The Architecture of Nice, France

Stones, Styles, and Stories Along the Côte d'Azur

“Nice is a city you can read like a book — every building tells part of its story.” ¹⁾

Few cities in the world offer the visitor such a rich and legible architectural biography. Nice, capital of the Alpes-Maritimes and jewel of the French Riviera, has been shaped over more than two millennia by Romans, Genoese merchants, the Dukes of Savoy, English aristocrats, Russian tsars, and French republicans. Each era left its mark on stone, plaster, and tile. The result is a city of extraordinary architectural diversity, where Roman thermal baths stand a short walk from Baroque churches, Belle Époque palaces, and Art Deco casinos.

In 2021, UNESCO inscribed Nice as a World Heritage Site, recognising its status as an outstanding example of a winter resort city whose architecture and urban planning shaped the modern idea of leisure tourism. ²⁾ This guide explores that heritage, style by style, neighbourhood by neighbourhood — and concludes with a self-guided walking tour of the city's finest architectural moments.

1. Historical Overview
2. The Architectural Styles of Nice
   1. Roman and Pre-Medieval
   2. Baroque: The Soul of Vieux Nice
   3. Neoclassical and Italianate
   4. Belle Époque: The Golden Age
   5. Art Deco: Geometry and Glamour
   6. Modernism and Contemporary
   7. Exotic Revivals: A City of Follies
3. The Colour of Nice
4. Architecture by Neighbourhood
5. Key Buildings: A Closer Look
6. Cultural and Artistic Connections
7. Self-Guided Walking Tour
8. Practical Visitor Information
9. Quick Reference Card
10. References

Understanding Nice's architecture requires understanding its unusual political history. The city was not French for most of its existence.

The story begins not in the city centre but on the heights of Cimiez, where the Romans built Cemenelum — a substantial city separate from the fishing settlement below. ³⁾

Key characteristics:

• Opus incertum and opus reticulatum stonework
• Public bath complexes with hypocaust heating systems
• Amphitheatre seating for gladiatorial and theatrical spectacles
• Paleo-Christian basilica adapting Roman civic forms for worship

Roman builders chose Cimiez Hill for its commanding position over the coastal plain and its proximity to fresh water. The ruins that survive — the arena, the Eastern, Western, and Northern thermal baths — give a rare glimpse of provincial Roman urban planning. The site is now integrated with the Musée d'Archéologie de Nice-Cimiez, and the arena is famously reused each summer for the Nice Jazz Festival. ⁴⁾

The dominant architectural language of the Old Town is Italian Baroque, imported directly from Genoa and Turin during the centuries of Savoyard rule. This is the style that gives Vieux Nice its theatrical, sensuous quality — its deep shadows and sudden bright facades, its carved stone gesturing like actors on a stage.

Key characteristics:

• Elaborate facades with stucco ornamentation, pilasters, and entablatures
• Curving forms, dramatic use of light and shade (chiaroscuro in stone)
• Richly decorated interiors: marble altars, gilded stucco, trompe-l'oeil frescoes
• Elliptical or Latin-cross floor plans
• Tiled domes in the Genoese manner (glazed polychrome tiles)
• Tall, narrow building plots producing verticality and shade in the street

The Baroque of Nice is distinctly Niçois in its palette: the facades are painted in ochre, terracotta, rose, and amber — colours derived from local pigments and the practical tradition of colouring plaster to protect against the Mediterranean sun. These are not decorative choices; they are a structural vernacular, deeply rooted in the local building culture.

Following the French Revolution and especially after the annexation of 1860, Nice saw the construction of civic buildings in the Neoclassical style — a deliberate architectural statement of republican order and French institutional identity.

Key characteristics:

• Symmetrical facades with classical orders (Doric, Ionic, Corinthian)
• Pediments, colonnades, and rusticated bases
• Restrained ornament compared to Baroque
• Emphasis on civic dignity rather than religious exuberance

Place Garibaldi, the grand square on the northern edge of Vieux Nice, represents this transitional moment beautifully: its arcaded facades, painted in Piedmontese ochre and yellow, are a hybrid of Italian urban tradition and French civic formality. ⁵⁾

The Belle Époque — running roughly from 1860 to 1914 — transformed Nice from a pleasant winter resort into one of the most celebrated destinations in the world. Wealthy English, Russian, and European aristocrats and bourgeoisie came for the mild climate and stayed to build. The result was an explosion of architectural ambition that permanently defined the city's identity.

Key characteristics:

• Eclecticism as a governing principle: Classical, Gothic, Baroque, Renaissance, and Oriental elements freely combined
• Elaborate facades enriched with stucco, gables, colonnades, and bas-reliefs
• Wrought-iron balconies and canopies of extraordinary craftsmanship
• Glazed domes, turrets, and cupolas as skyline features
• Grand interiors with Baccarat crystal chandeliers, painted ceilings, and marble floors
• Lush garden settings — villas set in landscaped parks with exotic plantings

The Belle Époque in Nice was characterised by a particular phenomenon: the competitive building of wealthy “winterers” who sought to outdo their neighbours. With virtually unlimited resources and diverse cultural backgrounds (English, Russian, German, Romanian, Belgian), their architects produced an astonishing variety of buildings united only by their ambition and opulence. ⁶⁾

After the First World War, the wealthy returned to Nice — but the world had changed. The Roaring Twenties brought a new aesthetic: Art Deco. Where Belle Époque had been exuberant and historicising, Art Deco was geometric, streamlined, and emphatically modern.

Key characteristics:

• Geometric and stylised ornamentation (chevrons, sunbursts, stepped forms)
• Reinforced concrete enabling new structural possibilities
• Sleek horizontal emphasis and rounded corners
• Stylised figurative sculpture on facades (nymphs, seahorses, athletes)
• Enormous glazed bays flooding interiors with Mediterranean light
• Luxurious interior materials: marble, exotic wood, crystal, stained glass

The most spectacular example, the Palais de la Méditerranée (1929), was described by the writer Jules Romains as, alongside the ocean liner Normandie, the greatest French achievement of the interwar period. ⁷⁾

Post-war reconstruction and population growth led to functional modernist building across much of Nice's periphery, much of it unremarkable. However, the city also invested in significant cultural institutions that brought serious architectural ambition to the contemporary era.

Key examples:

• MAMAC (Musée d'Art Moderne et d'Art Contemporain, 1990): A postmodern complex of four towers linked by glass walkways, designed by Yves Bayard and Henri Vidal
• Musée National Marc Chagall (1972): Designed by André Hermant, a rare example of a museum built in direct collaboration with the living artist it was to house
• Tramway infrastructure (2007–): The Nice tramway network introduced high-quality contemporary street furniture, stone paving, and public art into the city centre

One of the most distinctive and least-discussed aspects of Belle Époque Nice is its taste for the exotic. Winterers with limitless budgets and romantic imaginations built private villas in styles ranging from neo-Moorish to neo-Gothic to neo-Mughal — a phenomenon the French call folies (follies). ⁸⁾

The colours of Nice's buildings are not merely decorative — they are an architectural language, a climate response, and a cultural identity. Locals say that the light here “paints everything twice: once with the sun, and once with reflection from the sea.” ⁹⁾

The palette:

• Ochre and amber: The dominant tones of Vieux Nice and Place Garibaldi, derived from iron-rich local clays and the Piedmontese painting tradition
• Terracotta and coral: Warm pinks that absorb and re-radiate Mediterranean light
• Pale yellow and cream: The colour of Belle Époque stucco facades along the Promenade
• White: Predominant in Art Deco buildings, maximising contrast with blue sky and sea
• Pastel rose and lavender: Domestic residential buildings in transitional neighbourhoods

The shutters: Equally important are the green-painted wooden shutters (persiennes) that appear on virtually every facade. These are not decoration — they are a functional response to intense solar heat, and their rhythmic repetition across a building's facade creates architectural order where ornament might otherwise be absent.

The oldest continuously inhabited district, Vieux Nice is a labyrinth of narrow streets (carruggi) running on a medieval plan beneath Baroque and later facades. Built mostly between the 17th and 19th centuries, its buildings display stucco work, frescoes, and detailed ironwork in ochre, terracotta, and pastel tones. ¹⁰⁾

• Density: Extremely high — buildings of 4–6 storeys on plots 5–8 metres wide
• Street life: Active at ground floor with restaurants, shops, and markets
• Key streets: Rue Droite (the “straight street,” running the full length of the old town), Rue de la Préfecture, Rue Pairolière

Created in the 1830s after the drainage of the Paillon River, Place Masséna is the hinge between Vieux Nice and the modern city. Its arcaded red-ochre buildings in the Piedmontese manner frame one of the most successful urban spaces in southern France. The square was designed by Joseph Vernier in a style that references Italian piazza tradition while providing the civic formality required by the expanding city.

The surrounding New Town (Ville Nouvelle) is laid out in a grid of broad boulevards lined with Belle Époque apartment buildings — a pattern closer to Haussmann's Paris than to the medieval Old Town.

The famous promenade — created by the English community in 1820 and progressively expanded — is an open-air museum of Nice's architectural evolution from the 1840s to the 1930s. Reading it from west to east, one passes through:

• Mid-19th century classical hotels (the West End, 1842)
• Belle Époque palaces (the Negresco, 1913)
• Art Deco masterworks (the Palais de la Méditerranée, 1929)
• Interwar apartment blocks in mixed styles

The aristocratic hill suburb that attracted Queen Victoria, Russian grand dukes, and the European upper bourgeoisie. Cimiez combines Roman ruins, a working Franciscan monastery (founded 8th century), Belle Époque villas converted to apartments, and two world-class museums (Matisse, Chagall). The atmosphere is one of faded grandeur and extraordinary botanical richness.

The streets named after composers — Verdi, Rossini, Gounod — form a concentrated district of Belle Époque apartment buildings particularly well-preserved and accessible. ¹¹⁾ Look for wrought-iron balconies, bay windows, entrance halls with mosaic floors, and stained-glass staircases.

Port Lympia, constructed in the 18th century, is surrounded by some of Nice's earliest urban architecture — a quarter of Baroque-influenced facades in ochre and rose, with elaborate ironwork gateways and a distinctly Genoese maritime atmosphere.

Construction began in 1649 when Bishop Didier Palletis commissioned architect Jean-André Guibert to produce a structure more in keeping with the importance of the city, modelled on Santa Susanna in Rome, with a Latin cross ground plan oriented to the east and a cupola clad in coloured tiles in the Genoese style.

The cathedral's Genoese dome is covered in 14,000 lacquered polychrome tiles — one of the city's most distinctive skyline features. Inside, ten chapels each with marble altars and gilded stucco line the nave, which was built in the spirit of Saint Peter's Basilica in Rome. It was raised to the rank of Minor Basilica in 1949, the same rank as the Sagrada Família in Barcelona.

A Baroque structure built in the mid-18th century by the design of Bernardo Vittone, the Chapelle de la Miséricorde is a triumphant embodiment of the Baroque style, reflected both by the facade and by its interior layout and decorations. Starting with the elliptical nave and ending with the chapels which border it, everything inside is designed in the spirit of the curvy lines so characteristic of the Baroque.

Owned by the Brotherhood of Black Penitents (a lay Catholic fraternity dating to the 15th century), the chapel is only open to visitors on Tuesday afternoons — a fact that frustrates many tourists but adds to its mystique.

Built by the Lascaris-Vintimille family — counts and high nobles of the Savoyard court — the Palais Lascaris is the finest private Baroque palace in Nice. Its grand staircase, trompe-l'oeil ceiling frescoes, and elaborately decorated salons give a vivid sense of aristocratic domestic life in 17th-century Nice. The ground floor, characteristically, was used for commerce — the tradition of shops beneath noble residences persists in Nice to this day.

Nothing was too grand for the future Negresco: Gustave Eiffel built an impressive glass and steel dome inside the hotel's Salon Royal. The Negresco opened in January 1913 to widespread international acclaim.

The Negresco's distinctive pink dome — 42 metres high, designed to be visible from the sea — has become the defining icon of Nice's waterfront. Its inauguration brought together no fewer than seven crowned heads who came to explore this extraordinary palace, and behind its sublime Belle Époque facade it houses numerous art collections in its ground-floor salons and upstairs corridors leading to 128 rooms and 26 suites, each with its own individual decoration.

The hotel passed through decline, wartime use as a hospital, and near-extinction before being rescued by the Augier family in 1957 and transformed into a living museum of French art history spanning from the Renaissance to the 21st century.

In 1929, architects Charles and Marcel Dalmas created a luxury leisure complex featuring a casino, bars, restaurants, a dance hall, exhibition halls, and an 800-seat theatre. At the time of its inauguration, this building was considered one of the finest examples of Art Deco architecture in France.

The building suffered a notorious fate: demolished in 1990 amid a financial and legal scandal, only its listed Art Deco facades were preserved and integrated into a new hotel built behind them. The main Art Deco facade on the Promenade des Anglais and the facade on Rue du Congrès were classified as historical monuments in 1989 and retained when much of the original hotel was demolished to make way for a fully modernized hotel. The preserved facade — with its stylised female figures and sea-horse sculptures by Antoine Sartorio — remains one of the finest pieces of Art Deco carving in France.

The first Russian chapel in Nice was built in 1859, when the Russian community was already important in the city, but it quickly became too small. Construction work for a new, larger cathedral started in 1903 at Bermond Park — the place where the son of Tsar Alexander II died of meningitis when staying at Villa Bermond. The Tsar had bought the park and built a chapel in honour of his son. The cathedral was finally opened in 1912.

Six gilded onion domes rise above a lush garden setting, creating one of the most disorienting architectural experiences in the city — a piece of Moscow transported to the Mediterranean. The interior features an elaborate iconostasis, murals, and carved woodwork of exceptional quality. Photography is not permitted inside.

Built specifically to accommodate Queen Victoria and her enormous entourage during her annual winter visits to Nice, the Regina is one of the grandest Belle Époque hotels in Europe. Formerly the hotel where Queen Victoria spent the last years of her life, this masterpiece of Belle Époque architecture has been home to private residences since 1930. Its glass domes and canopies, intricate wrought ironwork, and stucco bas-reliefs have all contributed to its listing as a historic monument.

Henri Matisse lived and worked in the Palais Regina from 1938 until his death in 1954 — a fact commemorated by a plaque and by the Musée Matisse, a short walk away, which preserves his collection and studio.

Here, visitors can explore the archaeological site which includes the well-preserved remains of public baths, an arena that once hosted gladiatorial contests, and a paleo-Christian basilica. These structures provide a fascinating insight into Roman urban planning and daily life. The Cimiez arena — seating approximately 5,000 — is still used today for the Nice Jazz Festival, creating one of the most unusual concert settings in the world.

Nice's architecture has been inseparable from its role as a destination for artists, writers, and intellectuals.

Henri Matisse (1869–1954) moved to Nice in 1917, initially for health reasons, and stayed for the rest of his life. He wrote that the light of Nice — the way it reflected off the white facades and the sea — was the essential condition for his late colour experiments. The Musée Matisse in Cimiez, housed in a 17th-century Genoese villa (itself an architectural gem), holds the world's largest collection of his works. ¹²⁾

Marc Chagall collaborated directly with architect André Hermant on the design of the Musée National Marc Chagall (1972) — one of the very few cases in the 20th century where a museum was designed in close partnership with its intended artist. The building is oriented to maximise natural Mediterranean light falling on Chagall's stained-glass windows.

Painters of the École de Nice — Yves Klein, Arman, Ben — found in the city's colours, light, and architecture a direct stimulus for their work. Klein's famous International Klein Blue (IKB) has been linked by art historians to the blue of the Mediterranean sky as seen from the Promenade des Anglais.

Distance: approximately 6 km Duration: 3.5–5 hours (excluding museum visits) Best time: Morning departure (before 9 AM in summer to avoid heat and crowds)

This tour moves through three architectural eras in sequence: Baroque Vieux Nice → Neoclassical transition zone → Belle Époque and Art Deco Promenade. It can be split into two half-day segments at the break point indicated.

Getting there: Take the free lift (ascenseur) from Quai des États-Unis, or climb the steps from Rue Rossetti.

Begin at the top of Castle Hill — not for buildings (the castle itself was demolished by Louis XIV in 1706) but for the panoramic orientation it provides. From here, the entire architectural composition of Nice is visible: the terracotta roofs and church domes of Vieux Nice to the west, the white Belle Époque facades of the Promenade stretching toward the horizon, and the hill of Cimiez rising to the north crowned with the Regina Palace. This view is the essential introduction to the city's architectural geography.

What to look for: The Genoese-tiled dome of Sainte-Réparate cathedral, immediately below. The roofline rhythm of Vieux Nice — a dense horizontal carpet punctuated by church towers. The white Negresco dome on the Promenade, visible from 3 km.

Walking time from Stop 1: 10 minutes descent via Rue Rossetti

Descend directly into the heart of Vieux Nice and enter Place Rossetti, where the cathedral's Baroque facade commands the square. Study the facade: its layered pilasters, the curved pediment, the ironwork lanterns. Then enter the interior for the full impact of the Baroque programme — ten chapels, barrel-vaulted ceiling with painted decoration, and the high altar's gilded glory-piece above the relics of Saint Réparate.

Architectural note: The facade visible today dates to 1830 — a Baroque revival replacement for the original 1699 west front. The dome, best seen from the side streets or from Castle Hill, retains its original 14,000 Genoese polychrome tiles.

Walking time from Stop 2: 5 minutes

Walk north from Place Rossetti along Rue de la Loge and then east along Rue Droite — the “straight street” running the full length of the medieval town. This is the best single street in Nice for reading the Baroque urban fabric: facades of 5–6 storeys in ochre and terracotta, with elaborate window treatments, ironwork balconies, and carved stone door frames. Look for painted trompe-l'oeil ornament on upper facades.

At No. 15, enter the Palais Lascaris. The ceremonial staircase alone — its vaulted ceiling painted with allegories, its carved newel posts — justifies the visit. The ground-floor pharmacy (a reconstructed 18th-century apothecary) illustrates the Baroque tradition of integrating commerce into aristocratic residences.

Walking time from Stop 3: 10 minutes

Follow Rue Droite west and descend to Cours Saleya — the great market street that runs parallel to the sea. On its eastern end stands the Chapelle de la Miséricorde, its facade a controlled exercise in late Baroque geometry. Note the paired pilasters, the curved entablature, and the restrained ornament compared to the exuberance of Sainte-Réparate — this is the High Baroque moving toward Neoclassical discipline.

Cours Saleya itself is flanked by some of the finest 18th-century residential Baroque in Nice: tall, narrow facades in faded ochre and rose with elaborate ironwork balconies from which, historically, laundry was hung. Today the street hosts the famous flower and produce market (daily except Monday).

If visiting on a Tuesday afternoon: Enter the Chapelle de la Miséricorde interior. The elliptical nave with its interplay of convex and concave surfaces, the gilded altar pieces, and the carefully managed fall of light from concealed windows represents Baroque spatial drama at its most refined.

If splitting into two half-days, this is the natural break. The covered market at Cours Saleya has excellent local food stalls. Socca (chickpea flatbread), pissaladière (onion tart), and pan bagnat are the traditional Niçois specialities.

Walking time from Stop 4: 15 minutes, heading northeast via Rue de la République

Place Garibaldi marks the moment when Nice began to grow beyond its medieval boundaries. The square was laid out in the 1780s under Savoyard rule, and its arcaded facades in Piedmontese ochre create an enclosed urban room that feels simultaneously Italian and French. The statue of Garibaldi at the centre (Nice was the birthplace of Giuseppe Garibaldi, the hero of Italian unification) adds a note of historical irony: this Italian patriot is celebrated in a French city, in a square built in the Italian manner.

Architectural note: The arcade (portique) running around three sides of the square provided shelter from sun and rain for pedestrians — a Mediterranean urban tradition continuous from ancient Rome through to the present.

Walking time from Stop 5: 10 minutes, heading south via Rue de la République or along the Promenade du Paillon

Place Masséna is the architectural pivot of the city — where the red-ochre Italianate facades of the 1830s town planning meet the green Promenade du Paillon and the view down to the sea. The square was designed by Joseph Vernier in the Piedmontese manner, with uniform arcaded buildings in red plaster creating a remarkably coherent enclosed space.

Stand at the centre of the square and rotate 360°: you see at once the Vieux Nice hills to the east, the Belle Époque facade of the Galeries Lafayette to the north, the contemporary tram infrastructure running through the square, and the blue sea to the south. This is Nice's architectural biography in one glance.

Contemporary note: The seven tall columns in the square support illuminated figures by the Catalan artist Jaume Plensa — a contemporary addition (2011) that sits surprisingly well in the historical context.

Walking time from Stop 6: 10 minutes, heading southwest along Promenade des Anglais

The Villa Masséna (1898–1901) is a Belle Époque neoclassical villa set in a garden that runs between the Promenade des Anglais and Rue de France. Built for Prince Victor d'Essling (grandson of Marshal Masséna), it represents the Belle Époque at its most restrained: a formal Italianate villa in cream stone, with loggias, a balustraded terrace, and formal French gardens. It now functions as the city's history museum, and entry to the gardens is free.

What to look for: The contrast between the restrained exterior and the lavish Belle Époque interior (gilded ceilings, painted panels, period furniture). The garden itself, with its palm trees and formal beds, exemplifies the Belle Époque practice of combining Mediterranean and northern European horticultural traditions.

Walking time from Stop 7: 5 minutes along the Promenade

The Negresco needs no introduction — its pink dome is visible from most of the previous stops. Approach it from the east to appreciate the full length of its Promenade facade: the projecting curved central bay crowned by the dome, flanked by symmetrical wings with elaborately carved stone balconies and wrought-iron canopies.

Non-guests are welcome in the lobby and public salons during hotel hours. Step inside the Salon Royal beneath Gustave Eiffel's glass dome to understand the full ambition of Belle Époque interior design. The chandelier overhead — a twin of one made for the Tsar's Winter Palace — sets the tone.

Historical note: The Negresco's original owner, Henri Negresco, ruined himself during the First World War when he converted the hotel into a military hospital at his own expense. He died bankrupt in Paris in 1920. The building he created has since been declared a national monument and named one of the finest hotels in the world.

Walking time from Stop 8: 5 minutes, continuing west along the Promenade

A short walk west brings you to the Palais de la Méditerranée at No. 13–15. Its Art Deco facade — brilliant white against the Mediterranean sky — is an instructive contrast with the Negresco. Where the Negresco is curved, historicising, and ornate, the Palais de la Méditerranée is flat, geometric, and emphatically modern. The stylised female figures and seahorses carved by Antoine Sartorio are Art Deco sculpture at its finest.

Stand back to appreciate the facade as a composition: the vertical thrust of the central section, the horizontal sweep of the balconies, the way geometric ornament replaces the naturalistic stucco of the Belle Époque. Then consider what was lost in 1990 when the interior was demolished — and what was saved.

Getting there: Bus no. 15 or 17 from Place Masséna, approximately 15 minutes

For those with additional time and energy, the Cimiez extension adds the Roman and late Belle Époque dimensions missing from the main tour.

• Roman arena and thermal baths: Walk through the ruins of Cemenelum — the scale of the thermal baths complex alone reveals how substantial the Roman city was
• Monastère de Cimiez: A working Franciscan monastery on the site of a medieval foundation; the church contains three altarpieces by Louis Bréa, the defining painter of the Niçois School
• Palais Regina: Visible from the gardens — study the facade and try to imagine Queen Victoria's entourage filling every window
• Musée Matisse: Housed in a 17th-century Genoese villa (the Villa des Arènes), with a permanent collection that includes Matisse's personal objects, his studio furniture, and his cut-outs

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The Five Architectural Eras of Nice:

• Roman (1st–5th c.): Cimiez Hill — arena, thermal baths, basilica
• Baroque (17th–18th c.): Vieux Nice — Sainte-Réparate, Chapelle de la Miséricorde, Palais Lascaris
• Belle Époque (1860–1914): Promenade des Anglais and Cimiez — Negresco, Regina, Musée Masséna
• Art Deco (1920s–30s): Promenade des Anglais — Palais de la Méditerranée
• Exotic Revival (1860–1914): Scattered — Cathédrale Saint-Nicolas, Château de l'Anglais

What to look for in Vieux Nice:

• Polychrome tiled domes (Genoese tradition)
• Trompe-l'oeil painted facades (false stonework and ornament in plaster)
• Ironwork balconies (look for fleur-de-lis and vine motifs)
• Baroque doorways with carved stone cartouches above

What to look for on the Promenade:

• Belle Époque: wrought-iron canopies, stucco bas-reliefs, turrets and domes
• Art Deco: geometric carved figures, white reinforced concrete, stylised ornament

My Tour Start Point: _ Preferred language for audio guides: _

Neighbourhoods I want to prioritise: _ Museum(s) I plan to visit: _

Notes on buildings of particular interest: ___

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Last reviewed: March 2026. Verify all opening hours and admission prices with the Nice Tourism Office before your visit.

This guide is produced for educational and cultural heritage appreciation purposes. It does not substitute for official city heritage documentation or professional architectural assessment. For guided tours, the Nice Tourism Office maintains a register of licensed heritage guides.