The Project Gutenberg eBook, The Story of Rouen, by Sir Theodore Andrea Cook, Illustrated by Helen M. James and Jane E. Cook This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Story of Rouen Author: Sir Theodore Andrea Cook Release Date: February 4, 2008 [eBook #24519] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK THE STORY OF ROUEN*** E-text prepared by Susan Skinner, Linda Cantoni, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) Transcriber's Notes Inconsistent use of diacriticals in French words has been corrected except in Old French quotations. Some illustrations have been moved so as not to break up the flow of the text, and some page numbers are omitted as a result. The original page numbers in the lists of Illustrations and Maps have been preserved, but the links point to the pages on which the illustrations and maps actually appear in this e-text. This text contains a few words in ancient Greek. Hover the mouse over the Greek to see a pop-up transliteration, like this: βιβλος. title page Contents The Story of Rouen by Theodore Andrea Cook Illustrated by Helen M. James and Jane E. Cook London: J.M. Dent & Co. Aldine House, 29 and 30 Bedford Street Covent Garden, W.C. 1899 All rights reserved T ST. MACLOU ST. MACLOU ΤΗΙ ΜΗΤΡΙ ΔΙΔΑΚΤΡΑ P R E FA C E "Est enim benignum et plenum ingenui pudoris fateri per quos profeceris." HE story of a town must differ from the history of a nation in that it is concerned not with large issues but with familiar and domestic details. A nation has no individuality. No single phrase can fairly sum up the characteristics of a people. But a town is like one face picked out of a crowd, a face that shows not merely the experience of our human span, but the traces of centuries that go backward into unrecorded time. In all this slow development a character that is individual and inseparable is gradually formed. That character never fades. It is to be found first in the geographical laws of permanent or slowly changed surroundings, and secondly in the outward aspect of the dwellings built by man, for his personal comfort or for the good of the material community, or for his spiritual needs. To these three kinds of architecture I have attached this story of Rouen, because even in its remotest syllables there are some traces left that are still visible; and these traces increase as the story approaches modern times. While moats and ramparts still sever a city from its surrounding territory, the space within the walls preserves many of those sharply defined characteristics which grow fainter when town and country merge one into the other; the modern suburb gradually destroys the personality both of what it sprang from and of what it meets. Up to the beginning of the sixteenth century I have been more careful to explain the scattered relics of an earlier time than during the years when Rouen was filled with exquisite examples of the builder's art. After that century there is so little of distinction, and so much of average merit, that my story languishes beneath a load of bricks and mortar. Each chapter in this book which describes an advance in time or a different phase of life and feeling will be found to be connected with the buildings that are either contemporaneous with that phase or most vii viii suggestive of it. I have thus been able to mention all the important architectural features of the town without disturbing a fairly even chronological development of the tale, in the hope that this method will appeal not only to the traveller who needs guidance and explanation in the place he visits, but also to the reader who prefers to hear my story by his own fireside. Working, then, with this double audience in my mind, I have used to a very large extent, in my description of the people's life, the documents they have left behind themselves, so that the best expression may be given of the vital fact that a town is built and fashioned and inspired not by a few great men, but by the many persistent citizens who dwell in it, working their will from age to age without shadow of changing. One such manuscript, the work of many hands and many centuries, I must particularly mention. It is the record kept by the Cathedral Chapterhouse, from 1210 to 1790, of the prisoners pardoned by the Privilege of St. Romain's Shrine. Forbidden, for reasons of health, to investigate these ancient parchments for myself, I have been fortunate enough to find them all printed by the care of M. A. Floquet, to whom the judicial history of Rouen owes so much. To his industry and to that of M. Charles de Beaurepaire I owe all the more astonishing and unknown details which are derived from original authorities scarcely yet appreciated at their full value. Both were scholars in the École des Chartes, the only school of accurate historical instruction in the world; and for any possibility of using fruitfully the mass of details they have brought to light I am indebted to my initiation by M. and Madame James Darmesteter into the same principles of organised research. The list of Authorities in the Appendix will show rather more fully a debt to M. de Beaurepaire which can never be adequately acknowledged. My stay in Rouen was rendered more profitable and more pleasant by the kindness of yet others of its citizens. To M. Georges Dubosc; to M. le Marquis de Melandri; to M. Lafont who, as is but right in Armand Carrel's birthplace, presides over the oldest and best French provincial newspaper; to M. Edmond Lebel, Director of the Museum; to M. Noël, the librarian, I would here express my heartiest gratitude. To M. Beaurain I am under an especial obligation. Not only did he carefully trace for me the madrigal, set in its modern dress by the kindly skill of Mr Fuller Maitland, which English readers may now hear for the first time since 1550; but he chose out of the vast store at his command the portrait of Corneille by Lasne, and the View of Rouen in 1620 by Mérian. These were photographed by M. Lambin of 47 Rue de la République, with whom I left a list of those typical carvings in wood and stone of which visitors to Rouen would be likely to desire some accurate and permanent record. Among those things in this little volume to which I desire special attention, as being unknown in England, and in some cases never reproduced before, I would mention, in addition to the music in Chapter XIII., the plan in Chapter IX. by Jacques Lelieur, who also drew the view of the whole town reproduced in Chapter XIII. This plan is the only instance of which I am aware which enables us to see a French town of 1525 exactly as it was, for by a queer but easily intelligible mixture of plan and elevation, the architect has drawn not merely the course of various streets but the façades of the houses on each side of them. And this leads me to my last, and perhaps my most striking debt, that to my illustrators; not only to my mother, who drew the arms of Rouen, from a design of 1550, for the first chapter, and Coustou's charming bas-relief of Commerce for the last, but more especially to Miss James; of her work I need say nothing; it is quite able to make its own appeal; but for her indefatigable desire to draw exactly what I wanted and to assist the whole scheme of the book I cannot sufficiently express my gratitude. Her drawings of the Crypte St. Gervais, of the Chapelle St. Julien, and of the Église St. Paul, will be as new as they are valuable to architectural readers; her picture of the Cour des Comptes, and of the old house in the Rue St. Romain were made under exceptional circumstances which may never recur again; and the view of the Chartreuse de la Rose is the first representation of the headquarters of our Henry V. in France which has ever, to my knowledge, been produced in England. In conclusion I must express the earnest wish that the pages I have written about the carvings of the Maison Bourgtheroulde, and the illustrations accompanying them, will not have been published in vain. That the only authentic contemporaneous record of the Field of the Cloth of Gold, except the one picture at Hampton Court, should now be mouldering into decay in a French town is hardly creditable to those who can act with authority in valuable questions of historical art. If it be impossible to procure any good reproduction of these carvings for the pleasure and instruction of the public in our own National Galleries, a suggestion might at least be made that would secure their better preservation in the French house which they will soon cease to adorn. C O N T E N T S PAGE CHAPTER I Introductory 1 ix x xi CHAPTER II The First City 12 CHAPTER III Merovingian Rouen 24 CHAPTER IV Rouen under her own Dukes 44 CHAPTER V The Conquest of England and the Fall of Normandy 72 CHAPTER VI A French Town 103 CHAPTER VII La Rue de la Grosse Horloge 134 CHAPTER VIII The Siege of Rouen by Henry V. 169 CHAPTER IX Jeanne d'Arc and the English Occupation 200 CHAPTER X A City of Churches 233 CHAPTER XI Justice 264 CHAPTER XII Death 292 CHAPTER XIII Life 321 CHAPTER XIV Literature and Commerce 369 A Madrigal of 1550 362 Appendix 394 Index 403 xii xiii I L L U S T R AT I O N S PAGE St. Maclou Frontispiece The Arms of Rouen* 1 The Original Fontaine Croix de Pierre 13 Crypt of St. Gervais 19 Statue of St. Louis 22 Initial Letter from an old Manuscript 24 The Arms of Rouen* 35 Chapelle de la Fierte de St. Romain 37 The Arms of Normandy* 44 Figure from the Border of the Bayeux Tapestry* 56 Figure from the Border of the Bayeux Tapestry* 64 Figure from the Border of the Bayeux Tapestry* 72 Horses for the Army of William the Conqueror crossing the Channel, Bayeux Tapestry* 74 Figure from the Border of the Bayeux Tapestry* 88 Interior of the Chapel of St. Julien 96 Corbel from the old Church of St. Paul 99 Apse of the old Church of St. Paul 101 The Arms of France* 103 A Mason at Work* 118 Portail des Libraires 123 Rouen Cathedral from the North-West 128 The Good Shepherd of the Grosse Horloge 141 The Salt Porter of St. Vincent 147 La Grosse Horloge and the Town Belfry 151 Hôtel des Bons Enfants 159 A Cobbler at Work* 161 The Rue du Hallage 165 The Chartreuse de la Rose 181 The Apse of St. Ouen 193 Maison des Célestins 196 Rue St. Romain 206 La Cour d'Albane 218 Central Tower of St. Ouen from the South-East 222 Tour Jeanne d'Arc 230 The Original West Front of St. Ouen 236 Nave of St. Ouen 239 Staircase of St. Maclou 245 Door of St. Maclou 246 Tour St. André 247 Église St. Laurent 249 Western Porch of St. Vincent 257 Palais de Justice. Tourelle in the Rue St. Lô 267 Courtyard of Palais de Justice 272 xiv Octagon Room of the Palais de Justice 278 Bureau des Finances, from the Parvis 284 Cour des Comptes, from the Rue des Carmes 288 The Dead Body of De Brézé, from his Tomb in Rouen Cathedral* 292 Entrance to the Aître St. Maclou 299 The Cemetery of St. Maclou 304 Tomb of the two Cardinals d'Amboise, from Rouen Cathedral 311 Tomb of Louis de Brézé in Rouen Cathedral 313 A Monk praying, from the Tomb of the Cardinals d'Amboise 315 Sir Christopher Lytcot, from the Brass in West Hanney Church* 319 Des Todes Wappenschild, after Holbein* 320 Rouen in 1525, by Jacques Lelieur Facing 321 The Gallery of the Maison Bourgtheroulde 323 The Field of the Cloth of Gold 327 A Window in the Maison Bourgtheroulde 335 Inner Façade of the Maison Bourgtheroulde 339 Maison Caradas 347 Rue de l'Épicerie 353 A Window in the Maison Bourgtheroulde* 361 Rouen in 1620, by Mérian Facing 369 Coustou's Bas-relief of Commerce* 369 Pierre Corneille, by Lasne Facing 376 Eau de Robec 381 Courtyard in the Rue Petit Salut 388 The illustrations marked with * are drawn by Jane E. Cook. M A P S PAGE A. The Site of Rouen between the Seine and the Hills 3 B. Main Streets and Boulevards, showing the Walls besieged by Henry V. Facing 5 C. The Gallo-Roman Walls, and the oldest Streets in Rouen Facing 71 D. Rouen in the Thirteenth Century Facing 103 E. The Extension of Rouen Eastwards at the end of the Fourteenth Century Facing 169 F. Plan (and elevation of the Houses) of the Vieux-Marché and the Marché-aux-Veaux (now Place de la Pucelle) drawn by Jacques Lelieur for his "Livre des Fontaines" in 1525 Facing 209 xv xvi 1 T THE ARMS OF ROUEN THE ARMS OF ROUEN CHAPTER I Introductory Amis, c'est donc Rouen, la ville aux vieilles rues, Aux vieilles tours, débris de races disparues, La ville aux cent clochers carillonant dans l'air, Le Rouen des châteaux, des hôtels, des bastilles, Dont le front hérissé de flèches et d'aiguilles Déchire incessamment les brumes de la mer. HE three great rivers that flow from the heart of France to her three seas have each a character of their own. The grey and rapid current of the Rhone, swollen with the melting of the glacier-snows, rolls past the imperishable monuments of ancient Empire, and through the oliveyards and vineyards of Provence, falls into the blue waves of the southern sea. The sandy stream of Loire goes westward past the palaces of kings and the walled pleasure-gardens of Touraine, whispering of dead royalty. But the Seine pours out his black and toil-stained waters northward between rugged banks, hurrying from the capital of France to bear her cargoes through the Norman cliffs into the English Channel. If Paris, Rouen, and Le Havre were but one town, whose central highway was this great river of the north, it would be at the vital spot, the very market-cross, that Rouen has sprung up and flourished through the centuries, at that dividing line where ships must stay that sail in from the sea, and cargo boats set out that ply the upper stream with commerce for the inland folk; and this geographical position has affected every generation of the city's growth and strength. Rouen that is now "cheflieu du département de la Seine-Inférieure," was once the Norman stronghold which commanded all the basin of the river from the incoming of the stream of Eûre. The Seine and its tributaries have cut vast plâteaux some four hundred feet in height, through chalk and débris piled above the Jurassic bedrock that crops out here and there, as it does at Bray. On the right bank of the river, at the summit of a huge curve, the city lies between the valley of Darnétal, that is watered by Robec and his mate Aubette, and the valley of Bapaume. Upon this northern side the town is guarded from east to west by the hills of St. Hilaire, Mont Fortin, Mont aux Malades and Mont Riboudet, and from these the houses grow downwards to the water's edge. Upon the plateau above perch the villages of Mont-Saint- Aignan and of Bois-Guillaume. But between the valley of Darnétal and the Seine, is yet another natural buttress, the promontory on whose summit is Mont Ste. Catherine and the hamlet Bonsecours. From this magnificent height you may take the best view of the natural setting of the town. The western horizon is closed by the plateau of Canteleu and the forest of Roumare. To the south, within that strong bent elbow of the stream, the bridges bind to Rouen her faubourg of St. Sever with its communes of Sotteville and of Petit Quévilly; and the forest of Rouvray spreads its shadow to the meeting of the sky. 2 3 MAP A MAP A [Enlarge] The first Rothomagus, like the Rouen of to-day, was neither a hill city, for then it would have stood upon the Mont Ste. Catherine, nor an island city like ancient Paris, for the Ile St. Croix was too small. It was essentially a river city; and you may see at once the extraordinary natural strength of its position on the outside of the river's curve (see Map A), instead of on the inside which may have seemed more probable at first but would have left the town defenceless. Even to-day you can only get into Rouen, as into a town that has been battered and taken by assault, through the breach in her fortified lines. If you enter by the railway from Paris, from Havre, from Dieppe or from Fécamp, it is by subterranean tunnels only that approach is possible, and up a flight of steps that you make your first acquaintance with a "coin perdu" of the town, a corner without character, without size, without the least promise of the beauty that is hidden further off. Of all those great gates through which the mediæval city welcomed her dukes or sallied out against her enemies, but one is left, the Porte Guillaume Lion close by the quays, at the end of the Rue des Arpents, which is as faded and decrepit as its entrance. To understand something of the origins of the town, it is far better to come there for the first time by the river, by the highway that has suffered least change since Rouen was a town at all. Yet the river itself is cribbed within far narrower bounds than when the first huts of savage fishermen were stuck upon the reed-beds of the marsh; for the town was first set upon islets that have long ago been absorbed into the mainland, and the waters of the Seine once washed the boatmen's landing stages at a spot that now bounds the Parvis of the Cathedral. Even now the Seine varies in breadth at this point from a hundred and thirty-five to two hundred and fifteen metres, with a depth of five metres on the quays at lowest tide. These tides are felt as far as twenty miles above the town. They vary in height from one metre to as much as three, and a tidal wave is formed that is one of the greatest dangers of the downstream navigation. Coming up from the sea is fairly easy in almost any kind of stout and steady craft, but it is difficult for all but the best steamers to get down without being delayed, and sometimes fairly stopped, by the great tidal wave at Caudebec or Quillebœuf. Only when the floods reduce their strength are the tides unable to turn the current of the stream; and flood water is not unusual in a country where the rain blows in so often from the Channel. There is an average of a hundred and fifty rainy days each year, the late autumn being worst, for the clouds are attracted by the river, by the forests, and by the hills that stand round about the city. But the unhealthiness engendered by all this moisture is a thing of the past. An enlightened municipal authority has widened streets, planted broad boulevards, and cleansed the waterworks which Jacques Lelieur first sketched in the early years of the sixteenth century. And much as we may deplore the loss of picturesque surroundings, it was high time that some of the "Fumier du Moyen Age" should be shovelled out of sight. What existence meant in those Middle Ages we shall be better able to realise later on, and it will be possible as we pass through the streets of Rouen to see what little has been left of it; for the vandalism of ignorance has too often accompanied the innocent and hygienic efforts of the restorer, and undue Haussmanism has ruined many an inoffensive beauty past recall. 4 5 MAP B MAP B MAP OF ROUEN SHEWING THE LINES OF THE MODERN BOULEVARDS (WHICH ARE THOSE OF THE WALLS BESIEGED BY KING HENRY V.) WITH THE CHIEF BUILDINGS AND MAIN STREETS OF THE CITY. [Enlarge] As you look upon the modern town from the river, it is difficult to realise that the views of 1525, or of 1620, which I have reproduced in this book, can represent the same place. The old walls and battlements have disappeared, and all the ancient keeps save one. But though we cannot tell the towers of ancient Rothomagus, we can mark well her bulwarks, from the Church of St. Pierre du Chastel that stands in the Rue des Cordeliers (see Maps B and C) where was the first Castle of Rollo, to the Halles and the Chapelle de la Fierte St. Romain, where the names of Haute and Basse Vieille Tour recall the citadel of later dukes. Within her earliest walls was the site of the first Cathedral; outside them was built St. Ouen to the north-east, and the monastery of St. Gervais to the north-west where the Conqueror died. Above the town still rises the Tour Jeanne d'Arc, the donjon of the Castle of Bouvreuil, which showed that Normandy was no more an independent Duchy, but a part of the domains of Philip Augustus. This memory of bondage still remains; but of the home of her own dukes Rouen has not preserved one stone; nor of the English palace of King Henry the Fifth near "Mal s'y Frotte" is anything left in the Rue du Vieux Palais near the western quay. The small compass of the first battlements set on the swamp grew, by the twelfth century, to the lines of the modern boulevards on the north and west, but at the Tour Jeanne d'Arc they turned east and southwards, round the apse of St. Ouen, down the Rue de l'Épée and the Rue du Ruisseau by way of the Rue des Espagnols to the Porte Guillaume Lion and the quay. The walls besieged by the English under Henry V. had expanded almost exactly to the lines of the present boulevards in all directions, for the town had spread up the stream of Robec in broad lines that converged past the Place du Boulingrin above, and the Place Martainville below, upon the Place St. Hilaire to the east (see map B). From the Place Cauchoise on the north-west of the city of to-day two main streets pierce the town. The Rue Thiers passes the Museum, and comes out at the Place de l'Hôtel de Ville, close to St. Ouen. The Rue Cauchoise leads straight into the Place du Vieux Marché where Jeanne d'Arc was burnt. From there begins the Rue de la Grosse Horloge, the central artery of old Rouen, in which is the town's focal point, the belfry with its fountain and its archway. The other end of this street comes out on the open space or Parvis before the west door of the Cathedral. If you will go still further eastward by way of the Rue St. Romain, past the Portail des Libraires, the most characteristic thoroughfare is from the Place des Ponts de Robec, not far south of St. Ouen, along the street called Eau de Robec to the boulevards. These are the main lines of lateral division. From north to south the town is cut by the Rue Jeanne d'Arc; further eastwards, by the Rue des Carmes, which becomes the Rue Grand Pont; and by the Rue de la République, which passes clear from the Musée des Antiquités at the northern angle of the town to the Pont de Pierre Corneille on the river. The quays are crowded with a busy throng of workmen; on the stream are ships from every quarter of the world; great cranes are hoisting merchandise out of their holds and distributing it into the markets of the town, or into the barges for Paris and the Île-de-France. For this is the limit of the maritime Seine, and here, where the tide of ocean throbs upon her quays, it was but natural that the strength and commerce of Rouen should increase and multiply. "L'agneau de la ville a toujours la patte levée" says the old Norman proverb, and if you look at the lamb upon the arms of Rouen you will see her foot is raised in 6 7 readiness for the travel that has been always the characteristic of her sons. From the days when northern rovers sailed here, when Guiscard's colonists went out to Sicily, when traders watched the wind for England, the citizens of Rouen have had their interests far afield. But it is with the story of their home-town that I have now to do. And if it is to be told within the bounds of your patience and my opportunity, that story must be limited, if not by the old walls of the city, then by the shortest circuit of the suburbs round it. Nor need we lose much by this circumscribing of our purpose. The life of Normandy was concentrated in its capital. The slow march of events from the independence as a Duchy to the incorporation as a part of France has left footprints upon all the thoroughfares of the town. The development of mediæval Rothomagus into modern Rouen has stamped its traces on the stones of the city, as the falling tide leaves its own mark upon the timbers of a seaworn pier. It will be my business to point your steps to these traces of the past, and from the marks of what you see to build up one after another the centuries that have rolled over tide-worn Rouen. Let it be said at once that the "Old Rouen" you will first see is almost completely a French Renaissance city of the sixteenth century. Of older buildings you will find only slight and imperfect remnants, and as you pass monstrosities more modern you will involuntarily close your eyes. But the remnants are there, slight as they are; and they are worth your search for them, as we try together to reconstruct the ancient city of which they formed a part. Rouen has in its turn been the most southerly city of a Norman Duke's possessions, then the central fortress of an Angevin Empire that stretched from Forth to Pyrenees, then a northern bulwark for the Kings of Paris against the opposing cliffs of England. It has sent out fleets upon the sea, and armies upon land. It has been independent of its neighbours, it has led them against a common foe, and it has undergone with them a national disaster. But no matter who were its rulers, or by what title it was officially described, or how it has been formally divided, eternal bars and doors have been set for its inhabitants by the mountains and the waters, eternal laws have been made for them by the clouds and the stars that cannot be altered. In the natural features that remain the same to-day, in the labourers of the soil, and in the toilers of the city, there has been the least change. For these are the "dim unconsidered populations" upon whom the real brunt of war falls, the units who compose the battalions, the pieces in the game who have little or no share in the stakes; who abide in their land always, blossoming as the trees in summer, enduring as the rocks in snow. Over this deep-rooted heart of humanity sweeps the living hail and thunder of the armies of the earth. These are the warp and first substance of the nations, divided not by dynasties but by climates, strong by unalterable privilege or weak by elemental fault, unchanged as Nature's self. In the city of to-day, and in such thoroughfares as the Rue de l'Épicerie, you may look for a moment into that humbler and less spacious form of habitation in which the people and the workers lived their days, making up for the poverty of their own surroundings by the magnificence of that great Cathedral which rose above the low horizon of their roofs, and opened its doors to poor and rich alike. The buildings that have so long outlived their inhabitants may be taken as the background—like the permanent stone scenery in a Greek theatre—to the shifting kaleidoscope of many-coloured life in the old city. In the place itself you will see scarcely a trace of the great personages whose names have glittered in its list of sieges, battles, massacres, pageants, and triumphal entries. The story of a town is not a drum-and- trumpet chronicle of the Kings and Queens. It is the tale of all those domestic and municipal details which from their very unimportance have well-nigh disappeared. To hear it you must follow me from the Crypte St. Gervais to the Cathedral, from the Hôtellerie des Bons Enfants to the Maison Bourgtheroulde, and it is to the voices of the people that I shall ask you to listen, and to the life of the people that I shall point you among the streets they lived in. Thus, and thus only, may you possibly realise the spirit of the place, that calls out first to every stranger in the bells that sound through the silence of his first night in a foreign town. These you shall know better soon in Rouen, by name even, "Rouvel" and "Cache-Ribaut," if you be worldly-minded, "Georges d'Amboise" and "Marie d'Estouteville" for your hours of prayer. Before you pass beyond their sound again, their ancient voices shall bring to you something of the centuries that had died when they were young, something of the individuality of the city above which they have been swinging for so long. "Spirit of Place," writes the most charming of our living essayists:— "It is for this we travel, to surprise its subtlety; and where it is a strong and dominant angel, that place, seen once, abides entire in the memory with all its own accidents, its habits, its breath, its name. It is recalled all a lifetime, having been perceived a week, and is not scattered but abides, one living body of remembrance. The untravelled spirit of place—not to be pursued, for it never flies, but always to be discovered, never absent, without variation—lurks in the byways and rules over the towers, indestructible, an indescribable unity. It awaits us always in its ancient and eager freshness. It is sweet and nimble within its immemorial boundaries, but it never crosses them. Long white roads outside have mere suggestions of it and prophecies; 8 9 10 F they give promise, not of its coming, for it abides, but of a new and singular and unforseen goal for our present pilgrimage, and of an intimacy to be made." How many a traveller moves from place to place, not realising anything beyond the transportation of his body! Yet in every town there is this fresh acquaintance, this lifelong friendship, that shall last while his own memory lasts, that is as fresh for him as for a thousand before him, and for tens of thousands after. When the bells of an unknown city have given me their first greeting, my first acknowledgment of that compelling invitation is to see those buildings in the town that can become alive again beneath their echoes. Of such churches, of such civic buildings, of private houses, of monuments by unknown hands for unknown owners, Rouen is full in almost all her streets. "Là dans le passé tu peux vivre Chaque monument est un livre Chaque pierre un souvenir." The history of the Middle Ages is written upon magnificent and enduring volumes, and a great responsibility is laid on those who would deface the writing on the wall. Their virtues and vices, their jests and indecencies, their follies and their fears, are all writ large upon the pages of a book that was ever open to every passer-by, and that remains for us to read. It is no rhetorical exaggeration, that "Ceci tuera cela" of Victor Hugo. Our smaller doings are recorded in the perishable print of fading paper, and we have no care to stamp what little we have left of character upon our buildings. No one, at least it may be fervently hoped, will try in the future to reconstruct the ideals or the life of the Victorian Era from its architecture. Yet we are the heirs of all that is noblest in that greatest of all arts; and if you would test that, you need only look at any mediæval French Cathedral with a seeing eye. You will find no meaningless mass of bricks and mortar, but the speaking record of the age that built them. "The stone shall cry out of the wall, and the beam out of the timber shall answer it." CHAPTER II The First City "Latera aquilonis civitas regis magni Deus in domibus eius cognoscetur cum suscipiet eam." OLLOW the Rue de la République past the Abbey of St. Ouen and up the hill to the Place Sainte Marie. On your left you will find the Musée des Antiquités which contains the earliest traces of the inhabitants of Rouen. There are so few of them that they are easily contained in a few glass cases; and this Museum is itself an excellent place with which to begin your visitation of the town. Few travellers go there, yet it is well worth the while, for here are collected many relics of an age that has left few traces anywhere, and here can be filled up many gaps in that story of Rouen which you can never read completely in what is left of the old town. In the courtyard that faces the Rue de la République are several of the ancient gateways that have given way before the press of modern traffic, and a few façades of carved and timbered houses rest like empty masks against the wall, looking forlorn enough, yet better here than lost. One of the best of these empty shells was taken in 1842 from No. 29 Rue Damiette. Dating about 1500, its overhanging storeys are carved with statues of St. John and of St. Romain with his Gargouille. It probably belonged to the Professional (Pellottier or Racquettier) of the Tennis Court near it, the Jeu de Paume St. Jacques. In this same courtyard of the Museum is a row of ancient weather-beaten statues, and, best relic of them all, the exquisite original of the fountain Croix de Pierre which is represented by a more modern imitation on the spot it once adorned. 11 12 13 [1] The inner quadrangle, which you reach through the rooms of the Museum, is the best thing it has to show. Remote from the dust and bustle of the highway the little cloistered square is gay with flowers upon the turf, and statues from various churches are set here and there, like pensioners in Chelsea Hospital, after their active service in religious wars has left them mutilated and useless, but not without honour in the days of their old age. From the walls and windows sculptured saints and angels look down with an air of gentle approbation on the scene, and in the very middle a little bishop raises his hand in benediction over pious strangers from the centre of a rosebed. But it is in the galleries within that we must seek for those records of primitive habitation that we have come to see. Hatchets of silex or of bronze, rude clay vases that were found nine yards beneath the soil, bear witness to the remotest ages of humanity in Rouen. The town grew very slowly, for its name was unknown in any form to Cæsar, and it is not till the second century that Ptolemy mentions Rotomagos as the capital of the tribe of Velocasses who have left their name to the Vexin. The unhealthy marshes in the valley between the hills and the river were not likely to be tenanted by the first Roman conquerors who fixed their centre at Julia Bona, and their amphitheatre may still be seen, near the ruins of a Norman castle, in the midst of the manufactories of Lillebonne. But as the importance of Lutetia grew upon the upper waters of the Seine, the value of this elbow of the stream grew greater every year; and by the days of Diocletian, Rotomagus had become the sea-gate of the capital, and the chief town of the province. Already Strabo speaks of its commerce with the English ports, and it appears as the natural point of exchange between southern civilisation and the barbarism of the north, the gate through which goods came from Italy, travelling by Rhone, by Saône, or Seine, to England. Its first fortifications found a natural southern base upon the river's bend; to east, to west, and north it was protected by hills and by the marshes, and unhealthy as it was, the Roman colonists were compelled, when danger came, to leave the Julia Bona they preferred in peace, and fly for safety to the fine strategical position Nature had marked out at Rouen. Here, too, was the home of the Provincial Governor, and of his military captain; and of the walls they built the eye of faith can still see traces at the Ponts de Robec, at the Abbaye de St. Amand, near the Hôtel de France, close to the Priory St. Lô, and in the Place Verdrel in front of the Palais de Justice. I have marked out the limits of this earliest castrum on Map C; and in the Rouen of to-day you may see a strange confirmation of the fact that Roman Rotomagus was a far more watery place than may be realised at first. For if you stand anywhere about the level of the Cathedral foundations and look in the direction of the river, you will notice that all the streets slope upwards. Go nearer still, and at the angle where the Rue du Bac meets the Rue des Tapissiers, the upward slope becomes even more pronounced, for though the river is not so far away, there is even less of it to be seen. A great embankment has been slowly built; and upon what was once marshland and islands and the tidal mud, has grown up nearly all that part of Rouen which lies between the Cathedral and the river. This gradual consolidation of the land which was reclaimed slowly from the Seine must have gone on from the time when the Roman walls stopped at the Rue aux Ours on one side, and at the Rue Saint Denis on the other. Their northern boundary was very slightly farther than the Rue aux Fossés Louis VIII. The Rue Jeanne d'Arc runs just outside them to the west, and the stream of Robec forms their natural boundary to the east, flowing into the Mala Palus that has left its name in the Rue Malpalu which leads from the west front of St. Maclou towards the Seine. Robec himself is well-nigh hidden now, though once his southern turn formed one of the defences of the town. Now he gropes underground his way into the Seine, and even when his waters can be traced, in the Rue Eau de Robec, their muddy waves were almost better hidden. There is a striking likeness to all this in the early days of the history of London. Apart from all legends of the Troy Novant, of Lud and Lear and that King Lucius who sanctified Cornhill, legends which have their counterpart in all the old histories of Rouen, there are almost as few relics of the fortified barrack on the Thames, or of the more pretentious "Augusta" which followed, as there are of Roman Rouen. The same mud flats along the river bank remained until, in 982, after the first great fire, Cnut made a canal for his boats round Southwark. Into the marsh fell the Fleet river, just as Robec into Mala Palus; the English stream like the French one, formed the first natural line of defence on that side; and both are now little better than built-in sewers, one flowing into Thames at Blackfriars Bridge, the other through its smaller tunnel into Seine near the Pont de Pierre Corneille. 14 15 16 In the Museum of the Place Sainte Marie are the few Roman tombs that have survived all other relics of their occupants, and some of the money that they brought here, coins of Posthumus, of Tetricus, of Gordian, of Commodus. It is said, too, that when the foundations of vanished St. Herbland were being dug, some rusty iron rings for mooring boats and mouldering ship timbers were discovered, which were supposed to have been traces of the Roman quay. But the word "Port Morant" is probably not derived from Portus Morandi, but from Postis, and refers to the far more modern "avant soliers" or jutting balconies, which were supported on stout beams, and ran round the Parvis when Jacques Lelieur was making his sketches of the town in 1525. With such mere conjectures we must leave all that the Roman occupation has to tell. Their story was a short one; for the town was outside that circle where Roman influence was chiefly felt; and it ended with the Frankish invasions from beneath the Drachenfels. From being the head of a Roman province, Rouen became one of the fourteen cities of the Armorican Confederation, through the influence of the churchmen who now begin to appear in the dim records of the city-chronicles as the defenders of these earliest citizens. The Romans laid foundations here, as they did in so many places in Europe, and then passed away. But before they disappeared there had been time for the first missionaries of the Christian faith to sow the seeds that were to grow into the Church. The legions left the city, but the faith of Rome stayed on. As early as the second century (and some say earlier still) came St. Nicaise. After him arrived St. Mellon of Cardiff, who is said to have converted the chief Pagan temple into a Christian church. St. Sever was the third "Bishop." In 400, St. Victrice had laid the foundations of the first church on the site of the Cathedral, and tradition puts the beginning of what became St. Ouen as one year earlier. Strangely enough there remains a record of the ecclesiastical architecture of these early days that is of the highest interest, for it is the oldest building of its kind to be found north of the Alps. To reach it you must pass out of the town to the north-west, going by the Rue Cauchoise where it starts from the Place du Vieux Marché towards the hill of St. Gervais. All Roman burials took place outside their walls, and the tombs generally lined the great roads that led out of the towns. There is no doubt that many such monuments stood on either hand of the road that you must follow now, beyond the Place Cauchoise and into the Rue Saint Gervais. Go straight on up the hill and at the turn into the Rue Chasselièvre, upon the left, you will see an uncompromisingly new Norman church standing alone upon some high ground. This is a modern building on the site of the old Priory of St. Gervais, to which William the Conqueror was carried in his last illness, when he could no longer bear the noise and traffic of the town. At the west end, on the outside wall of this third and newest church, is placed a tablet that records his death. Of the second church you can trace the apse, with its Romanesque pillars and carved capitals of birds and leaves, beneath the choir at the east end of the third one. Look lower still. Beneath the second choir is a still older window that barely rises high enough above the soil to catch the light at all. That is the window of the oldest crypt in France. Down thirty steps from the inner pavement of the new church you can descend with lighted candles to see the first building in which the Church of Rouen met. The only accurate drawing that has ever been published of it was made for these chapters, and it is worth while taxing your patience with rather more detail than usual in describing a subterranean chamber that has no parallel save in the Catacombs of Rome. It was no doubt after his visit to the Holy City in 404 that St. Victrice built this shrine for the safe-keeping of the first relics of his church in a pagan land. The friend of St. Martin of Tours, and of St. Ambrose at Milan, St. Victrice had probably obtained from them the sacred fragments which were to be so carefully preserved for the strengthening of the faith among the infidels. But the little community of Christians at Rouen had its own relics that needed safe disposal too. For in this crypt on the left hand as you enter is the tomb of St. Mellon who died in 311, to whom a church is dedicated that still exists in Monmouthshire, and on the right lies St. Avitien who died in 325. The saint to whose name and memory the crypt was dedicated lies buried beneath the high altar of the Church of St. Ambrose at Milan. The body of St. Victrice, its builder, after lying in this same vault for nearly four centuries after his death, was transferred elsewhere. 17 18 19 The cold and gloomy little pit is eleven metres forty long, by five metres forty broad, and five metres thirty high, and in the recessed arches above the tombs may still be traced the thin red bricks of the Roman builders and their strong cement between. In the circular apse opposite the tiny square-headed entrance is the high window, set in the east, that we saw from the outside, and in the wall on each side are two square recesses in which the sacred vessels were locked up. The altar on its raised platform stands upon two rude upright stones, and is marked with five small crosses incised upon its upper surface. Behind it, on the rounded wall, are faint traces of carving and of fresco. All round the walls, except at the altar and the entrance, runs a low stone seat after the true type of the Christian Catacomb. A flat projecting rib of stone divides the barrel roof of the nave from the circular vault of the apse which slopes upwards to the rounded summit of the tiny window. A few skulls lie in a shadowed hollow near the altar, but the State has fortunately put a stop to any further grubbing in the floor for corpses that should never have been disturbed. There is an absolute and elemental simplicity in this tiny crypt, with its stone bench and tombs of stone, that appeals far more strongly to the imagination than any bespangled ecclesiasticism above it. This is the true service of God and of His poor. The cold austerity of a faith that stood in no need of external attractiveness lays hold upon the senses as the reticent syllables of that first gospel, spelt out from its original sentences, must have gripped the hearts of those who heard it first. The Latin phrases of a long drawn litany, set to complicated tunes, rolled overhead with an emptiness of barren sound, among the clouds of incense and the glitter of the painted walls and all the service of "the clergyman for his rich." More beautiful places of worship we shall see in many parts of Rouen. But in all France there is nothing more sincere than the small crypt of St. Gervais. So the only remnant that is left of "Roman" Rouen is not Roman at all, but a type of that strong, naïve, and sincere Christianity which invigorated the Gothic captains who overthrew Rome. It is but fitting that there should be so little left. For the Romans were not so much a nation as an empire. They were not so much a people, as the embodiment of a power. When their work of spreading law and order, of diffusing Greek imagination through the channels of their strength was over, they split asunder at the vigorous touch of the truth that came against them. They left no personal traces in a town so far removed as Rouen from the centres of their civilisation. It was the same in London, which was still farther off. For if you believe that any "Roman" wall was built round Augusta before 400 a.d., there is little left of it to point to now, save at that south-eastern corner on which the Norman Conqueror built his tower, at the New Post Office buildings in St. Martin's le Grand, and in the churchyard of St. Giles's, Cripplegate. In the British Museum and at Guildhall are some scanty relics of domestic life, some fragments of mosaic, shreds of pavement, and the like. At Rouen it is the same. The legions left the stamped impression of their armoured feet, impersonal and strong, a hallmark as it were, to guarantee the local strength and value of the first Rothomagus. But it was the Christian worshippers who left the only building that remains of those first centuries, to testify to what some men and women in that early time could really feel and think and do. It is by another priest that the story of the town is carried on from "Roman" times to the next period of transition. St. Godard appropriately enough, a Frank by descent himself and born of a Roman mother, is the link between this shadowy twilight of early church history and the stronger colouring of the Frankish story that is to come. In 488 he was elected as the fourteenth bishop of Rouen by the unanimous vote of clergy and people together, and eight years afterwards he represented the diocese when Hlodowig or Clovis was baptised at Rheims, from which we may gather that the Frankish power had definitely embraced his town within its grasp some time before. He died about 525 and his body, which was first buried in the crypt of the church which bears his name, was afterwards removed to Soissons. It was at that same Soissons that the Romans were driven out of "France," and Hlodowig with his Franks took possession of the country to the Loire, and then pushed on the boundaries of their kingdom to the Pic du Midi. The profession of Christianity by Hlodowig was not a mere matter of policy. It was another expression of that Frankish quality of sincerity and truth, which has been already noticed, in the Gaul that was shaking off the bonds of Rome. It was perhaps the chief quality of that band of nations north of 20 21 22