VANISHED HALLS AND CATHEDRALS OF FRANCE

By George Warton Edwards

Illustrated with 32 Plates in full Color and Monotone.

1917

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CONTENTS

[ VANISHED HALLS AND CATHEDRALS OF FRANCE ]

[ CAMBRAI, and the SMALL TOWNS ]

[ THE CHATEAU OF GÈRBÉVILLER ]

[ DOMREMY AND THE MAID ]

[ CONCLUSION ]

VANISHED HALLS AND CATHEDRALS OF FRANCE

FOREWORD

Quis funera faudo Explicet, aut possit lacrymis aequare Labores? Urbs antiqua ruit, fnultos dominât a per annos; Plurima perque vias sternuntur inertia passim. Corpora, perque domos, et religiosa deorum Limina!

(Virgil, Æneid, II. v. 361.)

Surviving the ancient wars and revolutions in this, "the Cockpit of Europe," the great examples of architecture of the early days of France remained for our delight. The corroding fingers of time, it is true, were much more merciful to them, but certainly the destroyers of old never ventured to commit the crimes upon them now charged against the legions of the present invader. These fair towns of Picardy and Champagne are sacked, pillaged and burned even as were the beautiful Flemish towns of Ypres, Malines, Termonde, Dixmude, and Dinant on the Meuse....

Never again shall we enjoy them: the chalices are broken and the perfume forever vanished....

The catastrophe is so unbelievable that one cannot realize it. The Seven Churches of Soissons, Senlis, Noyon, Laon, Meaux, Rheims, St. Remi; these such as man probably never again can match, are either razed to the foundations, or so shattered that it will be impossible to restore them.

It is said that the Imperial Government has promised to rebuild these Gothic masterpieces....

One cannot trust one's self to comment upon this announcement.

Imagine these sacred ruins.... Rheims!... Rheims can never be restored to what it was before the bombardment. Let it rest thus.... A sacred ruin—the scarred, pierced heart of France!

Likewise "these fair sweet towns" of the middle ages; these wonderful little streets and byways, filled with the gray old timbered houses, "old in Shakespeare's day." Up to the outbreak of the war there were many of these throughout France, in spite of the wave of modernity which resulted in so much so called town improvement.

In Arras the two old Squares, the Grand Place and the Petit Place, survived until destroyed by bombs in 1914. Those double rows of Ancient Flemish gables, and the beautiful lace like tower of the Town Hall cannot be forgotten, although they are now but calcined beams and ashes. Between the Seine and the Flemish frontier lay a veritable storehouse of incomparable architectural monuments. Of these Rouen, with its famous Cathedral, is happily out of reach of the guns of the invader, and one hopes out of danger. Beauvais likewise has not yet suffered, nor Chalons, with its great church of St. Loup and St. Jean, but the Cathedral and the town of Noyon have been leveled, and the gray walls of incomparable coucy-le-Château, "that greatest of the castles of the Middle Ages," whose lords arrogantly proclaimed "Roi ne suys, ne prince, ne duc, ne conte aussi; je suys le Sire de Coucy," have vanished forever from the heights under the wanton fire of the invaders' shells, and twenty thousand pounds of powder placed in the walls and exploded in revenge on the day of the retreat (April 1917).

Amiens, for some reason, has been spared, but it too may yet receive its baptism of fire, even as Rheims. Amiens and Rheims! Never were there such miracles of art as shown in these temples! Rheims is now a ragged ruin of roofless leaning walls. So Amiens, miraculously preserved, is now the greatest existing example of Christian architecture in the world.

In the following chapters I have quoted extracts from accounts written by eyewitnesses of acts committed by the invader in the devastated towns of France. I am not responsible for these statements, nor can I vouch absolutely for their truth, or correctness. I give them for what they are worth as part of the setting—the frame work of the pictures I have made of the noble, now vanished monuments which can never be replaced....

If I have betrayed bitter feeling it is because of their destruction by whomsoever accomplished.

"Woe be unto him from whom offense cometh."

The Author.

Greenwich, Conn.

May 1917.

[Original]

ARRAS

It was half-past six o'clock on a summer's morning, and a deep-toned bell in the cathedral sounded over the quaint gables of this really Flemish city of Arras. Although we were in France, little difference either in the people, costumes or architecture could be noted, so mingled here were the characteristics of the French and the Belgians. The sun was well up and gleamed hotly upon the old roof tops of the town, old many of them in Shakespeare's day, and flooded with golden light the quaint market place, now filled with swarming peasants. There were great heaps of flowers here and there, among the booths containing varied merchandise, and some of the market people were taking their morning bowls of hot café au lait, made fresh in green and yellow earthenware "biggins," over small iron braziers containing burning charcoal. The odor was inviting, and as the people are always kindly disposed towards the traveler who has savoir faire, one may enjoy a fragrant and nourishing bowl with them in profitable and friendly commune, for almost whatever he chooses to offer, and not rarely free of any fee whatever save a "thank you," which is always received with a gracious smile and a murmured "N'pas d'quoi, M'sieu," or an "Au plaisir."

It was perchance a market morning in Arras, and the long open square lined on either hand with strangely gabled Flemish houses, and closed at the upper end by the admirable lofty towered Town Hall, was filling fast with arrivals from the country round about.

Town Hall Arras

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Everything was fresh and clean from the late rains, and the air was laden with the mingled perfume of flowers; with butter and cheese. Country carts of extravagant design and painted green were unloading, and the farmer's boys were fitting together the booths for the sale of their varied commodities. Here and there were active dark complexioned Hebraic looking men and women, hard faced and sinister, who presided over stalls for the sale of cloth, shoes and the trinkets of small value calculated to tempt the peasantry. A cinematograph booth, resplendent with gilding, mirrors, and red and white paint, towered over the canvas covered booths, and a "merry go round," somewhat shabby by contrast, stood near it, its motive power, a small fat horse, contentedly eating his breakfast out of a brass hooped pail. The shops were opening one by one, displaying agricultural tools, and useful articles desired by the peasants. One heard bargaining going on, sometimes in the Flemish tongue, proving how near we were to Flanders, and sometimes in Walloon. Both tongues are used here, and the costumes partake of their characteristics, the women in neat if coarse stuffs, and the men in stiff blue blouses, usually in wooden shoes, too. This was remarkable, for the wooden shoe was fast vanishing from the towns. We noted too, that women were abandoning the snowy white lace trimmed caps once forming such a quaint feature of market day gatherings. Now various hideous forms of black and purple bonnets, decked out with beads and upstanding feathers disfigured them, but with what pride they were worn!

This market place at Arras was a sight worth a long journey to witness, if but to see the display of animals, chickens, and flowers on a bright sunny morning in the square beneath the tower of the Town Hall. The fowls squawked and flapped their wings; dogs barked; horses neighed; and hoarse voiced vendors called out their bargains. Here and there the fowl were killed on the spot for the buyer, and carried off by rosy cheeked unsentimental housewives, carried off, too, often hidden in bunches of bright flowers.

Did I write unsentimental?—An error. Nowhere were the common people more given to sentiment. Does not one remember the large room that la belle madame at the 'Couronne d'or provided for the traveling painter, who occupied it for two weeks, and during the season too, and when he discovered on the morning of departure that it was not included in the bill, on pointing out the omission to madame, did she not, and with the most charming smile imaginable say, with a wave of her shapely brown hands—"One could not charge for a room used as M'sieur's studio. The honor is sufficient to the 'Couronne d'or." And how to repay such kindness?

In an hour the noise and chattering of a market morning was in full sway. And over all sounded the great bell of the Cathedral: other church bells joined in the clamor, and at once began an accompaniment of clattering wooden shoes over the rough cobbles towards the church doors. Following these people up the street, we entered the dim pillared nave of the old church. On Sundays and market days the interior formed a picture not to be forgotten, and one especially full of human interest. The nave was freer of modern "improvements" than most of the churches, and there was much quiet dignity in the service. A large number of confessional cabinets, some of very quaint and others of most exquisitely carved details, were set against the walls. Some of these had heavy green baize curtains to screen them instead of doors, and some of the cabinets were in use, for the skirt of a dress was visible below one of the curtains. The women before the altar knelt on the rush seats of small chairs, resting their clasped hands, holding rosaries, on the back, furnished with a narrow shelf between the uprights. They wore dark blue or brown stuff dresses, and small plaid shawls. We noted that not one of these wore wooden shoes or sabots. All on the contrary wore neat leather shoes.

The women, especially the older ones, all turned their heads and curiously examined us as we tip-toed about, without, however, interrupting their incessant prayers for an instant. And they did not seem to resent our presence in the church, or regard it as an intrusion.

In the subdued colored light from the painted windows, with the clouds of incense rising, the proportions of the columns and the lancet arches and windows were most impressive, and together with the kneeling peasants made a very fine effect.

While there was little to be found in Arras that was really remarkable, for the town was given over to the traffic in grain and the townspeople were all very commercial, there were bits of the town corners and side streets worthy of recording. Near the dominating Town Hall were many types of ancient Flemish gabled houses, of which we shall not find better examples even in Flanders itself. Arras was as noisy as any Belgian market town where soldiers are stationed. There was the passing of heavy military carts through the ill-paved streets; the clatter of feet; the sounds of bugle and rolling of drum at sundown. The closing of the cafés at midnight ended the day, while at dawn in the morning the din of arriving and passing market wagons commenced again, followed by the workmen and women going to their daily tasks at the factories.

"Do these people never rest?" asked Lady Anne, whose morning nap was thus rudely interrupted. Ma-dame's answer came:

"Ah, indeed, yes. But not in the summer. Mark you, in the dark short days of winter, there is little going on in Arras. Then we are very quiet."

Urselines Tower: Arras

[Original]

The old town was old, very old. There were of course some modern looking white houses of stucco in which we were told some rich people live, and there were large blank walled factories with tall chimneys, from which heavy black smoke poured the livelong day. There were plate glass windows here and there, too, in some of the shops, with articles de Paris exposed for sale, and there were occasionally smooth pavements to be found, but mainly there were quaint old corners, high old yellow fronted, narrow windowed houses, and old, old men and older women passing to and fro in the narrow by streets.

In one corner of the market place sat an ancient dame in a wonderful lace cap, who presided over a huge pile of pale green earthenware pots of various sizes and fine shapes, who all unconsciously made for me a picture in sunlight and shadow; brown wrinkled hands busy with knitting; brown wrinkled face and bright shrewd greeny blue eyes, twinkling below the flaps of her lace cap; all against a worn, old, rusty-hinged green door! I could not resist the opportunity. So in a convenient doorway I paused to make a note of it without attracting much attention from the passers-by.

Entering the wide "place" (there were two of these) one was confronted by an astonishing vista of quaintly gabled Flemish houses on either hand, all built mainly after one model but presenting some variations of minor detail. These led to the Hotel de Ville. The houses were furnished with arcades below supported by monolithic sandstone columns. The Hotel de Ville, built in the sixteenth century (not a vestige of which remains at this writing, April, 1917), was one of the most ornate in France. Its fine Gothic façade rose upon seven quaintly different arcades, in the elaborate Renaissance style, pierced by ornate windows with Gothic tracery in the best of taste and workmanship. Overhead rose the graceful Belfry, terminating in a gilded ducal crown at the height of some two hundred and fifty feet. The weekly market fair was in full progress, and the old Grand' Place was swarming with carts, animals, booths, and chattering peasants. Before the Revolution, the Chapelle des Ardents and the spire of La Sainte-Chapelle on the Petit' Place commemorated the deliverance of Arras in the twelfth century from the plague called the "mal des ardents," when the Virgin is believed to have given a candle to two fiddlers, declaring that "water into which a drop of its holy wax had fallen would save all who drank it." *

Behind the dominating tower of the Hotel de Ville was the modern Cathedral, formerly the abbey church of St. Vaast, with an unfinished tower of 1735.

We found in the Chapel of the Virgin the tomb of Cardinal de la Tour d' Auvergne-Lauraguais, and the twelfth century tombs of an abbot, of Philippe de Torcy, a governor of Arras, and his wife. The treasury is said to have contained the blood-stained "rochet" worn by Thomas à Becket when he was murdered, but the sacristan refused to show it unless he was first paid a fee of two francs, which we thought exorbitant.

* Hare's "Northeastern France."

Arras was the capital of the Gallic tribe "Atrebates," and even in the dim fourth century was famous for the manufacture of woolen cloth, dyed with the madder which grows luxuriously in the neighborhood. The wearing of tapestry hangings gave Arras a high reputation, and examples are preserved in the museums of France and England, where the name of the town is used to identify them. The art has long since ceased to exist, needless to say.

Briefly, the town followed the fortunes of the Pays d' Artois, of which it was the capital, passing by marriage from the house of France to Burgundy, Flanders, Burgundy again, Germany and Spain. After the battle of Agincourt, the English and French signed the treaty of peace at Arras. The town was finally incorporated with France in 1640.

According to legend one of the ancient gates, of which no trace now remains, bore the proud distich

"Quand les souris prendront les chats,

Le roi sera seigneur d'Arras."

which is said to have so enraged Louis of France that he expelled the whole population, abolishing even the name of Arras, which he changed to that of Franchise.

Here was born the great Robespierre, but we were unable to find the house, or even the street in which it was situated, nor could any of the ecclesiastics to whom we applied for information enlighten us in regard to the matter.

The Cathedral, a romanesque structure, at an angle of the abbey buildings, and approached by high stone steps broken by a platform, was built in 1755. Perhaps if we had not seen it after having feasted our eyes upon the exquisite details of the Hotel de Ville, it might have seemed more impressive and interesting. It contained some good pictures, including a "Descent from the Cross," and "The Entombment," attributed to Rubens and Van Dyck respectively.

The high altar enshrined a notable bas-relief in gilt bronze. The Abbatial buildings were occupied by the 'Evéche, Seminary, Library, and the Musée, the latter containing a lot of modern paintings, badly hung, and seemingly indifferent in quality.

In the cloisters, however, were rooms containing an archaeological collection of sculptures and architectural fragments, and a small collection of Flemish pictures by "Velvet" Breughel, Heemskerk, N. Maes and others, and upstairs, a fine model of an antique ship, "offered" by the States of Artois to the American Colonies in the War of Independence. One wonders why it was never sent.

At the end of a quiet street which crossed the busy and crowded Rue St. Aubert, we came upon the remains of a remarkable old town gate, and the remains, too, of the ancient fortified walls, and farther on, the dismantled citadel constructed by the great Vauban in 1670, and called "La Belle Inutile." Here in this region, called the "cockpit of Europe," for ages incessant wars have been waged, covering the land with such a network of evidences of bitterly fought rivalries as no other portion of the earth can show, and when no foreign foe had to be baffled or beaten off, then the internecine wars of clan against clan have flooded the fair land with gore and ruin.

But all was peaceful here about this old town this bright morning in July, 1910. There was no evidence of the red waves of the wars which had rolled over and eddied about this very spot, save the old dismantled Vauban tower and the remains of the ancient wall, in which we were only mildly interested. It was the present day's wanderings which interested us more; the lives of the peasants, their customs and their daily occupations. Time seemed to stand still here without any consciousness of backwardness. Nothing hurried at Arras, and change for the sake of change had no attraction for it. The ways of the fathers were good enough for the children.

There was a newspaper here, of course, but yet the town crier held his own,—a strange looking old man in a long crinkly blue blouse, balloon like trousers of velveteen corduroy, wooden shoes and a broad brimmed felt hat. A drum hung suspended from his shoulder by a leather strap. He was followed by a small procession of boys and girls. He stopped and beat a vigorous tattoo on the drum; windows above and doors below were filled with heads as if by magic. He produced a folded paper from his pocket, glanced about him proudly conscious of the importance of the occasion, and read in a loud voice some local news of interest, and then announced the loss of something or other, with notice to hand whatever it was to the commissaire de Police, and then marched off down the street to repeat the performance at the next corner. The heads vanished from the windows like the cuckoos of German clocks, and the street was quiet again. Who could have believed that such a custom could have survived in the days of telegraph and telephone, and in a city of, say, thirty thousand inhabitants?

The old streets and highways about the town were indescribably attractive, and beyond in the country, the shaded ways beneath large trees offered charming vistas, and shelter from the sun. The people seemed to have an intuitive feeling for harmony, and little or nothing in or about the cottages, save an occasional odoriferous pig sty, offended one.

Colors melted into half tones in the most seductive fashion, and there was, too, an insistent harmony in the costumes of the peasants, the stain of time on the buildings or the grayish greens of the landscape.

But of all this the peasant was most certainly unconscious. The glories of nature and her marvelous harmonies were no more to him than to the beast of the field. He was hard of heart, brutal of tongue and mean of habit. Balzac has well described him in his "Sons of the Soil." Money was his god, and greed his pursuit. Yet all about him nature bloomed and fructified, while he toiled and schemed, his eyes ever bent earthwards. The peasant had no sentiment. It was best therefore to view him superficially, and as part of the picturesqueness of the country, like the roofs and gables of the old town, say, without seeking out secrets of the "menage" behind the walls.

We were interested in the various occupations of these semi-Flemish peasants, and the cries of the vendors in the streets in the early morning. Most of these cries were unintelligible to us because of the mixed patois, but it amused us to identify the cry of the vendor of eels, which was most lugubrious—a veritable wail of distress, seemingly. And when we saw her in the street below our windows, laden with two heavy baskets containing her commodity, her fat rosy face lifted to the sky, her appearance so belied the agonizing wail that we laughed aloud—and then—she heard us! What vituperation did she not address to us? Such a vocabulary, too! although we did not understand more than a few words she made it very plain that she regarded us as most contemptible beings.

"Miserable espece de Mathieux" she called up to us again and again. Whatever that meant, whatever depths of infamy it denoted, we did not know, nor did we ever find out. We were much more careful thereafter, and kept away from the window, for setting down her baskets she planted herself on the curb opposite and there presiding over the curious group of market people whom she had collected about her, she raged and stormed with uplifted fat red arms gesticulating at our windows, until the crowd, wearying of her eloquence, gradually melted away. We never saw her again.

There was also the seller of snails, whose cry was a series of ludicrous barks and cackles. I don't know how else to describe the extraordinary sounds he made. They quite fascinated us, for he varied them from time to time, taking seemingly much enjoyment in the ingenuity of his performance. His baskets, which hung by brass chains from a green painted yoke on his shoulders, contained a collection of very large snails, all, as he said, freshly boiled, and each shell being closed by a seal of fresh yellow butter, sprinkled, I think, with parsley (I never tasted them), and prettily reposing upon a bed of crisp pale green lettuce leaves. These seem to be highly esteemed by the people.

Our chief search in Arras, after valuing the ancient halls and the limited treasures of the museum, was for some examples of the wonderful tapestries known far and near by the name of "Arras." In vain we sought a specimen; there was none in the museum, nor in the town hall either. Those whom we thought might be able to assist us in our search professed ignorance of any such article, and the priest whom we met in the cathedral, directed us to the local furniture shop for what he called "belle tapis" So we gave it up, most reluctantly, however.

It is strange that not one example could be found in the town of this most renowned tapestry, for this ancient town enjoyed a reputation second to none in the low countries for art work of the loom. Cloth and all manner of woolen stuffs were the principal articles of Flemish production, but it was chiefly from England that Flanders drew her supply of wool, the raw material of her industry, and England was her great market as early as the middle of the twelfth century. There was a great guild established in London called the Flemish "Hanse," to which the merchants sent their manufacture. It was governed by a burgher of Bruges who was styled "Count of the Hanse."

"The merchants of Arras became so prosperous and powerful, that (says a chronicler), Marguerite II, called The Black, countess of Flanders and Hainault, 1244 to 1280, was extremely rich, not only in lands but furniture, jewels, and money; and, as is not customary with women, she was right liberal and right sumptuous, not alone in her largesses, but in her entertainments and whole manner of living; insomuch that she kept up the state of a queen rather than a countess." (Kervyn de Lettenhove, Histoire d' Flandre, t, ii. p. 300.)

To Arras, in common with the neighboring towns, came for exchange the produce of the North and the South, the riches collected in the pilgrimages to Novogorod, and those brought over by caravans from Samarcand and Bagdad,—the pitch of Norway and oils of Andalusia, the furs of Russia and dates from the Atlas, the metals from Hungary and Bohemia, the figs of Granada, the honey of Portugal, the wax of Morocco and the spices from Egypt: "Whereby" says the ancient manuscript, "no land is to be compared in merchandise to this land."

And so, even if the guide books do dismiss Arras at the end of a few curt details with the words "The Town is now given over to various manufactures, and its few attractions may be exhausted between trains," Arras certainly did offer to the curious tourist many quaint vistas, a Town Hall of great architectural individuality, and in her two picturesque squares, the "Grand' Place" and the "Petit' Place," a picture of antiquity not surpassed by any other town in Northern France.

Saint Jean Baptiste: Arras

[Original]

Quoting that eminent architect, Mr. Ralph Adams Cram, "We may pause in spirit in Arras (it would not be well to be there now in body, unless one were a soldier in the army of the Allies, when it would be perilous, but touched with glory), for sight of an old, old city that gave a vision, better than almost any other in France, of what cities were in this region at the high-tide of the Renaissance. It is gone now, utterly, irremediably, and the ill work begun in the revolution and continued under the empire, when the great and splendid Gothic Cathedral was sold and destroyed, has been finished by Prussian shells.

"Capital of Artois, it had a vivid and eventful history, continuing under Baldwin of the Iron Arm, who became the first Count of Arras; then being halved between the Count of Flanders and the King of France; given by St. Louis to his brother Robert, passing to the Counts of Burgundy, reverting to Louis de Male, of Flemish fame, abandoned to the Emperor, won back by France;... coming now to its end at the hands of the German hosts.

"What Arras must have been before the Revolution we can only guess, but its glorious Cathedral, its Chappelle des Ardents, and its 'Pyramid of the Holy Candle' added to its surviving Town Hall, with its fantastically beautiful spire, and its miraculously preserved streets and squares lined with fancifully gabled and arcaded houses, it must have been a sanctuary of old delights. The Cathedral was of all styles from the twelfth to the sixteenth century, while the Chapel and the Pyramid were models of medieval art in its richest state. Both were destroyed by one Lebon, a human demon and an apostate priest, who organised a 'terror' of his own in his city, and has gone down to infamy for his pestilential crime. Both the destroyed monuments were votive offerings in gratitude to Our Lady for her miraculous intervention in the case of the fearful plague in the twelfth century, the instrument of preservation being a certain holy candle, the melted wax from which was effective in preserving the life of all it touched. The Pyramid was a slender Gothic tabernacle and spire, ninety feet high, standing in the 'Petit' Place,' a masterpiece of carved and gilded sculpture, unique of its kind. Every vestige has vanished,—Berlin has just announced that it has been completely and intentionally destroyed by gun-fire.

"The fine vigor of the Renaissance and its life were gone with the color and gold of the carved and painted shrines and houses, the fanciful costumes, the alert civic life.—Wantonly destroyed!"

Madeline Wartelle, a voluntary nurse, who was in Arras during the great bombardment in July, 1915, wrote in the volume "Les Cites Meurtries" the following account of her experiences during the destruction of the Cathedral and the other noble buildings.

"On July 2d, about six o'clock in the evening several shells fell upon the Cathedral. Then followed a calm for two hours. At half past eight, a bomb dropped from above, set fire to the house of M. Daquin in the rue de' l'Arsenal, and in a few moments the flames were mounting to a great height. When the firemen (pompiers) arrived, the fire had already spread to the house of Mme. Cornnan, and could not be confined even to the neighboring ones. During and following this catastrophe, at one o'clock in the morning, an avalanche of great bombs, those called 'Marmites,' fell all over this quarter of the town. This time, alas, we had no trouble in getting all the details of the happening, for our house collapsed, being struck by the second bomb dropped by the 'Taube,' which went through the roof to the cellar. Luckily, we had gone to R—s when the fire broke out, and thus we all escaped.

"Forced to leave (Arras) we did not see the demolishment of the Cathedral and the Palace of St. Vaast on Monday, July 5th, but I set down here what I have learned from the lips of a witness of the deplorable 'aneantisment.'

"From six o'clock on that date, the gun-fire of the 'Huns' was especially directed at the Cathedral, and the fire which ensued spread to the end of the Palace of St. Vaast, which contained the archives of the town, and which was entirely consumed, and spreading further likewise destroyed the Library and the Museum of the Seminary. The fire department did what it could to save the books and sacred objects, but their efforts were in vain, such was the rain of projectiles from the 'Taubes' above, and the shells from the great guns miles away. So the order to evacuate was given by the authorities.

"At one o'clock the following morning the smouldering fire in the Cathedral was fanned by a high wind which sprang up, and soon enveloped the whole interior; the two great organs, the large pulpit, and the Bishop's stalls were entirely consumed. The fire in the Cathedral burned two whole days, watched by a mourning throng of the townspeople, who thus braved death by the falling bombs. All was consumed but the great door on the rue des Charriottes, which did not fall until the week following. On the twelfth day, at five in the morning, the fire demolished the Bishopric, and the Chapel of the great Seminary. Nothing is now left but a heap of smoking cinders and ashes, from which some charred beams protrude. The treasured Chateau d'Eau is gone!"

Château, d'Eau: Arras

[Original]

"Happily, the 'Descent from the Cross' by Rubens, which decorated the Cathedral was removed from its place some hours before the fire, when the first of the great shells fell upon the town, and secreted by the priests. Also two 'triptychs' by Jean Bellegambe were saved by M. Levoy, who buried them in the cellar of the Chateau of the Counte de Hauteclocque. Curiously enough, some little time after they were thus secreted, a shell penetrated this cellar, but it is said that the damage to the pictures is small and may easily be repaired.

"The Abbe Miseron, Vicar of the Cathedral, himself, at the peril of his life saved some of the most precious objects in the Treasury. He says (happily) that the great tombs of the Bishops, though buried beneath the ashes of the Cathedral, have suffered small damage.

"Of the four colossal statues of the Evangelists, not a trace remains; they are entirely pulverized by the great shells exploding before them.

"Of the Library, too, not a trace remains! Some of the archives have, I hear, been saved, together with a number of paintings, and M. Dalimeir, under secretary of Beaux Arts has decided to send them to Paris. All the rest has vanished. A fragment of the plan in relief of the old town of Arras, formerly in the Invalides was saved, but nothing remains of the Roman antiquities which were discovered in the caves beneath the town, nor of the old tapestries, nor the faience, nor of the objects which filled the galleries of Natural History in the museum.—All is gone!

"In eleven months since the bombardment began, one hundred and seventy-five of our citizens have been killed in the streets and in their houses, and the number of wounded is more than double that number. After the demolition of our charming home, we found shelter for three nights in the cellar of a kind neighbor, but on the fifth of July, in the early morning, we had to take in our turn 'le chemin d' 'Exil.' For nine months now we have had to retreat from place to place, each filled with possible dangers, and certain discomfort, but with hearts filled too with profound emotion, and the hope that we may soon return to our beloved town and to our charming old home, our house so beloved—so peaceful once in those happy days, when the pigeons cooed on the eaves in the warm sunlight, the swallows darting to their nests on the chimney—all the cherished souvenirs of those past days—my tears—"... Our poor town"—(ville Meurtrie).

"Around about Arras, the villages, once so smiling and prosperous, are now all in ruins.—Later on when glorious peace breaks upon the land of France, each hamlet shall be starred upon the pages of the golden book of history. And this black page of war once closed, that Arras-la-Morte shall rise from her ruins and ashes, more beautiful than ever, is my prayer."

(Signed) Madeline Wartelle.

July, 1915.

In the Journal Officiel, of Paris, is the following:

Ministère de la Guerre.

Citation à l' ordre de l' Armée.

Wartelle (Madeleine), Infirmière volontaire à l' ambulance 1/10 du Saint Sacrement: N'a cessé de prodiguer des Soins aux blessés et de fournir aux médicins la plus précieuse collaboration; a contribué par une action personnelle, lors du bombardment du 25 Juin, à sauver les blessés en les mettant hors d'atteinte des projectiles ennemis (27 Septembre 1915).

Ministère de l'Intérieur.

Le Gouvernement porte la connaissance du pays la belle conduite de Mlle. Wartelle (Madeleine): a fait preuve, dans des circonstances tragiques, du plus grand courage.

Alors que l'ambulance du Saint-Sacrement à Arras, où elle était infirmière voluntaire, venait d' etre violemment bombardée, que des soldats et des religieuses etaient tués, elle est demeurée résolument à son poste, ardent à descendre à la cave les blessés, prodignant à tous ses soins empressés. (28 Novembre 1915.)

LILLE

OUR fruitless search in Arras for some examples of the ancient tapestries somewhat dampened the ardor of our tour at the very beginning. But in the train on our way to Lille we Had a charming view of suburban Arras lying basking in the sun, all girt by its verdant belt of dense dark green trees. From the window of the railway carriage we saw the horizon expand, and hill after hill unroll, covered with waving corn, and realized that France s great northern granary lay spread before our eyes, the fields like cabochon emeralds set royally in virgin gold.

Approaching Lille one got the impression of a region in which the commonweal formed the keynote, so to speak, and after the beauties surrounding quaint Arras, it seemed somewhat sordid. The embossed fair green hills were replaced by level plains; the smiling cornfields vanished before barren brown moors. The wealth of the earth here lay far below the plains, and man was busied in bringing it to the surface. Ceres gave way to Vulcan: Prosperous picturesque farmsteads were displaced by high black and ugly furnaces from which tremendous volumes of pitch black smoke issued the live-long day, and maybe the night as well. The stacks of grimy chimneys were seemingly as high as the spires of churches, and ashes and dust covered all. Lille is in the coal region. Somehow as we approached it we thought of our own Pittsburgh. The latter is no whit dirtier, but it is not so picturesque as was Lille. Roubaix, on the horizon, is even dirtier, so a traveling companion informed us, and gave us other information which kept us away from that Flemish town. Lille was said to be the administrative factor of northern France, in point of industry. The town had upwards of one hundred and thirty thousand inhabitants, among whom there were some possessed of great fortunes. These built for themselves houses of magnificent proportions on both sides of boulevards leading nowhere. In this region we found a café restaurant of princely aspect "as good as any in Paris," the townspeople proudly said, with a huge mansard roof, and a tower which did not fit it. On the river bank, lined with barges, were two fine promenades, brand new, and at the end of one was an artificial waterfall with plenty of water falling over artificial rocks in doubtful taste, of which the Lilleois were so pathetically proud that we could only smilingly agree to their extravagant joy in it as a work of art. Here we found American made tram cars running through the rather commonplace streets, which however were teeming with life and "business." In response to a question, a "cabby" urged as the greatest attraction a ride out to the hydraulic works situated on a plain, where a great engine pumped drinking water from a deep well inclosed in brick work. The whole atmosphere of the place was like unto that of one of our own Yankee towns. But there were, of course, some notable and picturesque buildings in Lille. There was the Exchange, the chief architectural ornament of the city, and really it was impossible to see it without pausing in admiration of its characteristics. Occupying, as it did, the great Market Place, I know of no other building like it save perhaps the Exchange in Antwerp, that lovely semi-Moorish hall with its shield-emblazoned frieze, and its lofty glass ceiling. This one at Lille was, of course, smaller, but it had the great advantage of being free from encroaching buildings, and standing quite alone, being visible from all four sides.

Then, too, it was a genuine example of its order of architecture, a beautifully preserved specimen of the ancient Spanish style, with an added touch here and there of Italian Renaissance which blended charmingly. The walls were of Flemish red brick, while the Atrium, open to the sky, and serving as an inner court, was pure Italian. Here was a fine bronze statue of Napoléon I, all clad in imperial robes, about which the busy, bustling merchants of Lille transacted some of their business in the afternoons. In the mornings we found most delightful solitude here in this court, which then by contrast seemed liker unto the cloisters of some abbey than the busy commercial center it was later in the day. Emblazoned here upon marble slabs one could read of the records of famous citizens of the town whose deeds were esteemed as precious and noteworthy. It is said that it was at either Lille or Tournai that Napoleon found the golden bees which he adopted for the Imperial insignia, these being taken from the tomb of a Frankish king.

We were further reminded of the Palais Royal in Paris, in the small shops, most brilliantly lighted at night, which formed the outer ring of the building. Here were displayed bijoux-or-et-argent, and also more or less exquisitely made robes for Madame de Lille.

The upper part of the building, which was two-storied, had dormer windows, and a quadrant of beautifully designed and executed interlaced stonework with a profusion of caryatides, pilasters, and bands of carved stone fruit and garlands of flowers, all of the greatest richness, within an astonishingly small space. Nowhere could we find the name of the architect, but it is said that the foundation was laid in 1652 by the Spanish. Workmen were busy cleaning a small turret of most graceful design which rose from above the walls of this quaint old Hispano-Flemish monument, and I noted the care with which the work was being done, a pleasing testimonial to the love of the people of Lille for their ancient work of art.

The Rihour Palace was far greater in size than the Exchange, but it did not match it in importance. The greater part of it was modern, for it was almost destroyed in the eighteenth century. Used as a town hall in the time of Louis Philippe, it became a sort of academy of art, wherein was displayed, and very well, too, a princely collection of paintings of Flemish and Dutch schools, and also the great collection of drawings known as the "Wicar Legacy," representing the Italian school, and containing a piece of sculpture of which all the museums of Europe envied that of Lille.

This in the catalogue was described as, "A waxen head of Raphael's time, titled thus by the hand of Wicar himself when in 1834 he drew up in Rome the inventory of the old Italian art collection." * Huet regards this as a marvel that one should not miss seeing. He says, "In truth, one fancies himself to be looking at the transparent, softly tinted face of one of Raphael's Madonnas. Innocence and gentleness dispute each other the palm in the expression of the features, they have settled on the pure brow, they play tranquilly and somewhat sadly around the mouth, they are crowned by the plaits of the fair tresses." We admired the head and treasured Wicar's description of it.

* "The Land of Rubens," C. B. Huet.

Enumeration of the treasures contained in the Palais des Beaux Arts would take a volume in itself. Suffice it to say here that the collection contained in this edifice was among the most important in all France.

Rumors have appeared in print during the last two years, that this whole collection has been carefully packed and sent to Berlin. At this date of writing (May, 1917) Lille has not yet been evacuated by the Germans, and we are told that none of the buildings has been destroyed save some unimportant ones near the railway station. Just what will be the fate of the town may be conjectured when one reflects upon what happened to Noyon, to Rheims, to Soissons, and to St. Quentin, when the invaders were no longer able to hold them.

Let us pray that the Musée Wicar may be spared, by some happy chance. Wicar was an artist who died in 1834, who made a great deal of money by his work, and whose real hobby was the collection of the drawings by great masters, including nearly two hundred and fifty drawings by Michelangelo, sixty-eight by Raphael, and a large number by Francia, Titian and others, besides endless examples of the Renaissance.

Statue of Jeanne d'Arc: Rheims

[Original]

Wandering about in Lille one came upon some handsome buildings behind the Hôtel de Ville in the Rue du Palais, which proved to be those of the Military Hospital, formerly a Jewish college. Here was an ancient chapel of the seventeenth century, containing a remarkable altar, and some huge dark paintings which may have been good, but the light was so dim, and they were hung so high that it was impossible to examine them. Continuing the wandering one reached the fine old town gate, the ancient Porte de la Barre, in a good state of preservation. There were a number of these gates. The old Porte de Paris was part of the fortifications, and built in the form of a sort of triumphal arch to the honor of Louis XVI. Some quaint streets as yet untouched by the march of commercialism, led from here into busy thoroughfares teeming with life and activity. One, running eastwards from the Porte de Paris, passed between a square and the old Hôtel du Génie, and this led one to the Gothic church of St. Sauveur, noteworthy for its double aisles, and most elaborate white marble high altar, carved in the Gothic style and with a bewildering detail and accompaniment of statues and alto-reliefs. There was also the great church of St. Maurice in the Flamboyant style, with a most notable west portal, most carefully restored in very good taste. An open-work spire of stone rose above it, all of admirable character. The interior proved to be distinguished by the width of the nave and the double aisles all of the same height, and by the richness of the effect lent by the remarkable lightness of the columns.

The handsomest streets of the old town were the Rue Esquermoise and the Rue Royale. Near the entrance to the latter was the ancient church of St. Catherine, founded in the twelfth century, and rebuilt in its present style in the sixteenth, and restored again in the eighteenth century. Here above the altar was a fine "Martyrdom of St. Catherine," by Rubens.

In common with the other Flemish cities of Douai, Cambrai, and Valenciennes, Lille suffered regularly from sieges and sackings, invasions and conquests from its very beginnings. "In June, 1297, Philip the Handsome, in person, laid siege to Lille, and on the 13th of August, Robert, Count of Artois, at the head of the French chivalry, gained at Furnes, over the Flemish army a victory which decided the campaign. Lille capitulated."

"The English reinforcements arrived too late and served no other purpose but that of inducing Philip to grant the Flemings a truce for two years. A fruitless attempt was made with the help of Pope Boniface VIII, to change the truce into a lasting peace. The very day on which it expired, Charles, Count of Valois, and brother of Philip the Handsome, entered Flanders with a powerful army, surprised Douai,... gave a reception to its magistrates who came and offered him the keys. 'The burghers of the towns of Flanders,' says a chronicler of the age, 'were all bribed by gifts or promises from the King of France, who would never have dared to invade their frontier had they been faithful to their Count.' The Flemish communes desired the peace necessary for the prosperity of their commerce; but patriotic anxieties wrested with material interests....

"In the spring of 1304 the cry of war resounded everywhere. Philip had laid an import extraordinary upon all real property in his kingdom; regulars and reserves had been summoned to Arras to attack the Flemings by land and sea. He had taken into his pay a Genoese fleet commanded by Regnier de Grimaldi, a celebrated Italian admiral; and it arrived in the North Sea, blockaded Zierickzee, a maritime town of Zealand.... The Flemish fleet was beaten. A great battle took place on the 17th of August between the two great land armies at Mons-en-Puelle, or Mont-en-Pévèle, according to the true local spelling, near Lille. The action was for some time indecisive, and even after it was over both sides hesitated about claiming a victory; but when the Flemings saw their camp swept off and rifled, and when they no longer found in it 'their fine stuffs of Bruges and Ypres, their wines of Rochelle, their beers of Cambrai, and their cheeses of Bethune,' they declared that they would return to their hearths; and their leaders, unable to restrain them, were obliged to shut themselves up in Lille, whither Philip, who had himself retired to Arras, came to besiege them. When the first days of downheartedness were over, and the danger which threatened Lille, and the remains of the Flemish army became evident, all Flanders rushed to arms.

"The labors of the workshop and the field were everywhere suspended; the women kept guard in the towns; you might traverse the country without meeting a single man, for they were all in the camp at Courtrai, to the number of twelve hundred thousand (!) according to popular exaggeration, swearing to one another that they would rather die fighting than live in slavery. Philip was astounded.

"'I thought the Flemings were destroyed,' said he, 'but they seem to rain from heaven.'

"The burghers of Bruges had made themselves a new seal whereon the old symbol of the bridge of their city on the river Reye was replaced by the Lion of Flanders, wearing the crown and armed with the cross, with this inscription: 'The Lion hath roared and burst his fetters' (Rugiit leo, Vincula fregit).

"During ten years, from 1305 to 1314, there was between France and Flanders a continual alternation of reciprocal concessions and retractions, of treaties concluded and of renewed insurrections without decisive and ascertained results. It was neither peace nor war; and after the death of Philip the Handsome, his successors were destined for a long time to come to find again and again amongst the Flemish communes deadly enmities and grievous perils." *

* Guizot's "History of France."

What wonder then that Lille retains so few remarkable public monuments. Perhaps of all the Flemish towns she suffered most from pillage and fire. Farther on in the Rue Royale, beyond the statue of General Négrier, was the eighteenth century church of St. André, once belonging to the "Carmes déchaussés," where there were some good paintings by a native artist, Arnould de Vuez, who enjoyed considerable celebrity. Following the attractive quays along the river front, which was teeming with life and movement, one reached the small square of St. Martin, where was the church of "Notre Dame de la Trielle," which is said to have occupied the site of the ancient moated Chateau du Buc, which formed the origin of the city of Lille, and which the Flemish to this day call Ryssel. A fortress of the first class, Lille's citadel is said to have been Vauban's masterpiece, and perhaps this is one of the reasons why the invaders of 1914 surrounded it with the network of concrete trenches and galleries which formed the angle of the famous Hinden-burg line after the disastrous retreat from Arras in April, 1917. So far Lille has not suffered very much from the bombardment of this present year, but it is safe to say now that the invader will not spare it in retreat.

AMIENS

THERE was no better way of realizing the great bulk and height of the Cathedral than by proceeding to the banks of the river Somme northward, and from this point appraising its architectural wonder rising above the large and small old gray houses, tier above tier, misted in the soft clouds of gray smoke from their myriad chimneys, capped with red dots of chimney pots, "a giant in repose."

In approaching Amiens the traveler was offered no "coup d'oeil" like that of other cathedral towns; here "this largest church in the world except St. Peter's, at Rome," was hidden from view as one entered the town, and followed the Rue des Trois Cailloux, along what was formerly the boundaries of the ancient walls. It was difficult to obtain a good view of the façade, that of the west point was seen from a parvis, which qualified the difference in level between the east and west ends, and here was the central porch which took its name, "Porche de le Beau Dieu d'Amiens," from the figure of the Savior on its central pillar, and of which Ruskin wrote, "at the time of its erection, it was beyond all that had then been reached of sculptured tenderness."

It is not known at this time of writing (May, 1917) whether Amiens has suffered greatly at the hands of the Germans. Perhaps without its destruction there have been sufficient crimes committed against the church in the name of military necessity, and it thus has been spared.

For some reason or other Ruskin was not overenthusiastic over Amiens. He described the beautiful "flèche," which rose so gracefully from the great bulk against the sky, as "merely the caprice of a village carpenter," and he further declared that the Cathedral of Amiens is "in dignity inferior to Chartres, in sublimity to Beauvais, in decorative splendor to Rheims, and in loveliness of figure sculpture to Bourges." On the other hand, the great Viollet-le-Duc called it the "Parthenon of Gothic Architecture."

Of the two authorities, one may safely pin one's faith to the opinion of the eminent Frenchman, who spent his life in restoring great works rather than in abusing them.

Whewell says: "The mind is filled and elevated by the enormous height of the building (140 feet), its lofty and many colored clerestory, its grand proportions, its noble simplicity. The proportion of height to breadth is almost double that to which we are accustomed in English cathedrals; the lofty solid piers, which bear up this height, are far more massive in their plan than the light and graceful clusters of our English churches, each of them being a cylinder with four engaged columns. The polygonal E apse is a feature which we seldom see, and nowhere so exhibited, and on such a scale; and the peculiar French arrangement which puts the walls at the outside edge of the buttresses, and thus forms interior chapels all around, in addition to the aisles, gives a vast multiplicity of perspective below, which fills out the idea produced by the gigantic height of the center. Such terms will not be extravagant when it is recollected that the roof is half as high again as Westminster Abbey." Indeed this great height is only surpassed by that of one cathedral in all of France—Beauvais.

The vast arches here rose to nearly half the height of the structure, and then above these the architect placed a lovely band or frieze of carved foliage; then the triforium, and above this the glorious windows, separated from each other only by tall slender pillars springing gracefully from heavier ones. Nearly all the original painted glass was destroyed in the thirteenth century, but that which replaced it was of a certainty entirely satisfying.

Between two immense pillars at the entrance to the nave were the heavily ornamented gilded brass tombs of the Bishops who founded the Cathedral. That on the left was Geoffroi d'Eu, who died in 1236, and on the right was that of Evrard de Fouilloy, who died in 1223. Each shows a recumbent figure in full robes inclosed in Gothic canopies with pointed arches, and sustained by lions. The great organ loft was beneath the magnificent "rose de mer" window which was filled with the arms of the house of Firmin de Coquerel. In the choir were one hundred and ten carved stalls, said to have been designed and made by local artists of Amiens, and these alone would have made any cathedral noteworthy. According to that eminent authority, Mr. Francis Bond, the height of the nave and the aisles is three times their span, and this feature gave the effect for which the architect worked, that is, a splendid blaze of luminosity shining down into gloomy and most mysterious shadow. This blaze of light and color came not only from the clerestory, but also from the triforium, in which the superb blue glass shone with celestial splendor.

The meaning of the word "triforium" is perhaps somewhat obscure to all save architects. Herbert Marshall * defines the word as "Applied to the ambulatory or passage, screened by an arcade, which runs between the pier arches and clerestory windows and is considered to refer to the three openings, or spaces, 'trinae fores,' into which the arcading was sometimes divided. It probably has nothing to do with openings in multiples of three, nor with a Latinised form of 'thoroughfare' as suggested by Parker's Glossary, although the main idea is a passage running round the inside of a church, either as at Westminster, in the form of an ambulatory chamber, or of a gallery pierced through the main walls, from whence the structure may be inspected without the trouble of using ladders. M. Enlart in his 'Manuel d'Archéologie Française' derives the word from a French adjective, 'trifore,' or 'trifoire,' through the Latin 'transforatus,' a passage pierced through the thickness of the wall; and this idea of a passageway is certainly suggested by an old writer, Gervase, who, in his description of the new cathedral of Canterbury, rebuilt after the fire, alludes to the increased number of passages round the church under the word 'triforia.' 'Ibi triforium unum, hie duo in Choro, et in alâ ecclesiae tercium.'"

* "Gothic Architecture in England."

Ruskin wrote in his diary under date of May 11th, 1857: "I had a happy walk here (Amiens) this afternoon, down among the branching currents of the Somme: it divides into five or six, shallow, green and not over-wholesome; some quite narrow and foul, running beneath clusters of fearful houses, reeling masses of rotten timber; and a few mere stumps of pollard willow sticking out of the banks of soft mud, only retained in shape of bank by being shored up with timbers; and boats like paper boats, nearly as thin at least, for costermongers to paddle about in among the weeds, the water soaking through the lath bottoms, and floating the dead leaves from the vegetable baskets with which they were loaded. Miserable little back yards, opening to the water, with steep stone steps down to it, and little platforms for the ducks; and separate duck staircases, composed of a sloping board with cross bits of wood leading to the ducks' doors; and sometimes a flower pot or two on them, or even a flower—one group of wall flowers and geraniums curiously vivid, being seen against the darkness of a dyer's backyard, who had been dyeing black, and all was black in his yard but the flowers, and they fiery and pure; the water by no means so, but still working its way steadily over the weeds, until it narrowed into a current strong enough to turn two or three 'wind mills,' (!) one working against the side of an old Flamboyant Gothic church, whose richly traceried buttresses sloped down into the filthy stream; all exquisitely picturesque, and no less miserable. (! ) We delight in seeing the figures in these boats, pushing them about the bits of blue water, in Prout's drawings; but as I looked to-day at the unhealthy face and melancholy mien of the man in the boat pushing his load of peat along the ditch, and of the people, men as well as women, who sat spinning gloomily at cottage doors, I could not help feeling how many persons must pay for my picturesque subject and happy walk."

The reader will probably exclaim: "Well, if this is Ruskin's idea of a 'happy walk,' what then would be his description of a gloomy one?"

We did not find the view of the town so squalid as this. Rising against the golden glow of the evening sky, the great bulk of the Cathedral massed itself in purple mist, its slender needle-like center tower and spire piercing the sky. Below lay the dull reds and slaty grays of the houses, concealed here and there by the massive foliage of the trees that lined the river bank. Barges of picturesque shape were tied up to the banks here and there, with lines of pink, white and blue freshly washed clothes strung along the decks, where children played, and there were brightly painted cabin deck houses, all white and green, from the chimney pipes of which ascended long pale lines of smoke from the galley stoves, showing that the evening meal was being cooked. On the decks of these barges nervous shaggy dogs ran up and down barking furiously at one thing or another; over all seemed to rest the air of well being and sweet content. If there were stagnant pools of filthy water, as Ruskin claimed, we saw them not, nor did the peasants seem unhealthy or miserable to our eyes.

Amiens was delightful to look upon, and we drove back to the hotel quite satisfied with our first view of it.

Day by day afterwards we haunted the great Cathedral, studying it from every viewpoint. Again and again we returned to the choir to gloat over the one hundred and ten magnificent stalls, carved as fluently as if modeled in clay, the forms so flowing and graceful as to suggest living branches, pinnacle crowning pinnacle, and detail of grace of design so exquisite as to be almost painful to follow—"Imperishable, fuller of leafage than any forest, and fuller of story than any book." (Ruskin.) The outside wall of the choir was quite concealed by the most richly Flamboyant Gothic archwork. In these arches were quantities of figures of saints, all emblazoned with gold and crimson and blue. These groups have been described by Lubke so well that I can do no better than quote him: "St. John is shown when he sees Christ and points him out to the multitude; then St. John preaching in the wilderness, and the Baptism of Christ, which is arranged with peculiar beauty and simplicity; lastly St. John as a preacher of repentance when the listening multitude is depicted with life. Then there are four scenes: the Apprehension of St. John; the Banquet, at which Herodias asks for the head of the Preacher of Repentance—a scene executed with genre-like style, the figures appearing in the costume of the period; the 'Beheading of St. John'; and, lastly, another banquet scene, in which the severed head appears on the table, and Herodias puts out the eyes, at which her daughter sinks in a swoon, and is caught up by a young man, while a page in horror runs away with the dish. Below these larger representations, in the one case in ten, in the other in five medallions, scenes from the youth of St. John are depicted. The relief is more shallow, and with simple arrangement is very attractive in expression."

The great blazing rose windows of the transept were named "Fire" and "Water," but which was which we never quite discovered, because of a difference of opinion held by those whom we questioned, but this did not in the least affect our opinion of their great artistic value, or interfere with our admiration.

In the south transept we readily found the gravestone in memory of the Spanish Captain Hernando Tiello, who captured Amiens in 1597, and just opposite, the great stone sarcophagus of the Canon Claude Pierre, who must have been a canon of great importance, to have been so favored and placed. In the Chapel of Notre Dame de Puy were a great number of marble tablets emblazoned with the names of the Fraternity of Puy, and bore reliefs in marble, showing scenes in the life of the Virgin Mary. Here there was much intricate Flamboyant tracery framing some scenes in the life of St. James the Great, of the sixteenth century style, presented by Canon Guillaume Aucouteaux.

The north transept contained the fine monument of the Canon Jehan Wyts, who died in 1523. This showed the temple at Jerusalem, in four scenes depicting the "Sanctum," the "Atrium," the "Tabernaculum," and "Sanctum-Sanctorum." In this transept was buried the remains of the comic poet "Gresset," who flourished in the eighteenth century, and a great shrine for the head of John the Baptist, said to be incased here, and to have been brought from the Holy Land and presented with imposing ceremonies, by the Crusader Wallon de Sarton, who was likewise Canon of Picquigny. Singularly enough there were several other heads incased in magnificent jeweled reliquaries which were to be seen in other churches, notably in the south of France, and in Genoa, each one claiming, with much documentary proof, to be the sole and only authentic head of the Great Preacher of Repentance.

In one of the chapels in the left aisle of the nave, that of St. Saulve, was a remarkable crucifix, which enjoyed great repute, for it was gravely alleged to have bowed its head upon the occasion of the installment of the sacred relics of St. Honoré.

Inside the great open porches the whole space was filled with the most delicate fourteenth century lacework in stone. The principal one showed on its frontal a statue of St. Michael conquering the dragon. The fine ironwork of the doors was made in the thirteenth and fourteenth centuries by natives of Amiens, whose names are forgotten. Walter Pater ("Miscellaneous Studies") says: "The builders of the church seem to have projected no very noticeable towers; though it is conventional to regret their absence, especially with visitors from England, where indeed cathedral and other towers are apt to be good and really make their mark.... The great western towers are lost in the west front, the grandest, perhaps the earliest, of its species—three profound sculptured portals; a double gallery above, the upper gallery carrying colossal images of twenty-two kings of the house of Judah, ancestors of our Lady; then the great rose; above it the Singers' Gallery, half marking the gable of the nave, and uniting at their topmost stories the twin, but not exactly equal or similar towers, oddly oblong in plan as if meant to carry pyramids or spires. In most cases these early Pointed churches are entangled, here and there, by the construction of the old round-arched style, the heavy Norman or other, Romanesque chapel or aisle, side by side, though in strange contrast, with the soaring new Gothic nave or transept. But of the older manner of the round arch, the 'plein-cintre,' Amiens has nowhere, or almost nowhere, a trace. The Pointed style, fully pronounced, but in all the purity of its first period, found here its completest expression."

Amiens, the ancient capital of Picardy, was one of the greatest of the manufacturing towns of France. There were many large factories engaged in the production of cashmere, velvet, linen, and woolens, and in the early morning, and again at night, thousands of the employees filled the streets of the town on their way to and from work. It was called by the Ambiani, before it was captured by Cæsar, Samarobriva, and was their chief town.

Christianity was introduced by St. Firmin in the year 301, which perhaps is as far back as any one cares to go in the matter. And history farther cautions the reader not to confound this St. Firmin with that other St. Firmin, who was only a "Confessor" or something of the sort.

The Normans seem to have had a strong desire to put an end to the town, for they regularly pillaged and burned it. The place was ceded to the Duke of Burgundy in 1435, but was recovered in 1463 by Louis XI. The Spaniards conquered it in 1597, but Henry IV retook it from them. The Peace of Amiens between France, Great Britain, Spain and Holland was signed here in 1802.

The battle of Amiens, in the Franco-Prussian War, resulted in the entry of the Germans in November, 1870. Its present fate is problematical, but it would seem, in view of the retirement of the invader northward of Arras and Lens, that the great and noble monuments of the ancient town are now safe.

Heinrich Heine long ago wrote the following prophetic words: "Christianity—and this is its highest merit—has in some degree softened, but it could not destroy, the brutal German joy of battle. When once the taming talisman, the Cross, breaks in two, the savagery of the old fighters, the senseless Berserker fury, of which the Northern poets sing and say so much, will gush up anew. That talisman is decayed, and the day will come when it will piteously collapse. Then the old stone gods will rise from the silent ruins, and rub the dust of a thousand years from their eyes. Thor, with his giant's hammer, will at last spring up, and shatter to bits the Gothic Cathedrals."

PÉRONNE

THE delightful banks of the river Somme are imprinted on one's memory among those "sweet places" where it would seem as though man could not but choose to be happy, so liberally had nature decked them with her gifts. Yet all of this region formerly known as Flanders, has from time immemorial been war's favorite playground, "the Cockpit of Europe."

Even in the intervals of wars, strife equally bitter, if less bloody, has raged here,—the struggle of industry against adequate reward. One could never forget the sight of women laboring early and late in the fields, or harnessed together at the end of long tow lines, painfully dragging barges against the current of the river, or in the factory yards, trampling with bare feet a mixture of coal dust and clay which, molded into briquettes, was used as fuel.

Strangely enough, these women and girls, some of them of tender age, seemed happy and content with their work. The sound of their singing as they labored could be heard for a long distance. As the barges passed on the river bank, with these women bending forward, straining at the yoked ends of the tow rope, moving slowly step by step, we noted that not seldom they were quite handsome of face, and of good figure. Invariably they saluted us good humoredly with smiles, but when I removed my hat in response, I could see that this courtesy struck them as unusual, and did not leave the impression I desired. Thereafter I modified the salutation.

At the inn in Péronne a young "commis-voyageur" with whom I made conversation, and related this incident, told me that I had better beware of offering such civilities in future, since these Amazons had been known to seize strangers for fancied offenses, and after giving them rough treatment, cast them into the river. He called upon the proprietor of the inn to substantiate his warning, and the latter satisfied me as to its truth, giving details which need not be set down here, and which quite decided the matter.

Péronne as an historic and notable town was second to none in all Picardy. Here the early kings had a great palace given to them by Clovis II.

Hotel de Ville: Péroinne

[Original]

Erchinold, the Mayor, erected a monastery near by for Scotch monks, presided over by St. Fursy. Not a trace of this now remains. It is said to have contained the tomb of Charles the Simple, who died of famine at the hands of Hubert in a dungeon. When Philip d'Alsace, Count of Vermandois, was killed in the Crusades (1199) the towns of Péronne and St. Quentin were united to the crown of France, and so remained. Charles V, in 1536 unsuccessfully besieged Péronne, and during this siege a young woman named Marie Fourré performed prodigious deeds of heroism which history records.

The great Ligue of 1577 was proclaimed here, following its announcement at Paris. Until the Duke of Wellington captured it on his way to Paris' after the battle of Waterloo, Péronne-la-Pucelle had never been taken by an enemy.

In the Franco-Prussian War, 1870-71, Péronne was sacked and burned after a most memorable siege, in which many of the remarkable old buildings were destroyed, but in 1910 the town, when I last saw it, was one of the quaintest in all Picardy. There was a remarkable old church here, that of St. Jean, which dated from the sixteenth century, which had a portal of three Gothic arches and arcades surmounted by a great flamboyant rose-window, the glass of which, though modern, was of fine quality and workmanship. It had a tower flanked by a "tourelle" of beautiful proportions, and in the interior the vaulting, pulpit, and the stained glass windows were pronounced by experts to be well-nigh faultless.

This church, and the most singular and picturesque Hôtel de Ville (sixteenth century), a sketch of which I made in 1910, the invaders took great pains entirely to destroy in April, 1917, when they made their celebrated "victorious retreat." The latest accounts say that not a trace of these two remarkable monuments now exists, that for a week or more before the retreat, the German engineers used tons of explosives to destroy them.

The gray old square before the Hôtel de Ville is now a yawning pit, bordered by shapeless piles of stone and ashes.

At this time we know not what other mischief the invader has committed in this neighborhood. There are endless opportunities for destruction and pillage, and we may be fully prepared for irreparable damage and losses in all of this region before the Iconoclasts are driven back to their last line of defenses.

All of Champagne, of Picardy,—all of Flanders were filled with exquisite villages, towns, and cities, each of which was unique in works of art and antiquity. These have shriveled like a garden of flowers before a heavy frost. This great catastrophe has so stunned humanity, that we are only beginning to realize what it means.

The invader says contemptuously that no cathedral is worth the life of one German soldier. So Rheims has been destroyed; so St. Peter's of Louvain; so—but why enumerate here?—The list is recorded in letters of fire.

CAMBRAI, and the SMALL TOWNS

THE "Cameracum" of ancient days of Roman occupation, holding this name up to the twelfth century, Cambrai, at the outbreak of the war in 1914, was entirely satisfying to the seeker of the charms of picturesqueness, as well as the historian. After what is known as the period of the Antonine Itinerary, it became the capital of a petty episcopal arrondisement, under the protection of the Dukes of Burgundy who, unable to hold it, gave it over "for privileges" to the German emperors, who thereafter retained it under the title of "Châtelains," as it was a fortified stronghold.

Situated on a hillside on the right bank of the river Scheldt, it was a busy and prosperous commercial town, with a semi-Flemish population of about twenty-five thousand. Its history in thumbnail form is as follows:

In 1508 the Emperor Maximilian, Pope Julius II, Ferdinand of Aragon, and Louis XII of France formed here the celebrated League of Cambrai, which was directed against Venice. In 1529 the so-called Paix de Dames was signed by Louise of Savoy and Margaret of Austria, who negotiated its provisions in the castle on the hill, for Francis I and Charles V. However, by the treaty of Nimwegen, Louis XV recovered it, and it was thus held by France until captured by the Duke of Wellington in 1815.

Many celebrated men were born at Cambrai, or became identified with the town, such as the chronicler, Enguer-rand de Monstrelet, who died in 1453. The great Fénelon was Archbishop of Cambrai, as was also Cardinal Dubois, who served as minister for Louis XV, and then follows an array of names that lent glory to the annals of Flanders.

Perhaps few know that the town gave name to that fine linen which was produced here in the fifteenth century, the invention of a native named Baptiste. The English named the cloth "Cambric," but to the Flemish and French it was known, and is still for that matter, as "Ba'tiste" after the inventor. At the outbreak of the war this linen cloth was the chief product of the town.

Entrance to the town was through the gate called "Porte Robert," near which was the citadel. There was a large and impressive square called the "Esplanade," where statues had been raised to "Batiste" and the historian "Enguerrand de Monstrelet." Then followed the "Place aux Bois," lined with handsome trees, and large "Place d'Arms," on which was the "Hôtel de Ville," which, while of comparatively modern construction and rebuilt in the last century, was sufficiently interesting even to a student of ancient Flemish architecture. Its most elaborate façade was sculptured by one Hiolle of Valenciennes. The tower bore two gigantic statues, much venerated by the townspeople, named respectively "Martin" and "Martine," but curiously enough there was a wide difference of opinion as to which was which, some saying that the left hand giant was Martin, and others protesting the contrary. The figures dated from the time of Charles V, and were presented by him to the town in 1510.

On the square at the opening of the Rue St. Martin was a fine Gothic belfry dated 1447, and attached to the church of that name. This contained a notable chime of bells, a carillon, the work of the Hemonys. * In the Rue de Noyon was the Cathedral of "Notre Dame," part of which had been rebuilt since a fire which consumed it about sixty years ago. The interior contained notably the fine marble and bronze monument of Fénelon, and a statue to this celebrity, the work of David d'Angers, all worth a considerable journey to see. The body of the church was of the eighteenth century and while of purity in detail, offered no very striking features. There were eight very large mural paintings "en grisaille" after the works of Rubens, by Geeraerts, a modern artist of Antwerp, but these, despite the obvious merit of the work, seemed somehow out of key with the interior.

* See "Vanished Towers and Chimes of Flanders,"
for chapter on bell founding.

Wandering about, we came upon a small street in which we found a remarkable collection of paintings of the Netherlands School owned by a private collector, who was pleased to show them, and delighted by our enthusiasm over their qualities. This gentleman insisted upon becoming our guide about the town, and showed us so many attentions that my Lady Anne became bored with him, and this led to our leaving Cambrai before the time we had set—but we left a letter of appreciation and thanks addressed to him.

He it was who brought us to the church of St. Géry in the Place Fénelon, on the site of one founded by St. Vaast in 520. This had a remarkable dome which was upheld by four very slender columns, of very unusual character, and there was also a magnificent renaissance "jube," or altar screen, of colored marble, and a transept containing a large painting of the "Entombment," attributed to Rubens. The "Episcopal Palace of Fénelon" was just across the street, or at least a fragment of the original building, with a very richly decorated triple portal in the Renaissance style.

It was this palace that Fénelon opened to the fugitives of the battle of Malplaquet, who thronged the town of Cambrai for protection and food. History states that every corner of the building was filled with the hapless people, and their small belongings hastily gathered together in the flight. The gardens and courts were crowded with cows, calves, and pigs, and the scene is said to have been indescribable. Emanuel de Broglie, who wrote the account ("Fénelon a Cambrai," de Broglie), says, "Officers to the number of one hundred and fifty, both French and prisoners of war, were received by Fénelon at his house, and seated at his table at one time."

"God will help us," said the Archbishop; "Providence hath infinite resources on which I can confidently rely. Only let us give all we have: it is my duty and my pleasure."

Over the side doors were inscriptions on "banderoles"—"A Clare Justitia" on one, and on the other "A gladio pax." The fine "Chateau de Selles," on the banks of the Scheldt River, was built in the fifteenth century. The beautiful reliefs of its gables, its statues, and the wrought iron grills of its balconies were still perfect, and the view from its green terrace was most enjoyable.

There was a curious sort of penthouse shown to us, near a building called "Vieux Château" of which pillars with rudely sculptured capitals remained. Near this was a well with some ancient rusty ironwork, and a stone which our quondam guide said had served in ages long ago as a block in executions. Somehow we thought that he lied, and with considerable skill withal, but we dismissed him with payment of a franc for his pains. He did not go, however, but followed us about at a distance muttering to himself and occasionally waving his hands in a most absurd manner, until at length we happily lost him.

There was a curious small building called the Grange aux Dimes, divided into two parts, one subterranean, the other on the level of the soil. Two staircases, one inside, the other outside, led to a hall on the first floor. This was divided by two ranges of pillars, with ornate capitals of foliage. The door to the subterranean passage was unfastened and we ventured down into the darkness and must for a short distance. I am convinced that we might have had some adventures below had we explored the tunnel. Near this was "Le Puits," supposed to be the entrance to other vast vaults, a subterranean town extending beneath the hill for miles, and formerly used for many purposes in the Middle Ages.

These vaults were to be found in many of the towns hereabouts, and during the occupancy of the country by the Germans since the invasion of 1914, the soldiers have used them to store away ammunition and supplies. Over these small towns for three years now have raged battles the like of which for fierceness and bloody loss the world has never seen.

The small town of Marcoing, about five miles from Cambrai, had one of these wonderful caverns of refuge dating from the Middle Ages, and there were others at Villers-Guizlain and at Honnecourt, where there were the ruins of a Roman town, and an immense church with a porch of the eleventh century. This was said to have been a famous place of pilgrimage in the twelfth century. Tradition has it that in that century three brothers of the family of Courcy le Marchais were taken prisoners during the crusades. In the power of the Sultan they languished, until at length he bethought him to send his young daughter to their dungeon, where they lay in chains, thinking that she might by the power of her beauty and eloquence bring them to the faith of the Mussulmans. But strange to relate, she it was who succumbed to the arguments of the three fair-haired brothers, and finally promised to become a Christian provided that they show her an image of the Holy Virgin of whom they had so eloquently told her. Now the three brothers had no image of the Virgin, everything having been taken from them when they were cast into the dungeon. But all at once, says the Chronicle, the image of the Virgin bathed in golden Celestial light appeared miraculously before them in a niche on the wall, so the Sultan's daughter, thus convinced, not only set the three fair-haired brothers free, but accompanied them, bearing in her bosom the sacred image, which henceforth was enshrined here on the altar and venerated.

The three brothers then built a church in the twelfth century, on the site of which this present one of the fourteenth century was erected. Its portal was fifteenth century, and at the cross was a spire with quaintly formed pinnacles. Inside, a remarkably rich "jube," or altar screen, divided the nave from the choir, almost hiding the sanctuary containing a singular coal black doll-like sort of image, and a large collection of "Ex-votos," with some other offerings most tawdry in character.

North of Valenciennes and very near the Flemish border was the old town of St. Amand-les-Eaux, famous for its mud baths for the cure of rheumatism and gout since the time of the Romans. The town was situated at the confluence of the rivers Elnon and Scarpe, and is said to have grown up around an abbey built by St. Amand in the seventh century. Save for the portal and the façade of the church nothing remained of the original structure. A tower containing a fine carillon of bells by Flemmish founders, perhaps the Van den Gheyns of Malines, is said to have been designed by Peter Paul Rubens. From the summit of the tower a wonderful view of the surrounding country was had, and for this reason the Germans blew it up in April, 1917, before their retreat.

Maison du Provost: Valenciennes

[Original]

There was here a quaint Hôtel de Ville in the Flemish-Renaissance style, much floriated in parts. Let us hope that this has been spared. The site of the ancient abbey had been most charmingly covered with a blooming garden of brilliant flowers, and here children and nurses played, while "invalides" dozed on the benches in the sunlight. From the baths a very wild and beautiful park stretched across the country to the forest of Raismes through the forest of St. Amand.

Epehy is another small town now held by the Germans because of its strategical value. It is on the ancient Roman road, or "Chaussée Brunehaut," which runs from Arras to Rheims. Under the great church are subterranean galleries, which, it is said, stretch for unknown distances in every direction; indeed, it seems as if the whole country hereabouts were undermined by these ancient galleries, many of which were unexplored, and in some instances shunned by the peasants as haunted by evil spirits, and many and fantastic were the tales told of some of these caverns, during the summer days when wanderings about the countryside held us here in happy durance. It was delightful to watch the grave old men of the village playing bowls or skittles, and their pride over the skill which enabled one of them, a patriarch, to account for six pins at one shot. His cannoning was the very poetry of statics. As a foil the unskillful efforts of the present writer were not altogether unsuccessful, for they brought to the stolid faces of the players smiles not unkindly, but of considerable latitude.

In the little "estaminet" (Spanish estamento) at the foot of the hill, cutlets, broiled young chicken, and a rough and cheap but good sparkling wine, all graced by the good humor of the proprietor, raised our content to enthusiasm, so we saw and studied the locality, socially and mythologically, to the end of its possibilities.

We found that these peasants, seemingly so phlegmatic and commonplace, were really chimerical, and their tales and conversation skirted the borderland of fact and fancy. The two were so melted down and run into one mold as to be impossible of separation. I have listened to some of these tales with interest, until the splashes of golden light were gone from the valleys and a vast canopy of rose-shot lilac emblazoned the setting of the sun. In the woods hereabouts, as in other parts of this region of caverns, thin mysterious sounds were often audible at night to those who had ears to hear: the noise of a distant hunt, the sound of winding horns, the confused shouts of a troop of hunters, and the chime of hounds in full cry. Pious and superstitious peasants, listening indoors, crossed themselves, those who were abroad in the lanes hastened their steps, not glancing in the direction from which the sounds came. It was the Wild Chasseur. This is the story: St. Amand, Count of the Palatinate, lived hereabouts in the tenth century, in a great castle of which even the foundations have long since disappeared. He was known as a mighty hunter, but was a profane prince, caring naught for the worship of the Lord, nor the chant of the priest, but following ever the wild creatures, rather than the ways of truth and righteousness. There came one day in the autumn, and it was Sunday, long before the coming dawn disclosed the distant dome of the Cathedral. When this reckless count mounted his great horse, and at the head of an equally reckless band of merry hunters, started out on the chase, the great dim forests rang with the loud blasts of the horn, and the loud shouts of the young men broke the calm stillness of the holy day and scandalized the good priests, and the pious people of the neighborhood. Out came the noisy cavalcade into the open where four roads met. To them, one from the North and one from the South, and galloping furiously, came two horsemen; the one from the North was young, blonde and handsome, with an air of distinction, all clad in bright new cloak and bonnet of golden yellow.

The cavalier from the South seemed a man of temper, and was of sinister visage, bestriding a great horse of a temper to match that of its rider. His costume was of black velveteen save for his headpiece of scarlet cloth, which flowed scalloped down his back.

The Count at the head of his troop saluted these two strangers courteously and invited them bear him company in the chase.

"My lord," answered the rider from the North, removing his bonnet, and showing his fair hair in a golden mass about his shoulders, "the Sabbath bells are ringing in your church for the service in praise of our Lord and Saviour, Jesus Christ, for'tis the hour in which the voices of men in holy canticle are sent on high asking forgiveness of our sins and iniquities. This day is sanctified to Him above. I do bid you now accompany me unto the throne of Grace, on bended knee, in all humility.—For upon the offender shall descend the vengeance of the Most High, forever and ever."

"In Satan's name, Sir Golden Locks!" answered St. Amand scornfully, "thou hast a tongue like a ranting priest. What right hast thou to wear a sword, pray?—I have no mind for canticles to-day!"

Loud laughed the troop of cavaliers at this, and then was heard the voice of the rider in black from the South, whose great horse champed the bit and tossed its head restlessly.

"Come, let us away, St. Amand! What care have we for monastery bells and sniveling priests!—Let us to the noble chase for mass, with sound of the winding horn for organ note!"

"Well said, Sir Red Crest," replied St. Amand, with a loud laugh and a wave of his gauntleted hand. "Ventre son gris! Let us away then!"

The whole troop sprang forward at the word. Over the hills, through the ravines and deep ditches, and into the dark woods, ever rode the strangers, one at the right and one at the left of St. Amand. On the right, the fair young golden haired knight, and on the left, the black clad sinister man with the crimson hood.

All at once appeared among the great trunks of the beech trees an antlered deer white as the driven snow, which after one startled look at the furiously riding troop of men, sped away like the wind. With winding horn the hunters pursued it over the green meadows and up and down the hills, trampling corn fields and peasant gardens under foot all unmindful of what ill they did. Naught counted for these men but the chase, and ever St. Amand headed the band, and on his right rode the fair young blonde rider from the North and on his left the swarthy knight from the South.

Finally, with trembling limbs the antlered deer slackened its speed before the open door of a chapel in the midst of the wildwood. Here stood the frightened animal, its fur flicked with bloody foam, unable to stir a step further. From the open door of the chapel stepped a holy friar, who placed a sheltering arm about the panting animal's neck, and stood with uplifted arm warning back the band of hunters. In vain did the fairhaired stranger plead with Amand to spare the deer, for the jeering voice of the knight of the scarlet hood urged him on, and dismounting from his horse Count St. Amand pushed aside the monk and was about to run the animal through with his hunting knife, when there came a burst of thunder sound that shook the earth as though the heavens had fallen.

The Count was stunned: When he came to himself he was alone in a clear space in the forest; the chapel, the deer, the monk, all his band, including the two strangers, had vanished as though they had never been. Over all was a terrible silence. When St. Amand attempted to call, no sound came from his parched lips. Then came a blinding flash of lightning, which split the darkness, and on the wings of the rushing wind he heard a terrible voice in judgment.—"Even as thou hast flouted and mocked at the Lord thy God, and have had no compassion upon man nor beast, so shalt thou fly before the wrath of the Most High! Pass on then, thou accursed Knight, forever be thou the hunted by evil spirits until the end of the world!"

"And so," continues the legend, "since that day the wraith of that sinful Count St. Amand has haunted these hills and dales by night, and these great caverns underneath by day, the fiends of hell at his heels. After him fly these hideous fiends, driving him ever on towards the judgment that waits him on the last day."

As may be surmised, with such tales as this to hold over the youth of the valleys, the people hereabouts were most devout and God fearing. Here in this region have raged battles innumerable from the earliest days of history, with fire, famine and pestilence. It was all prosperous, when I last saw it, and charming to look upon. But now the beautiful orchards have been cut down by the invader, the homesteads have been burned, and the once happy peasants transported to hard labor in another country.

ST. QUENTIN

UGLY and down at the heel," were the uncomplimentary terms used by an æsthetic fellow traveler to describe this prosperous manufacturing town situated rather picturesquely on a hill rising above the banks of the river Somme. And while it may be admitted that St. Quentin is not very clean looking when viewed from the railway station, certainly a later and more intimate inspection revealed charms which repaid leisurely investigation on our part, and even our first view of the gray walls and gables of the houses, and the quaint pinnacles of the town hall, and the tower of the church rising against the golden glow of the sunset sky was quite satisfying.

The road to the town on the hill was by way of the Rue de l'lsle, which brought us to the small square on which was the flamboyant Gothic Hôtel de Ville. It had a most charming and unusual pent roof, over which rose a slender tower with large clock face shining in the sunlight. On the ground floor of the façade was an open arcaded gallery above which were richly ornamented flamboyant Gothic windows divided by niches. The upper story had a quaint and ornate balustrade and three gables. From the central gable the campanile rose gracefully.

This much we were able to see on our way to the Hôtel du Cygne, the landlady of which gave us more comfort than our quondam traveling companion had led us to expect. This individual quite abandoned us to our fate thereafter, as impossible Yankees who gloated over picturesqueness and gables, and meekly ate whatever was set before them—even of an omelette which he scorned, and fussed about at the table d'hôte. He listened with a sarcastic grin to our admiring comment on the furnishings of the dining-room, with its paneled walls in the Flemish fashion, on which hung brass placques and some good old china plates, and after lighting a cigarette, noisily kicked back his chair, shrugged his shoulders, and vanished from our ken forever.

Madame told us that he was a "commis-voyageur" in the woolen trade, from Brussels, and "bien difficile."

St. Quentin was the ancient capital of the Gaulish Veromanduens, and took its present name from Caius Quintinus, a priest who came here to preach Christianity in the third century, and for his pains was martyred by the Prefect Rictius Varus.

Honor to his remains was encouraged by St. Eloi in the time of Dagobert.

Whilst here we may recall that the building of the Escurial was due to a vow which Philip II of Spain made in case of success, when he was besieging St. Quentin in 1557.

The town was given back to France in 1589, and in the following year was bestowed as a dowry upon Mary Stuart, who possessed its revenues till her death. On January 19, 1871, a great victory was gained near St. Quentin by the Prussian General Goeben over the French army of the north, * under Faidherbe.

* Hare's "Northeastern France."

In the "Place du Huit Octobre" was a very good monument by Barrias, symbolizing the successful defense of the town against the first attack by the Germans on October 8, 1870. We found that the Hôtel de Ville contained a most unusual "Salle du conseil," a large well proportioned room, the roof of which rested upon two circular wooden vaults. This was furnished with a most elaborate mantel or chimney piece in the mixed Gothic and Renaissance styles, and of remarkable workmanship. In the great German retreat of April, 1917, this noble building was blown up with bombs. Perhaps they placed upon it, as they did upon other shattered structures, a sign bearing the inscription: "Nicht Argern, nur Wundern."

There was a noble "Collegiate Church of St. Quentin" near this Hôtel de Ville, considered by architects to be a splendid example of French Gothic of the twelfth to the fifteenth centuries. This was unfortunately so shut in by small buildings as to make a study of it difficult. Its choir, nave, and portal, and its really vast height, formed unusual features, and added to these wonders were the beautiful triforium and terminal windows of the principal transept (there were two of these, "very rare in a Gothic church," says Hare).

The oldest part of the church was easily discovered between these transepts. There were seven absidal chapels; in that of St. Roch was the incised tombstone of "Mahaus Patrelatte," dated 1272.

Under the choir were crypts said to have been of the ninth century, and in one of these was a stone sarcophagus of St. Quentin and SS. Victorious and Gentianus, who were St. Quentin's companions in martyrdom. The west portal of the church was formerly adorned with a large number of statues, vestiges of which were plainly visible. A statue of Quentin Delatour, a famous draftsman in crayon of the eighteenth century, a native of the town, stood before the church; it was by Lauglet the sculptor, and of considerable merit. A collection of Delatour's crayon drawings were in the small museum in the rue du Petit-Origny....

Unfortunate St. Quentin, now once more in ashes, and this time so completely obliterated that nothing remains on the hill but some blackened ragged piles of masonry, was besieged by Philip II in 1558, when war broke out between Picardy and Flanders.

"Philip II had landed there with an army of forty-seven thousand men, of whom seven thousand were English. Never did any great sovereign and great politician provoke and maintain for long such important wars without conducting them in some other fashion than from the recesses of his cabinet and without ever having exposed his life on the field of battle. The Spanish army was under the orders of Emmanuel-Philibert, Duke of Savoy, a young warrior of thirty, who had won the confidence of Charles V. He led it to the siege of St. Quentin, a place considered one of the bulwarks of the kingdom.

"Philip II remained at some leagues' distance in the environs. Henry II was ill prepared for so serious an attack; his army, which was scarcely 20,000 strong, mustered near Laon under orders of the Duke of Nevers, Governor of Champagne; at the end of July, 1557, it hurried into Picardy, under the command of the Constable de Montmorency, who was supported by Admiral de Coligny, his nephew, by the Duke of Enghien, by the Prince of Condé, by the Duke of Montpensier, and by nearly all the great lords and the valiant warriors of France. They soon saw that St. Quentin was in a deplorable state of defense; the fortifications were old and badly kept up; soldiers and munitions of war, as well as victuals were all equally deficient. Coligny did not hesitate, however; he threw himself into the place on the 2nd of August during the night with a small corps of 700 men and Saint Remy, a skillful engineer, who had already distinguished himself in the defense of Metz. The Admiral packed off the useless mouths, repaired the walls at the points principally threatened, and reanimated the failing courage of the inhabitants.

"The Constable and his army came within hail of the place; and d'Andelot, Coligny's brother, managed with great difficulty to get 450 men into it.

"On the 10th of August the battle was begun between the two armies. The Constable affected to despise the Duke of Savoy's youth: 'I will soon show him,' said he, 'a move of an old soldier.'

"The French army, being very inferior in numbers, was for a moment on the point of being surrounded. The Prince of Condë sent the Constable warning. 'I was serving in the field,' answered Montmorency, 'before the Prince of Condé came into the world; I have good hopes of still giving him lessons in the art of war for some years to come.'

"The valor of the Constable and his comrades-in-arms could not save them from the consequences of their stubborn recklessness, and their numerical inferiority; the battalions of Gascon infantry closed their ranks, with pikes to the front, and made a heroic resistance, but all in vain, against repeated charges of the Spanish cavalry; and the defeat was total.

"More than 3,000 men were killed; the number of prisoners amounted to double this figure; and the Constable, left upon the field with his thigh shattered by a cannon ball, fell into the hands of the Spaniards, as was also the case with the Dukes of Longueville and Montpensier, la Rochefoucauld, d'Aubigné, etc.... The Duke of Enghien, Viscount de Turenne and a multitude of others, many great names amidst a host of obscure, fell in the fight. The Duke of Nevers and the Prince of Condé, sword in hand, reached La Fère with the remnants of their army. Coligny remained alone at St. Quentin with those who survived of his little garrison, and a hundred and twenty arquebusiers whom the Duke of Nevers threw into the place at a loss of three times as many. Coligny held out for a fortnight longer, behind walls that were in ruins and were assailed by a victorious army. At length, on the 27th of August, the enemy entered St. Quentin in shoals.

"The Admiral, who was still going about the streets with a few men to make head against them, found himself hemmed in on all sides, and did what he could to fall into the hands of a Spaniard, preferring rather to await on the spot the common fate than to incur by flight any shame or reproach. They took him prisoner, after having set him to rest a while at the foot of the ramparts, and took him away to their camp, where as he entered, he met Captain Alonzo de Cazieres, commandant of the old bands of Spanish infantry; when up came the Duke of Savoy, who ordered the said Cazieres to take the Admiral to his tent." *

* Commentaire de François de Rabutin sur les Guerres entre
Henri II., roi de France, et Charles Quint, empereur. Vol.
I, p. 95, in the Petitot Collection.

"D'Andelot, the Admiral's brother, succeeded in escaping across the marshes. Being thus master of St. Quentin, Philip II, after having attempted to put a stop to the carnage and plunder, expelled from the town, which was half in ashes, the inhabitants who had survived, and the small adjacent fortresses of Ham and Catalet did not hesitate long before surrendering. Five years later, in 1557, after the battle and capture of St. Quentin, France was in a fit of stupor; Paris believed the enemy to be already beneath her walls; many of the burgesses were packing up and flying—some to Orleans, some to Bourges, some still further." * And now once more history repeats itself in the sacking and burning of this quaint town, in the retreat of the invader of 1914-5 after three years of agony endured by its people. "God makes no account of centuries, and a great deal is required before the most certain and most salutary truths get their place and their rights in the minds and communities of men," says Guizot, quaintly, and thus dismisses the record of Henry II: "On the 29th of June, 1559, a brilliant tournament was celebrated in lists erected at the end of the street of Saint Antoine, almost at the foot of the Bastile. Henry II, the Queen, and the whole court had been present at it for three days."

* Guizot's "Histoire de France." Vol. Ill, p. 204.

"The entertainment was drawing to a close. The King, who had run several tilts 'like a sturdy and skillful Cavalier,' wished to break yet another lance, and bade the Count de Montgomery, captain of the guards, to run against him. Montgomery excused himself; but the King insisted. The tilt took place. The two jousters, on meeting, broke their lances skilfully; but Montgomery forgot to drop at once, according to usage, the fragment remaining in his hand; he unintentionally struck the King's helmet and raised the visor, and a splinter of wood entered Henry's eye; he fell forward upon his horse's neck."

All the appliances of art were useless; the brain had been pierced. Henry II languished for eleven days and expired on the tenth of July, 1559, aged forty years and some months. "An insignificant man and a reign without splendor, though fraught with facts pregnant of grave consequences," concludes the historian.

The fame of Henry Martin, noted as an historian, who died in 1883, was commemorated by a bronze statue "such as the chimes and the great bell of the Collegiate erected before the Lycée," a rather handsome building in the Rue du Palais de Justice. Before leaving St. Quentin in April, 1917, the invaders shipped this statue to Germany, it is announced in the German press, and melted it up at the gun works with other scrap metal, "such as the chimes and the great bell of the Collegiate Church of St. Quentin."

A few miles to the northeast on the river Oise was the small town of Guise, most picturesquely situated, and commanded by an ancient castle, or chateau, as these ruins are sometimes styled, which dated from the sixteenth century, and was occupied by a few soldiers as a sort of garrison. In this château in troublous times the nuns of the Guise, and those of the neighboring nunneries as well, took refuge. There was here, too, a most famous chapter of monks, but the nuns were of greater renown. These threw off the severe rules of St. Benedict in the twelfth century, and becoming "chanoinesses," lived apart with the utmost comfort, their abbess bearing a scepter rather than a cross. Endowed by successive ducal rulers, this chapter became one of the most illustrious of the province. "Its abbess, always chosen from a family of the most exalted rank, exercised almost sovereign authority over the domain, and furthermore in virtue of a document from the Emperor Rudolph (1290), bore the title of Princess of the Holy Empire. She was elected only by the united voice of the chapter, and went to Rome to receive consecration from the Pope himself in the Lateran. To him she is said to have offered in sign of homage, every three years, a white horse and a piece of purple velvet; and when after many years the Pope remitted this tax, she bore, in all solemn processions, a red silk banner sprinkled with gold and silver buds in remembrance of it. A double handed sword was carried before her in processions. She had the right of granting liberty to prisoners. In the choir of the cathedral she sat upon a throne placed upon a carpet of crimson velvet ornamented with gold leaves, and upon fête days she held 'grand-couvert,' as was the custom with sovereigns. The chapter counted sixty-four abbesses, of whom the last in line was Louise-Adelaide de Bourbon-Condé." *

* Brantôme, Paris, 1822. Vol. I.

Considering its part in history, it is surprising how little interest was taken in Guise of late years. In 1339 the English, under John of Hainault, burned the town, but were unable to conquer the castle, owing to the courageous resistance of the small body of warriors who were commanded by the noble lady of its absent lord, the daughter of John of Hainault himself. In the curious old crypt were the tombs of several abbesses, and the shrine contained the relics of SS. Romaric, Arnat, and Idulphe, which the nuns brought with them in the tenth century from the old church on the hill. On one of the streets were ancient houses with stone arcades.

Guise was the birthplace of Camille Desmoulins, the revolutionary. Near the town, which was busy and prosperous, with a population of eight thousand or so, there was a sort of workmen's colony upon the communistic plan, and included a "phalanstère," or common dwelling place for the members, upon the Fourier plan, founded by some philanthropist. As far as we could judge superficially it was successful, and it is said the chance visitor was always welcomed most cordially by the members who happened to be present.

These inoffensive people have been shipped away, no one now seems to be able to say just where, and the little town, gutted by fire, has ceased to exist save in the memory of those who once knew its charm.

A few miles southwest of St. Quentin, on the river Somme, was a small town named Ham, which had, however, nothing in common with that excellent viand. Here was a famous château of the tenth century, of the Comtes de Vermondais. In 1374 it passed to the Coucy family, and then to the Comtes of St. Pol, from whom it came by marriage to the house of Bourbon-Vendôme. This great stronghold had a donjon, the walls of which were thirty-five feet thick, and the room inside it was one hundred and ten feet broad, and the same number of feet high. In shape it was a rectangle, flanked at each corner by a round tower, and with square towers on the north and west. Rising from a canal on the northeast angle was a huge round tower, named the Tour de Connétable, built by Louis de Luxembourg in 1490. Emblazoned on the stone over the portal was the motto of the founder: "Mon Myeulx" (My Best). The walls of this tower were said to have been of enormous thickness. The figures varied so much that I omit all of them, but from the appearance of the tower one might believe even the most exaggerated statements.

Its lower apartment was a vast hall of hexagonal shape, the vaulting of which was Gothic in style, and we were shown some curious arched spaces, said to be intended for furnaces or magazines to be blown up and thus destroy the castle in case of its capture. There was a great "Salle de Gardes," where the soldiers slept and ate in time of siege, and this contained an enormous fireplace, a well of considerable depth, and an oven where bread had been baked. Above this vast room was the "Chambre de Conseil," lighted by a single large window, and furnished with stone benches below it. Here Jeanne d'Arc was imprisoned by Jean of Luxembourg, and many other notables languished in the dungeons from the time of the Revolution down to the time of the capture of Prince Louis Napoléon, in August, 1840, at Boulogne, and from which he escaped disguised as a workman on the morning of May 22, 1846. He took refuge at St. Quentin, went thence to Belgium, and finally reached England.

Like all of the other great castles in the region occupied by the invaders, Ham was blown up before the German army "victoriously" retreated to the now celebrated "Hindenburg" line, in April, 1917.

Vanished Halls and Cathedrals of France

VANISHED HALLS AND CATHEDRALS OF FRANCE

By George Warton Edwards

Illustrated with 32 Plates in full Color and Monotone.

1917

VANISHED HALLS AND CATHEDRALS OF FRANCE

FOREWORD

ARRAS

Town Hall Arras

Urselines Tower: Arras

Saint Jean Baptiste: Arras

Château, d'Eau: Arras

LILLE

Statue of Jeanne d'Arc: Rheims

AMIENS

PÉRONNE

Hotel de Ville: Péroinne

CAMBRAI, and the SMALL TOWNS

Maison du Provost: Valenciennes

ST. QUENTIN

VALLENCIENNES