via Julia Augusta, the main road connecting Italy to Gaul. It later became the capital of the province of Alpes Maritimae. It contains significant Roman ruins including a small amphitheater, Roman baths and the remnants of streets and forums. Much of the former city is today buried under modern buildings, but what has survived gives us a unique window into the Roman presence on the Côte d’Azur.

A sevir in Roman times was a member of a group of six officials who fulfilled various civic or religious roles, most notably in the Seviri Augustales, who were responsible for maintaining and promoting the Imperial Cult. These positions, often held by wealthy freedmen or young members of the equestrian class, provided opportunities for social mobility, public recognition, and involvement in the religious and civic life of Roman society.

There were several different types of seviri with different roles and duties including the Seviri Augustales tasked with overseeing religious ceremonies, festivals and sacrifices dedicated to the emperor; Seviri Equitum Romanorum who took part in the annual parade of the Roman equites (knights); Seviri in Local Cults who were local officials or priests tasked with overseeing various aspects of local religious practices or cults.

15. Epitaph of Ennia Fuscina

This stone measures .44 meters tall and .75 meters wide. It is the right portion of a funeral urn which was composed of two compartments. A portion of the decorative carving that separated the two compartments can still be seen. This stone was first mentioned in the 17th century by Peiresc. Over the centuries it has been displayed in a variety of places, including the Vence Cathedral, the wall of the Blacas House, and the basement of the Vence Château (the old 17th-century castle that is now the home of the Vence Museum). Today it is kept in the Chapelle Sainte-Anne. Carved into it is the following:

ENNIA FVSCINA
VIVA SIBI.
FECIT.

No abbreviations to expand or broken words to fix here; it can be translated as: “Ennia Fuscina, during her lifetime, raised this monument for herself.” A simple tombstone created by a woman before her death. Preparing one’s own tombstone during life was a common practice in Roman funerary customs, often to ensure proper burial and avoid the risk of being left without a memorial. The name Ennia Fuscina was a common one in the city of Vintium as well as the surrounding areas.

Another inscription which lacks a dedication to the Manes, this most likely means that the stone dates from the 1st century CE.

16. Epitaph of Publius Aelius Pamphilus

This inscription measures .71 meters tall and .41 meters wide and is carved on a stone shaped like a pedestal with a base and top molded on three sides. It is damaged in several places. Morabito says it was discovered near the cathedral in 1821 by the mayor of Vence, M. Bérenger. Later it was placed in the old fire station near the Town Hall and eventually moved to the Chapelle des Pénitents Blancs and finally the Chapelle Sainte-Anne where it can still be found today. Bourguignat adds that at one time it was also located in a small fish market building in the old town.

Carved into it is the following:

P AELIO PAMPHILO
CALPVRNIA PAM
PHILE PATRI
MERENTISSIMO
POSVIT
AD QVOD OPVS
COLLEG IVVENVM
NEMESIORVM
IMPENDIVM DDT.

If we expand the abbreviations and fix the broken words we have: “PUBLIO AELIO PAMPHILO, CALPVRNIA PAMPHILE, PATRI MERENTISSIMO, POSVIT ; AD QVOD OPVS, COLLEGIUM IVVENVM NEMESIORVM IMPENDIVM DEDIT.,” which can be translated as: “To Publius Aelius Pamphilus. Calpurnia Pamphila erected (this monument) for her very deserving father. For this work, the college of Young Nemesians covered the expense.”

This stone was erected by a daughter, Calpurina Pamphila, for her father, Publius Ælius Pamphilus. It is interesting because of the reference to the “college of young Nemesians” (COLLEGIVM IVVENVM NEMESIORVM). In Roman times, a collegium referred to an association. The word IVVENVM defines this particular association as one made up of young people. These associations served as early training grounds for those destined to join the municipal elites later in life. The final word, NEMESIORVM (nemesiorum), likely pertains to the city or local group where the association was located, possibly referring to the Nemesii tribe that inhabited the area before the Romans.

Little is known about this particular organization, but it is theorized that they may have been involved in festivals and ceremonies honoring the dead, especially since in this case they covered the expenses of the burial. It’s possible that these associations were the cultural ancestors of the Black Penitents and White Penitents who carried out the same mission throughout France in the Middle Ages.

Morabito dates this stone to the first decades of the 3rd century, based on the fact that the term collegium iuuenum first appears in the provinces around the year 202 CE.

17. Epitaph of Viba Paterna

This inscription measures .74 meters tall, .63 meters wide, and .50 meters deep and is carved on a quadrangular stone block shaped like a pedestal. It was first discovered in the early 1600s. Later it was sealed in a wall between the fish market and the town hall of Vence, but today it can be found in the Chapelle Sainte-Anne.

Carved into it is the following:

VIBIAE QV
INTI F PATER
NAE MATRI
PIISSIMAE
GRAECINNA
C. F. MARCI
ANA. EXT. P.
L. D. D. D.

If we expand the abbreviations and fix the broken words we have: “VIBIAE QVINTI FILIAE PATERNAE MATRI PIISSIMAE GRAECINNA CAII FILIA MARCIANA. EX TESTAMENTO POSUIT. LOCUS DATUS DECRETO DECURIONUM.,” which can be translated as: “To Vibia Paterna, daughter of Valens, her devoted mother, Graecinia Marcina, daughter of Gaius, erected (this monument) in accordance with her mother’s will. The site was granted by decree of the decurions.”

This stone is perhaps in the poorest condition of any in the Vence collection. Bourguignat notes that, “The entire upper part as well as the right side are worn down, as if polished. The letters, three-quarters erased, barely appear; in several places, they are entirely lost; the top of the inscription where the funerary DM was supposed to be is missing.”

The Vibia Paterna family, whose names frequently appear on funerary stones throughout the Alpes-Maritimes, was likely one of the prominent and influential families in the region during the Roman era.

On this inscription we have a reference to a tomb whose place has been granted by “a decree of the decurions” (L.D.D.D.). Vibia Paterna must therefore have been a highly regarded and esteemed member of society. The L.D.D.D. (Locus Datus Decreto Decurionum) was an honor bestowed only on citizens who had made significant contributions to the city.

Morabito concludes that this stone most likely dates from the second half of the 1st century CE.

18. Epitaph of Caïus Gratinaus

This stone altar features a molded top and base on three sides. The top features decorative elements carved in relief. This piece was first mentioned by a French scholar named Joseph Justus Scaliger in the later part of the 1500s. It was then apparently lost and rediscovered in 1872 during excavations near the Vence Cathedral. Like several other stones, it moved from the old fire station to the Chapelle des Pénitents Blancs and finally the Chapelle Sainte-Anne where it can be found today. The stone measures .85 meters tall and .44 meters wide.

Carved on it is the following:

D M
ET MEMORIAE
DVLCISSIME
C SECVNDINI
GRATIANI
SABINVS
NEPOTI
KARISSIMO

If we expand the abbreviations and fix the broken words we have: “DIIS MANIBUS ET MEMORIAE DVLCISSIMAE CAII SECVNDINI, GRATIANI, SABINVS, NEPOTI KARISSIMO.,” which can be translated as: “To the Manes gods and the sweet memory of Gaius Secundius Gratinianus. Sabinius Geminianus, to his very dear grandson.” Here we find another instance where several “A”s are not barred.

The two individuals mentioned in this inscription do not share the same gentilice (family or clan name), which probably means that the dedicator, Sabinius Geminianus, was the maternal grandfather of the deceased, Gaius Secundius Gratinianus.

Bourguignat points out that this is the only stone in the Vence collection which appends ET MEMORIAE to the DM (the dedication to the Manes gods) at the beginning. He argues that this inscription indicates that the person buried here was of Gallic origin and not a “true” Roman, though this interpretation is debated.

Morabito dates this stone to the late 2nd or early 3rd century CE.

Missing Stones

Bourguignat notes two stones in his book for which there is historical evidence, but which have gone missing. Morabito notes at least ten more, many of which as simply fragments of the original stone. As we will see shortly, for many years these important artifacts were not stored in a secure location and this resulted in the disappearance (theft?) of several pieces. Here are details about the most significant missing piece.

19. Dedication To Trajan

Morabito says that this stone was located in the Saint-Jean chapel within the castle of the Baron of Vence (on Place de la Poissonnerie — now known as Place Clemenceau) during the 17th century. It was later moved to the courtyard of the castle. It was mentioned by several authors, but as of Bourguignat’s explorations it was no longer anywhere to be found. A drawing was made by Peiresc (which remains in the Bibliothèque nationale de France), from which most of what we know about this stone has been taken.

Carved into it is the following:

IMP. CAES.
C MESSIO QVINTO
TRAIANO DECIO
PIO FEL INVIC
TO AVG P M TRIB
POT III COS II PP
CIVIT VINT.

If we expand the abbreviations and fix the broken words we have: “IMPERATORI CAESARI, CNEIO MESSIO QVINTO TRAJANO DECIO, PIO, FELICE, INVICTO, AVGUSTO, PONTIFICE MAXIMO, TRIBUNITIA POTESTATE III, CONSULI II, PATRI PATRIÆ. CIVITAS VINTIENSIUM.,” which can be translated as: “To Emperor César Gaius Messius Quintus Traianus Decius, pious, favored by the gods, undefeated, Augustus, supreme pontiff, invested with his third tribunician power, consul for the third time, proconsul, father of the fatherland. The city of the Vintienses.”

The stone dates from the year 251 CE and is dedicated to the Roman emperor Trajan Decius, born around 201 CE, whose full imperial name was Gaius Messius Quintus Decius Trajanus. The additional names of Optimus and Trajanus were conferred upon him by the Roman Senate. He was proclaimed emperor in 249 but ruled only for a short time. In June of 251, he and his entire army were killed by the Goths following the betrayal of one of his lieutenants, Trebonianus Gallus. During his brief reign, he was responsible for a brutal persecution of Christians as he attempted to restore the “official” religion in the provinces.

This stone, like the one dedicated to Élagabal, was commissioned by the citizens of the city, most likely the notables, from their desire to demonstrate allegiance to both the Empire and the Emperor. Throughout the Alpine provinces, this was the only known recorded monument dedicated to Trajan Decius.

20. Roman Sarcophagus

A chapel on the south side of the nave in the Vence Cathedral is dedicated to Saint Véran, one of Vence’s two patron saints. The altar front features a beautiful piece of Luni marble (a high-quality marble also known today as Carrara marble) from a Roman sarcophagus dating back to the 4th century, with faint remnants of polychromy. Interestingly, this sarcophagus was not originally crafted for Véran and seems to have been repurposed from an earlier burial.

The sarcophagus depicts a man and a woman, likely a married couple, positioned within a large shell. The man holds an object, possibly a diptych or scroll, while the woman wears a three-row necklace. Her right hand rests on the man’s left shoulder, and her left hand grasps his right arm. The lower portion of the scene shows signs of damage. Below the couple, three children are depicted: two in the left corner, one of whom holds a mask over his face, and a third seated to the right next to a bird pecking at a piece of fruit, perhaps near the entrance of a cave. The central figure of the lower scene is missing, with visible fragments of stone indicating its previous placement. In the upper corners, two tritons are shown blowing trumpets. The entire scene is framed by elegant wavy grooves, known as strigils, on both sides.

If one examines the center of the carvings closely, a small hole is visible, the purpose of which remains uncertain. According to one account, the sarcophagus was once repurposed as a fountain basin before being used for Saint Véran’s remains. Another account suggests that visitors to the tomb could insert a small piece of cloth attached to a stick through the hole to touch Véran’s remains. Once the cloth made contact, it was considered sacred, and the visitor would leave with a holy relic, blessed by Saint Véran himself. Perhaps both accounts are indeed true.

The original ends of the sarcophagus were removed when it was used to create the altar of this chapel. A fragment from one end, featuring a philosopher or thinker holding a scroll, is now embedded in a nearby pillar close to the chapel. Another fragment, depicting a different philosopher figure, is embedded in an adjacent pillar.

The Lapidary Museum

n 1936, a small lapidary museum was set up in the basement of the Vence Town Hall where many of these stones were displayed. Unfortunately, it closed just four years later, in 1940. Later, the stones were transferred to what was known as an “open-air lapidary museum” on the Belvédère Fernand Moutet, a small plaza on the edge of the Vence old town that overlooks the Lubiane Valley.

Sadly, some of the stones were stolen or lost at this time, so in 1964 the remaining stones were moved to the basements of the Chapelle des Pénitents Blancs (Chapel of the White Penitents)and the Vence Château. Even more stones went missing or were stolen. Finally, in 1999, the surviving collection was moved to the Sainte-Anne Chapel for permanent safekeeping and proper conservation.

Access

Vence can easily be reached from just about anywhere in France by taking the A8 until you get to Cagnes-sur-Mer. If you are coming from the east get off on Exit 48 and if you are coming from the west you’ll want Exit 47. Take the M336, then the M36 and finally the M236 north into Vence. The most accessible parking is in the Parking du Grand Jardin, right next to the old town. Parking Toreille and Marie Antoinette Parking are both close by as well.

There are two buses which run from Nice to Vence: #9 and #655. Just be careful with the #9, it can be a bit confusing because it has two routes leaving from the Park Phoenix in Nice. One route stops at the Polygon Riviera mall which is still about 8kms from Vence. Look at the route displayed on the front of the bus at the top. It should say “L’Ara” which is the last bus stop in Vence. All the #9 buses returning to Nice from Vence go all the way to Park Phoenix.

There is no train service directly to Vence. You can take the train to Cagnes-sur-Mer and then take either the #9 or #655 bus from Cagnes-sur-Mer to Vence.

The Vence Office de Tourisme is just across the street from the Grand Jardin. All of the Roman artifacts which are viewable by the public are just a very short walk from any of the above parking lots. While you can visit the old town at any time, on any day of the year, I would suggest that you try to come on any day but Sunday or Monday so that you might enjoy some of the shops and boutiques that will otherwise be closed.