_Benvignat_, erected in 1848 to commemorate the _Siege of Lille_ in
1792. At the top is a =statue= of _Jeanne Maillotte_ holding a lighted
torch in her hand. During the siege of the town in 1792, she crossed
the enemy lines and set fire to the Austrian batteries which were
shelling the town. The name of this heroic woman was given to one of
the streets, in which a later hero, M. Eugène Jacquet, lived _(see p.
44)_. The inhabitants have surnamed the statue _"The Goddess."_
[Illustration: THE DELIVERANCE: ENTRY OF THE 5TH BRITISH ARMY INTO LILLE
_In front the "Goddess" statue (left) and the Theatre (behind the
Bourse)._]
[Sidenote: _See itinerary, p. 25_]
Behind the column is the "=Bourse=" or Stock Exchange. Square in shape,
it stands between the Grande Place, Rue des Sept-Agaches, Place du
Théâtre and Rue des Manneliers. Rising above the roof is a polygonal
turret, the upper part of which forms a terrace with small timber-work
campanile. It has been restored in recent times.
[Illustration]
The "Bourse"
The Bourse is the finest specimen of 17th century Flemish architecture
in France. Dissatisfied with transacting their business in the open,
twenty-four merchants of Lille petitioned the King of Spain, Philippe
IV., for permission to erect a building in the Place du Grand Marché,
to be known as the "Bourse."
The plans of the architect _Julien Destré_ were accepted in 1652. It
was stipulated in the specification that the façades should be "of
like symmetry and construction," that only the armorial bearings of
the King were to appear over the entrances, and that the twenty-four
buildings composing the edifice should be beneath one continuous roof,
so as to form a harmonious whole. The petitioners were to guarantee the
completion of the building within a given space of time.
To-day, shops on the ground-floor hide part of the façade, so that it
is difficult to distinguish the bossages and semi-circular tympanums,
but the rich, severe ornamentation of the upper stories, composed of
caryatids, pilasters, pediments, and garlands carved in the stone-work,
is plainly visible. The different periods of life (childhood, youth,
and old-age) and the passions are depicted. The head of King Midas with
stellated crown is especially noteworthy. A judicious use of brick with
stone, while ensuring a harmonious _ensemble_, reposing to the view,
also causes the relief motifs to stand out well.
[Illustration: THE INTERIOR COURT OF THE BOURSE, WITH STATUE OF
NAPOLÉON I.]
[Illustration: AN INTERIOR GALLERY OF THE BOURSE]
Of the four doors ornamented with scroll-work, horns of plenty and
royal coats of arms, in the four sides of the edifice, one gives
access to the interior courtyard which is lined with four wide arcaded
galleries. Doric columns of polished black stone support the vaulting,
which is of brick, with binding ribs and nerves of white stone. On
the plinth are heads of leopards connected by garlands of flowers and
foliage. A bronze =statue= by Lemaire, representing Emperor _Napoléon
I._, protector of the national industries, stands in the middle of the
courtyard. This statue was inaugurated in 1854, and was cast from old
presses from the Mint of Lille, which had previously been made from
guns taken at Austerlitz.
The interior galleries of the Bourse were decorated in 1850.
Facing each of the bays formed by the intercolumniations are large
tablets of marble surrounded by carvings, which recall those of the
façade. In the midst of this sculpture are the symbols of commerce,
industry and science. Inscriptions recall the most important dates and
institutions relating to the commerce and industry of Lille. The busts
over them represent great inventors or learned men (Jacquart, Philippe
de Girard, Chaptal, Brongniart, Chevreul).
_On leaving the Bourse, cross the square to the left, and enter the
Place de Rihour._
At the corner of the Grand Place, the black façade of the =Grand'
Garde= decorated with trophies and curved pediments bearing the arms
of France and Lille, should be noticed. A large shell-hole in the
left-hand pediment has been temporarily bricked up.
_Cross the ruins of the =Hôtel de Ville=_, burnt down on April 24th
1916 _(photo below)_, at the time of the deportations. To the right,
abutting on the Hôtel de Ville, is the =Palais de Rihour= which escaped
damage from the fire.
[Illustration: THE HÔTEL DE VILLE, BURNT DOWN ON THE NIGHT OF APRIL 24,
1916
_(see p. 23)_]
[Illustration: THE PALAIS DE RIHOUR AND THE RUINS OF THE HÔTEL DE VILLE]
The Palais de Rihour
Built in 1457-1462, this palace was the residence of _Philippe le Bon_,
Duke of Burgundy. Only an octagonal turret, the guard-room and the
chapel of brick and white stone remain. The Hôtel de Ville was erected
on its site.
The low guard-room, in which the town records are kept, is divided in
the middle by three polygonal columns unequally interspaced. The stone
staircase with ribbed vaulting and graceful ornamentation, was formerly
the grand staircase. Transferred to its present position, it now leads
to the chapel known as the "Salle du Conclave," where the magistrates
of Lille sat until 1789.
To the right of the chapel is a brick building, the façade of which
is divided by two similar gables. Jutting out at the corner is an
octagonal turret containing two small vaulted chambers. Above is a
third room with timber-work ceiling, known as the "Oratory of the
Duchess." An opening in the wall communicates with the chapel, and
through it the choir is visible. From this room, which is reached by a
spiral staircase of stone inside the turret, it is possible to hear the
service without being seen.
[Illustration: THE RUE DE PARIS: _in the background_: THE THEATRE _and_
THE NEW BOURSE]
[Sidenote: _See itinerary, p. 25_]
_Re-cross the Hôtel de Ville ruins and return to the Place de Rihour.
Follow the Rue de la Vieille-Comédie and Rue du Sec-Arembault (plan,
p. 25); the latter comes out into the Rue de Paris, in front of =St.
Maurice's church=._
The Church of St. Maurice
_(historical monument)_
The church was seriously damaged by the bombardment of October 1914,
which set fire to the roof.
[Illustration: ST. MAURICE'S CHURCH]
It is a curious specimen of the 15th century Gothic-Flamboyant style
of Walloon-Flanders, and comprises five naves of equal height arranged
quincuncially, whereas most of the churches belonging to that period
have three naves under a single roof, the aisles being shorter than
the great nave, while the tower is necessarily placed over the main
entrance _(see St. Catherine's Church, p. 54)_.
It also contains an ambulatory and an apse formed by polygonal chapels.
The façade, with its three portals, steeples of open construction, and
white stone tower at the entrance, dates from the second half of the
19th century. The old square tower was pulled down in 1826 as unsafe.
These different alterations were carried out under the direction of
the architect _Lannissie_. According to _Monseigneur Dehaisnes_,
the remarkable exterior of this church is due to these successive
restorations and alterations.
[Illustration: ST. MAURICE'S CHURCH: THE NAVE]
Inside the church are rows of round slender columns with sculptured
capitals, irregularly spaced.
The springing of the binding ribs or projecting arches which line
the vaults, and their graceful arched branches, rest on and meet
at the capitals. The point of intersection of the arches is marked
by a pendant keystone. High and broad mullioned windows (note the
stone uprights dividing the bays) amply light the interior. In the
choir aisles are the following =paintings=: St. Charles Borromée and
St. Francis, by _Van Oost_, and "Les Disciples d'Emmaüs," by _Van
der Burgh_; in the chapel of St. Barbara: "Vision de Sté. Therese,"
by _Van Oost_ and a landscape by _Van der Burgh_; in the chapel of
the Virgin: "Mariage de la Vierge," by _Wamps_, "Glorification de
la Vierge," by _Van Minne_, and "La Cène," by _Van Audenaerde_. In
the vestry are 15th and 16th century =chasubles= and 17th century
=tapestries=.
[Illustration: DOOR OF THE VESTRY]
[Illustration: CHEVET OF ST. MAURICE'S CHURCH]
[Sidenote: _See itinerary, p. 25_]
[Illustration: THE RUE DU PARVIS-SAINT-MAURICE _(See plan, p. 25)_
_(The photographer, with his back to the Church, faced the Rue
Scheipers. In the background are the Theatre and the Campanile of the
Nouvelle Bourse.)_]
_After visiting the Church, take the Rue du Priez, behind the Church,
leading to the Place de la Gare._
[Illustration: +THE RUE DES PONTS DE COMINES+ _(see plan, p. 25)_
_The operator faced the Rue Scheipers. In the background is the Church
of St. Maurice, against which he had his back when taking the preceding
photograph._]
[Illustration: +THE STATION AND RUE DE TOURNAI+ _(see p. 15)_]
_Follow the Rue de Tournai, on the right_ (numerous houses damaged by
shells) _as far as the =Tournai Gate=._
[Illustration: THE TOURNAI GATE
_A temporary road replaces the bridge over the moat, destroyed by the
retreating Germans._]
[Illustration: RUINS IN THE RUE FAIDHERBE
_View taken from the Place du Théâtre. In the background, the station._]
The =Tournai Gate= was built in the reign of Louis XVI.
[Illustration: RUINS IN THE RUE DE TOURNAI.]
The =bridge= over the moats of the ramparts, which the Germans blew up
before leaving, has been temporarily repaired.
[Illustration: RUINS IN THE RUE DES ARTS.]
_Return by the Rue de Tournai and the Rue Faidherbe_ (partially in
ruins) _as far as the Place du Théâtre: see the =Nouvelle Bourse=_
surmounted by a tower, and the =New Theatre=, inaugurated during the
German occupation.
SECOND ITINERARY
_Starting from the =Grande Place=, follow the streets indicated by
=continuous black lines=, in the direction of the =arrows=._
[Illustration]
[Illustration: RUINS IN THE RUE DE BÉTHUNE]
SECOND ITINERARY
=From the Grande Place to the Douai Gate quarter, destroyed by the
Explosion of the "18 Ponts."=
_Principal sights on the way_: =The Prefecture=, =Museum= _and_ =Paris
Gate=.
_Starting Point_: =The Grande Place=.
_To the right of the Grand' Garde, take the Rue Neuve, continued
by the Rue de Béthune_ (one of those which suffered most from the
bombardments).
_Follow this street to the Place de Béthune and to the Place Richebé_;
see the bronze equestrian =Statue= of _General Faidherbe_ (1896), at
the foot of which are two feminine figures with palm-branches and
arms symbolising France and Lille. Two =bas-reliefs= representing the
battles of Pont-Noyelles and Bapaume adorn the sides. The Monument is
the combined work of the architect _Pugol_ and the sculptor _Mercié_.
_In front of the statue_: Boulevard de la Liberté and the fine Place de
la République; _on the right_ is the =Prefecture=, _on the left_, the
=Palais des Beaux Arts=.
[Illustration: THE PREFECTURE, PLACE DE LA RÉPUBLIQUE]
The =Prefecture= is a richly ornamented building, erected in 1869
from the plans of the architect _Matteau_. The walls have been deeply
scarred in places by shell splinters _(note the white patches on the
blackened façade)_.
[Illustration: THE PALAIS DES BEAUX-ARTS.]
The =Palais des Beaux-Arts= was inaugurated in 1892.
Composite in style, it is very richly ornamented. Flanked by two round
pavilions with cupolas containing staircases, its principal façade is
in the Rue de la République. The =Museum of Lille= is installed there.
THE MUSEUM OF LILLE
This is one of the finest provincial museums in France. As early as
1795 it contained 183 works of art. A Consular Decree, dated the 14th
Fructidor, Year IX, added 46 paintings taken from the collections of
the Louvre and Versailles. The first catalogue, dated 1850, comprised
274 works of art, which number had increased to 1,275 at the time of
the inventory of January 1st, 1908.
The Museum during the War
The Museum was the edifice which most suffered from the German
bombardments. On October 11th, 1914, it was struck by 75 shells. The
curator took measures at once to have the roof repaired and protect the
collections.
However, the Museum was not proof against German greed. On Saturday,
November 17th, two officers, accompanied by military policemen, came to
"requisition" the works of art, in the name of the German authorities.
After visiting the different rooms, and being unable to obtain the keys
of the cabinets, they broke open the latter and took all the medals
and miniatures, which they placed in paper bags from a neighbouring
grocer's shop. The curator protested the same day, both verbally and in
writing, to the Kommandantur and Military Governor.
[Illustration: THE BELLE JARDINIÉRE, _near the Museum (Boulevard de la
Liberté)_.]
The miniatures were brought back on November 19th, and the medals on
December 3rd, less various antique gold jewels, two miniatures, and two
gold medals, which had been "lost."
Later, two well-known German art experts _Herr Demmler_ and _Herr
Professor Klemen_, armed with carefully annotated catalogues, made a
general "requisition" comprising: 1,500 drawings (including those by
Raphael and Michael Angelo), 420 paintings and 518 other works of art,
all of which were packed up, labelled and sent off. The famous _="Wax
Head"= (page 43)_ had, however, been hidden away in an underground
vault, and replaced by a copy.
In an endeavour to justify their action, the Germans sent out a
radiogram on November 4th, 1918, stating that the Museum of Lille had
been damaged so seriously as to be unsafe for works of art, and that at
the request of the curator, an inventory of the collections had been
made and the latter transferred first to Valenciennes and then to the
Old Museum in Brussels.
VISIT TO THE MUSEUM
The collections are classed under four distinct heads: =paintings=,
=modern sculpture=, =archeological and lapidary specimens= and the
=Wicar collections=.
I.--Paintings
The =Flemish= and =French= schools are the best represented. _(For a
detailed description of the paintings, see "La peinture au Musée de
Lille," by François Benoit_, 3 vols. _in 4to, with reproductions_,
1908).
The =Spanish= school includes a St. Jerome, by _Ribera_, dated 1643.
[Illustration: THE MARTYRDOM OF ST. GEORGE _by Veronese (Cliché LL.)_]
The =Italian= school contains The Martyrdom of St. George by _Veronese_
(duplicate of the painting by _San Giorgio Maggiore_ at Verona); two
circular panels: Eloquence and Science (symbolized by two Venetian
women with auburn hair), also by Veronese; The Flight into Egypt by
_Carlo Saraceni_, and the Assumption of the Virgin by _Piazzetta_ (two
very original painters little known in France); a delicate "Virgin
with wild roses," of exquisite colouring, by _Ridolfo Ghirlandajo_;
"Magdalene at the feet of Christ" and a "Judith and Holopherne" by
_Lambert Zustris_ (often called Lambert Lambard)--two paintings of
limpid colouring; (note the delicate lilac-grey tints).
As befits the "Capital of Flanders," the =Flemish= and =Dutch= Schools
of the North are fully represented.
[Illustration: THE DESCENT FROM THE CROSS, _by Rubens (Cliché LL.)_]
The Mystic Press, by _Jean Bellegambe_; the triptych, Virgin surrounded
by Angels, attributed to _Gerard David_; the first portrait of Philippe
le Bon, attributed to _Pierre Etret_; the Symbolical Fountain, an
exceedingly fine altar-screen panel by _Thierry Bouts_ de Haarlem,
is particularly noteworthy; a portrait of Emperor Charles Quint at
the age of 32, by _Christophe Amberger_ and Charles Quint taking the
Monk's Gown, by _Nicolas Francken the Elder_. _Rubens_ is represented
by seven paintings: The Descent from the Cross, of admirable clearness;
the expression is more natural than that of the painting in Antwerp;
Vision of the Virgin appearing to St. Francis, of warm colouring; St.
Bonaventure Meditating, and St. Francis receiving the Stigmas (two
fine long panels); The Death of Magdalene (a somewhat monotonous but
strangely intense monochrome). _Van Dyck_ is well represented by the
following: The Crucifixion, considered by Paul de St. Victor to be his
greatest masterpiece (the figure of Christ stands out clearly against
a cloudy sky pierced by lightning); Portraits of an Old Lady and Marie
de Médicis (in the background are seen Antwerp and the Escaut). The
following artists are also represented: _Jordaens_, by the Prodigal
Son, Christ and the Pharisees, the Temptation, and a wonderful study
of cows; _Gaspard de Crayer_, by Martyrs buried alive (fine harmonious
composition); _F. Franchoys_, by a Portrait of the Prior of the Abbey
of Tongerloo, Gisherts Mutsarts, dated 1645. (Paintings by this
artist are exceedingly rare). _Verspronck_, by the Portrait of Young
Boy; _Jansen Van Ceulen_, by a very fine portrait of Anne Marie de
Schurmann; _Pieter Codde_, by Conversation, of delightful colouring.
[Illustration: PORTRAIT OF OLD LADY _by van Dyck (Cliché LL.)_]
[Illustration: BOY'S PORTRAIT _by Verspronck (Cliché LL.)_]
The =French= school, although incomplete (_Prudhon_, _Ingres_ and
_Antoine Watteau_ are not represented), is nevertheless rich and
instructive. First of all an _anonymous_ 17th century Portrait of an
Architect, whose pale harsh face arrests the attention and haunts
the memory. _Ph. de Champaigne_ is represented by the Good Shepherd;
_Restout_ by a Jesus at Emmaüs; _Mignard_, by A Judgment by Midas;
_Largillière_, by a very fine portrait of his father-in-law, the
painter, John Forest; _Douvé_ (native of Lille), by a fine portrait
of the painter Savage; _Jean Voilles_, by a delightful portrait of
Madame Liénard; _François Watteau_ (grand nephew of Antoine Watteau),
by two amusing sketches: Procession of our Lady of the Vine in 1789
and The Old Clothes Market of Lille; _David_, by his first picture
after returning from Rome, "Bélisaire" (1781), of which there is
a reduced copy in the Louvre (this painting marks the re-birth of
the antique); _Boilly_, a native of the district of Lille, is fully
represented by his Triumph of Marat--masterpiece of great truth and
delicacy--and 28 portraits of artists painted for the picture "Réunion
d'artistes dans l'atelier d'Isabey." The following are the names of
these portraits: _Van Dael_, flower painter; _Houdon_, sculptor (grey
overcoat); _Chaudet_, sculptor (seated); _Duplessis Berteaux_, designer
(head resting on hands); _Hoffman_, art critic (long powdered hair);
_Redoute_, flower painter; _Bourgeois_, designer; _Demarne_, painter;
_Thibaut_, architect; _Swibach_, genre painter; _Lemot_, sculptor;
_Serangeli_, historical painter (half-length, hands in pockets);
_Taunay_, landscape painter; _Isabey_ (red coat); _Percier_, architect
(looking at a plan); _Talma_, actor; _Drolling_, portrait-painter
(red waistcoat); _Corbet_, sculptor (grey coat and white waistcoat);
_Meynier_, painter; _Fontaine_, architect; _Blot_, engraver; _Bidault_,
painter; _Boilly-Chenard_, singer; _Girodet-Trioson_, _Gerard_ and the
remarkable group _Lethière_ and _Carle Vernet_.
[Illustration: +THE TRIUMPH OF MARAT+, _by Boilly (Cliché LL.)_]
In the =modern= school, the following are especially noteworthy: La
Medée, by _Eugène Delacroix_ (strikingly dramatic), L'après-diner à
Ornans, by _Courbet_, the colouring of which is unfortunately fading;
La Becquée, charming genre painting by _Millet_; Effet du Matin, by
_Corot_, remarkable for its beautiful effects of silvery light.
[Illustration: MEDEA KILLING HER CHILDREN _by Delacroix (Cliché LL.)_]
II.--Sculpture
Of the collections of sculpture, only the fine =bust= of Bonaparte by
_Corbet_, dated 1799, is worthy of special mention.
III.--Archeological and Lapidary Museum
The Archeological Museum contains the following remarkable works of
art: Three 14th century =statuettes= of the Virgin (two of wood, one
of marble); an ivory =diptych= of the Crucifixion; a 13th century
=reliquary cross= of Flemish origin; divers curious specimens of
=brass-work=, including the Censer of Lille, rightly considered a
masterpiece; a richly embroidered =altar-cloth=, representing the
Annunciation.
IV.--The Wicar Collections
The important Wicar Collections were bequeathed by the Lille painter,
_Jean Baptist Wicar_, pupil of David (1762-1834), who in 1815 succeeded
in protecting the Museum of Lille from spoliation by the Allies.
Commissary to Bonaparte in Italy, and later Director of the Royal
Academy at Naples, Wicar adopted Roman nationality, and collected
a large number of fine drawings and art treasures. Parts of his
collections are to-day at Oxford. The famous "Wax Head" _(p. 43)_ is in
the centre of the Wicar Room.
There are several =Renaissance bronzes= worthy of note, also a
=marble bas-relief= by Donatello, representing the Beheading of John
the Baptist, and a fine terra-cotta =Head of Child= by Verrochio.
The drawings merit careful inspection. The following are especially
remarkable: Studies on pink and yellow grounds, by _Filippo Lippi_,
_Filippino_, _Ghirlandaio_, and _La Verrochio_; Head of Bald Man,
by _Montegna_; 14 drawings on parchment, representing scenes from
the Metamorphoses, Children's Games and Arabesques, attributed by
L. Gonse to _Jacopo Francia_, attest marvellous delicacy and skill;
two sheets of caricatures by _Leonard de Vinci_ and 60 sketches by
_Raphael_; studies in black and red by _Michael Angelo_, especially a
Dead Christ, figure of a naked man, fantastic masks and a series of
184 architectural drawings, generally known as the "Book of Michael
Angelo." _Annibal Carrache_, _Le Guide_, _Guerchin_, _Sodoma_ and
_André del Sarto_ are also well represented.
On the other hand, French drawings are few in number, the most
remarkable being one by _David_ for his "Serment des Horaces."
The others include: "Le Corps de Garde," by _Boilly_ (fine,
carefully-finished drawing); a naked Woman, by _Watteau_; two drawings
by _Ingres_ for his "Apotheose d'Homère;" a drawing by _Poussin_ for
the "Massacre des Innocents"; a wonderful Portrait of Old Man, by
_Lagneau_, an artist little known in the reign of Louis XIII, but a
great master; lastly a fascinating fusain drawing by _Millet_: "Le
Troupeau de Moutons an milieu d'un bois."
The "Wax Head"
The most celebrated work of art in the collections is the =Wax Head=
(Tête de Cire), which has so often been reproduced in engravings,
photographs and casts. This funeral souvenir, which stands in a
golden niche in the middle of a room draped with red plush, was made
to perpetuate the memory of a young girl 15 to 18 years of age. The
pedestal and draperies are of terra-cotta, and date from the 18th
century.
[Illustration: THE WAX HEAD _(Cliché LL.)_]
Of Italian origin, the head is attributed by some to Raphael, by others
to Leonard de Vinci. The possibility of its being antique is no longer
admitted. According to Gonse, it came from the Tuscan studio of Orsino
Benitendi, and dates from about 1480. The wax was tinted at a later
date.
Leaning to one side, the face is pensive in expression. The neck is
flexible and sits with easy grace on the shoulders. The cheeks are
rather broad and somewhat flat, the chin round and short. A faint smile
hovers round the delicate mouth. The eyes are considered by some to
be rather small. The waving hair is divided into two graceful masses,
which are rolled up on the back of the neck.
The expression of the face is enigmatical and changes with the angle
from which it is regarded. Psychologists and artists alike will long
discuss its charms.
When the two German experts _Herr Demmler_ and _Herr Professor Klemen_
"requisitioned" the collections of the Museum _(p. 39)_, what they
took away was a _copy_ of this head, the original having been hidden
in one of the underground vaults. It narrowly escaped destruction in
October, 1918, when the Germans, previous to evacuating the town, cut
the water-mains, so that the sub-basement of the Museum was flooded.
Fortunately, the water did not rise high enough to do serious damage,
and the head was eventually restored intact to its velvet pedestal.