Vermandois family, modified in the fourteenth century. One can walk
round the courtyard of the old dwelling, entering through the door seen
between two big trees.
Between the house of Vermandois and the church stands the Chapter House
(_see p. 59_).
[Illustration: THE WEST DOOR OF THE CATHEDRAL]
The twelfth century doorway was damaged during the Revolution. The
great statues were decapitated but have since been restored. The
bas-reliefs suffered considerably, also.
This is the first doorway consecrated to the Virgin. Its design served
as a model for those of the Cathedrals of Chartres, Rheims, Amiens, and
Notre-Dame de Paris.
The bas-relief of the lintel, shown below, represents, on its left
side, the death of the Virgin. This part is much damaged. The apostles
encircle the bed on which the Virgin is lying, two of them swinging
censers. Two winged-angels bear away the Virgin's soul, portrayed as a
new-born babe wrapped in a swaddling cloth.
The right side, which represents the Resurrection of the Virgin, is
in a better state of preservation. An angel stands ready to crown
Mary, who is raised from her bed by three others, while a fourth leans
forward the better to see over those in front.
All this sculpture shows a truth and freedom of attitude of which very
few examples are found in the twelfth century.
Above the lintel, in the tympanum, is the Triumph of the Virgin; the
execution of this work is far from equal to that of the lintel.
In the niches of the arches are statues of the patriarchs, the prophets
and the kings of Judah.
The eight great statues which flank the door represent personages from
the Old Testament.
The one nearest the door, on the left, is Abraham. He holds his son by
the hair and stands ready to behead him, but an angel restrains his
sword.
Beneath the pedestals of the large statues is a "+Calendar+," _i.e._,
a set of symbolical scenes typifying the twelve months of the year, or
the seasons. That of Senlis is carved with much spirit.
[Illustration: LINTEL OF CATHEDRAL DOORWAY]
[Illustration: CALENDAR OF THE CATHEDRAL (right)
=1.= _January._ The month of feasts. The peasant, seated at table,
prepares to drink.
=2.= _February._ Work is at a standstill. The peasant is at the
fireside.
=3.= _March._ Work begins again. The peasant digs.
=4.= _April._ With the spring the time has come to care for the
trees.
=5.= _May._ The lord, his falcon on his wrist, goes forth to
hunt.
=6.= _June._ The peasant mows his meadows.
=7.= _July._ It is the beginning of the harvest.]
[Illustration: CALENDAR OF THE CATHEDRAL (left)
=8.= _August._ The peasant threshes the grain.
=9.= _September._ The peasant gathers the grapes.
=10.= _October._ The peasant gathers in his crops.
=11.= _November._ The peasant kills his pig.
=12.= _December._ The peasant puts cakes in the oven for the fêtes
at the end of the year.]
The south front of the cathedral has not the harmony of that of the
west.
The lower part of the apse dates from the twelfth century, with its
radial chapels and, above, the little semi-circular windows of the
galleries. The upper part of the church belongs to the sixteenth
century.
The rich façade of the transept also dates from the sixteenth century.
[Illustration: SOUTH FAÇADE OF THE CATHEDRAL]
[Illustration: THE CATHEDRAL: SOUTH FAÇADE OF TRANSEPT]
The opposite view shows the detail of the +SOUTH FAÇADE OF THE
TRANSEPT+ designed by Pierre Chambiges, son and pupil of Martin
Chambiges. The latter worked on the Cathedrals of Beauvais, Sens and
Troyes, and his son drew inspiration from his work for the execution of
that entrusted to him at Senlis; this explains the great resemblance
that various portions of those edifices bear to one another.
In comparing the south portal with the western façade one notes the
development of Gothic architecture from the twelfth century, when its
restraint and simplicity of line still recalled Roman art, to the
sixteenth century, when rich, flamboyant decoration flared in its final
splendour, making way for the art of the Renaissance that the Italian
wars brought into fashion.
[Illustration: THE CATHEDRAL: NORTH FAÇADE OF TRANSEPT]
The appearance of this fine _ensemble_ is spoilt by the adjacent
polygonal vestry erected on its right, which was rebuilt in the
nineteenth century. A part of it can be seen in the above photograph;
though one can judge still better of its ugly effect from the
photograph on the preceding page.
+The north façade of the transept+ is, in its general arrangement, the
same as that on the south, but it is less richly ornamented.
On the pediment which surmounts the entrance are carved the salamander
and the "F" of Francis I. On that of the south are the arms of France.
The tourist should not fail to look at the north side of the Cathedral,
which is very picturesque.
On the north tower the marks of German shells are still to be seen.
They are clearly shown in the photograph (_foot pp. 46-47_).
[Illustration: PLAN OF CATHEDRAL
E, stairs leading to galleries.
G, chapel of transept (vault with pendentives).
M, aisles of choir.
O, radial chapels of the twelfth century (modern windows).]
[Illustration: SECTION OF CATHEDRAL
A, roof of nave. B1, B2, B3, B4, transept.
C, piers supporting the vault on the nave by means of flying
buttresses.
D, first aisles of nave and ambulatory.
G, second aisles of nave.
T, galleries running round the church.]
[Illustration: GALLERIES OF THE CATHEDRAL]
[Illustration: HANGING BOSSES]
The galleries of the cathedral are among the most beautiful in France.
The above view, taken from the choir galleries which overlook the
southern part of the transept, shows those of the nave in enfilade.
_In order to visit these galleries the key must be obtained from the
vestry._
In the chapel seen on the right as one re-enters the church by the
south door, the visitor will notice the hanging bosses of the vault of
which a view is given opposite.
In the chapter house at the north-west end of the cathedral (_see plan,
p. 58_), is seen the curious capital of the central pillar, on which is
carved a feast of jesters.
The opposite view shows a fragment of it.
[Illustration: CAPITAL IN THE CHAPTER HOUSE (CATHEDRAL)]
Two of the figures are playing the organ, that on the right is working
the bellows, another with a stick beats the tambourine that he holds
between his legs; on the remainder of the capital other figures are
dancing.
The chapter house was used by the canons of the cathedral.
=Church of Saint-Frambourg= (historical monument)
_This stands in a little street which opens on the south of the
cathedral square. The church can be seen from the square._
[Illustration: SAINT-FRAMBOURG]
This church was founded on the site of a Roman temple, by Queen
Adelaide, wife of Hugues Capet. Rebuilt in the twelfth and thirteenth
centuries, transformed into a "Temple of Reason" during the Revolution,
it now serves as a carpenter's workshop.
On the façade one can distinguish the place intended for a large rose
window, which, however, was never finished.
On the left side of the façade stood a tower, since demolished.
The church has no roof left above the vaulting. _To visit the interior
(consisting of a single nave of graceful proportions) apply to the
carpenter._ The entrance to the workshop is seen on the left of the
photograph.
=Church of Saint-Pierre= (historical monument)
_Market-day on Tuesdays and Fridays. If the tourist should wish to go
to the top of the belfry or to visit the church on other than market
days, he must apply to the concierge of the Tribunal (county court) in
the square._
This old town of Senlis is so rich in relics of the past that it puts
its ancient religious monuments to quite profane uses.
We have seen above that Saint-Frambourg shelters a carpenter.
Saint-Pierre serves as a market, another church as a theatre, a
fourth as a museum, and others as clothing stores or barns. Five have
completely disappeared; as for the Abbey of Saint-Vincent, it has been
turned into a college.
[Illustration: SAINT-PIERRE]
Saint-Pierre was founded in 1029 and reconstructed during the
thirteenth and fourteenth centuries.
The roof of the nave was begun in stone, but completed in timber-work.
The façade dates from the sixteenth century and recalls the work of
Pierre Chambiges in the cathedral.
The right-hand tower dates from the seventeenth century. From the upper
platform there is a splendid view of the town and the surrounding
forests. Another more ancient tower exists, the base of which is the
remains of the primitive Roman church. The spire (the top of which is
seen in the opposite photograph) was added in the fifteenth century.
=The Castle= (historical monument)
_The castle belongs to the Count Turquet de La Boisserie, who allows it
to be visited. Apply to the concierge._
[Illustration: ENTRANCE TO THE CASTLE AND THE HÔTEL DES TROIS-POTS]
_The entrance shown in the above view is in the Rue du Châtel, quite
close to the square of Parvis-Notre-Dame._ On the left side stands the
old Hôtel des Trois-Pots, so called from the signboard which hangs from
the first floor, and formed of three pots which are being filled by a
thin stream of water.
This old dwelling recalls all the history of France from the
Gallo-Roman conquest to the reign of Henri IV.
[Illustration: RUINS OF THE CASTLE CHAPEL]
The castle itself, of which only a part exists (visible on the left in
the above photograph), was erected on the site of an old Roman fort.
At the foot ran the boundary line of the town, partly formed by the
wall which encloses this side of the estate and the tower which flanks
the north front of the buildings.
[Illustration: CASTLE AND PRIORY OF SAINT-MAURICE]
The Merovingian and Carlovingian kings often inhabited the castle,
situated as it was in the midst of their favourite hunting-grounds.
It was the theatre of numerous historical events: Pépin, Duke of
Aquitaine, grandson of Charlemagne, died imprisoned there, and Baldwin
of Flanders carried off from there the daughter of Charles the Bald.
In 987, the last Carlovingian king having died while out hunting, the
French lords assembled in the castle and elected, as king, Hugues Capet
whose dynasty reigned in France until the Revolution. Philippe-Auguste
held festivities there on returning from his wedding with Elizabeth of
Hainault. Saint Louis founded the priory of Saint-Maurice.
During the Hundred Years War, Catherine of France was married to Henry
V. of England at Senlis, in 1420.
After Henri IV., the castle, being very dilapidated, was gradually
abandoned. Justice was still administered there until the falling in of
the Audience Chamber in the eighteenth century.
The interior of the castle is in ruins. There is one room to be seen,
called Henri IV.'s room, which is shown on the following page. It dates
from the thirteenth century, and is covered with fine panelling. The
fireplace was altered in the fifteenth century, but the big circular
section flue remains just as it was two centuries earlier.
[Illustration: ROMAN ENCLOSURE]
On the left of this fireplace a thirteenth century window (now blocked
up) can still be distinguished. The one at the further end of the room
belongs to the sixteenth century.
In the photograph some tombstones are seen, resting against the wall;
on a fragment placed against the chimney-piece are the arms of Diane de
Poitiers (characterised by the crescent); the two cannon balls are of
stone; these were hurled from catapults and from the first bombarding
machines.
[Illustration: HENRI IV.'S ROOM IN THE CASTLE]
Of the chapel built in the beginning of the twelfth century nothing
remains but ruins, a view of which is given (_page 61_). It was
situated on the first floor; a "semi-circular" arcade of the nave is
still to be seen, on the right side. The ground floor, vaulted like an
arbour, formed a passage.
The priory of Saint-Maurice, of which one ivy-covered building still
exists (visible on the right of the photograph at the top of the
preceding page), was founded by Saint Louis in honour of Saint Maurice
who commanded the Theban legion, massacred under Diocletian for
refusing to worship false gods.
In 1234 the king succeeded in obtaining the bodies of several of these
martyrs from the vicar of Saint-Maurice-en-Valais.
A church, copied from the Sainte-Chapelle in Paris, was built to
shelter these relics, but was destroyed during the Revolution.
Passing under the Roman enclosure by a subterranean passage, we arrive
at the old moat transformed into a kitchen garden. From here, there is
a very interesting view of the wall and the Roman towers, the cathedral
and the castle. A good idea of it is given by the photograph at the
foot of the preceding page.
The Roman enclosure continues towards the cathedral, passes by the
apse, from there to Saint-Frambourg, and its oval rejoins the castle
by the Place de la Halle, the Rue aux Fromages, and the Rue du
Puits-Tiphaine. It measured 312 m. (1,024 ft.) at its greatest diameter
and 242 m. (794 ft.) at its smallest diameter; twenty-eight towers
adorned the walls which were 7 m. (23 ft.) high and 4 m. (13 ft.) thick.
The town, having grown, was cramped in the limits of the Roman city,
so the new ramparts were raised between the thirteenth and sixteenth
centuries; the tourist has already travelled over a part of them.
The platform of the Roman fort, which was followed by the castle,
stood on the part which (with the Rue Villevert) forms a corner of the
estate. It is reached by the narrow passage, made in the thickness of
the sub-basement, which led to the dungeons. It was in one of these
(towards the year 870) that Pépin, King of Aquitaine, died, imprisoned
by order of Charles the Bald, against whom he had revolted.
Subterranean passages connected certain important points of the castle.
They were supposed to lead as far as the Castle of Montépilloy (_see p.
67_) and the Abbey of Châalis (_see p. 70_).
=The old Abbey of Saint-Vincent=
_To view, apply to the concierge in the Rue de Meaux._
[Illustration: ABBEY OF SAINT-VINCENT]
[Illustration: THE ABBEY CLOISTERS]
The Abbey of St.-Vincent was founded in 1065 by Anne of Russia, wife of
Henri I., King of France, in fulfilment of a vow.
The abbey church was rebuilt in the twelfth century.
The tower, which dates from that period, is square; it has two storeys
with very high dormer windows grouped in pairs on each front, which
give a very light appearance to the general structure.
The other buildings belonging to the Abbey were rebuilt in the
seventeenth century. Inside, an interesting cloister still exists, with
a Doric colonnade, shown on the opposite view.
[Illustration: ENTRANCE THE ABBEY (RUE DE MEAUX)]
After the Revolution the Abbey was turned into a hospital, then into
barracks, and after that into spinning mills. In 1836 it became the
College Saint-Vincent, counting among its pupils Marshal Canrobert and
the poet José-Maria de Hérédia.
Many inhabitants of Senlis took refuge in the Abbey cellars during
the bombardment of September 2, 1914. St.-Vincent soon served as an
annexe to the hospital, which was too small to hold all the wounded. In
the photograph (_page 42_) we see the transport of the wounded being
carried on by the Red Cross in September, 1914. This temporary hospital
remained after the departure of the Germans, which explains the
presence of the wounded seen in the foreground of the opposite view.
=The Arena= (historical monument)
_The gate at the entrance of the road leading from the Place de Creil
to the Arena is sometimes locked. Apply to the Syndicat d'Initiative
(Hôtel du Grand-Cerf) for the key._
[Illustration: ENTRANCE TO THE ARENA]
The arena was discovered in 1864. It apparently goes back as far as the
third century.
The tiers encircle a track measuring 130 feet by 110 feet. Two large
entrances, which were vaulted, lead into the arena at each extremity
of the great axis. On the other axis are two little rooms, which were
no doubt reserved for the gladiators. In the southern one, niches are
hollowed in the wall: these probably served as cupboards.
[Illustration: VIEW OF ARENA]
FROM SENLIS TO MEAUX (65 km.)
(See maps inserted between pages 80-81)
via +Chamant+, +Montépilloy+, +Baron+, +Châalis+, +Ermenonville+.
_Starting from the Compiègne Gate, we leave the town by the Route
Nationale_ (N 17). _After having crossed the railway we turn to the
right and follow_ N 32 _as far as the first road on the right bordered
with trees, which leads to Chamant. A hundred yards this side of the
village we enter a field enclosed by hedges, on the right of the road
(2½ km.)._ In this field, which appears in the photograph (_p. 50_),
the German troops were encamped. M. Odent, the Mayor of Senlis, and
six other hostages were shot there (_pp. 49-50_). M. Odent's grave is
near the wood which skirts the side of the field opposite the one which
borders the road. Near the enclosing hedge is the grave of a German
captain.
_Go on to the village of =Chamant=, turn to the right, then to the left
as far as the church, the steeple of which can be seen_. This church
dates from the twelfth century, and was modified in the fourteenth
and sixteenth. The Roman spire, shown below, is remarkable. In the
interior, the capitals and vaulting decorated in many colours were
restored at the expense of Napoléon the Third, as was also the tomb of
Lucien Bonaparte's wife, which is to be found in the side chapel.
_Go round the church, turn to the left, then to the right, near the
firemen's gymnasium._
The road, planted with trees, which forms a continuation (on the other
side of the Route Nationale) of the road on which we stand, leads
(700 yards further on) to the Castle of Chamant, where the German
Headquarters Staff stayed. The cellar was pillaged, and more than 1,200
bottles of champagne were emptied.
This castle, which dates from the seventeenth century, was inhabited by
Lucien Bonaparte. Attached to it are important racing stables.
_Follow_ N 17 _for about 1,500 yards, then turn to the right towards
Ognon (8½ km.). Turn twice to the right in front of the church and go
towards Barbery, the factories of which can be seen from afar. Cross
the railway (12½ km.) near the station which was set on fire by the
Germans, and keep straight on towards the keep of =Montépilloy= (13½
km.)_, which stands on a neighbouring hill.
[Illustration: CHURCH OF CHAMANT]
[Illustration]
The castle, the entrance to which is shown on the opposite view, forms
part of a farm.
[Illustration: CASTLE OF MONTÉPILLOY]
Its name comes from _Mons speculatorum_ or "Mount of the watchers."
It was built in the twelfth century. On August 15, 1429, Jeanne d'Arc
occupied it. An English army commanded by the Duke of Bedford was
between Montépilloy and Senlis. The battle took place on August 16, and
enabled the troops of the king of France to retake Senlis. The castle
was dismantled under Henri IV.
To obtain a view of the whole and to realise the dominating position
of the castle one must, before entering it, walk a few steps along the
road which descends on the right of the farm.
The entrance door is flanked by two large towers. The bulky masses of
masonry, which supported the chains by which the drawbridge was worked,
are still to be seen. We cross the old moats, of which portions still
exist. On entering the courtyard we see the imposing ruins of the
two towers, one circular (of which only one large piece of the wall
remains) the other square.
_We retrace our steps._
_On leaving the village, near an iron shed we turn into the paved
road on the right and continue about 400 yds._ The German guns which
bombarded Senlis were placed in the hollow on the right. A German grave
will be noticed in the meadow.
_We return to the road and go down towards Barbery. After the level
crossing, turn to the right into the main road. Journey 4½ km. turn
again to the right, cross the railway line, then the village of Ducy;
climb a ridge and descend by zig-zags to =Baron= (27 km.)._
[Illustration: CASTLE OF MONTÉPILLOY]
[Illustration: HOUSE WHERE THE MUSICIAN MAGNARD PERISHED IN THE FIRE
(Sept. 1914)]
_Entering Baron, we turn to the left in the High Street and, 300 yards
further on, at the end of the block, reach the +house of Albéric
Magnard+._
It is marked by a marble tablet (visible in the opposite view), on
which is engraved the following inscription:
"Albéric Magnard, musical composer, born in Paris on the 9th of June,
1865; died on the 3rd of September, 1914, shot and burnt in his house
while trying to defend it."
Celui-là qui, rebelle à toute trahison,
Et préférant la Muse à toute Walkyrie
A défendu son art contre la barbarie
Devait ainsi mourir défendant sa maison
Edmond +Rostand+,
_de l'Académie Française_.
(He who, revolting against treachery
And preferring the Muse to any Valkyrie
Defended his art against barbarity,
Was doomed thus to die, defending his home)
His inspiration entirely French, Magnard (as Rostand recalls in the
above lines) had kept his art free from German influence.
His artist's sensitiveness made him suffer intensely from the horrors
of invasion; he warned his friends that he was resolved to die rather
than submit to the rule of the conqueror and that his revolver held
four bullets for the enemy and one for himself.
He had sent his family back to Paris, only keeping his young son-in-law
with him. The Germans entered Baron on September 2. On the 3rd at about
9 o'clock in the morning, a party of soldiers entered the grounds.
The composer had locked and barricaded himself in the villa. After
summoning him three times the Germans fired from the garden at the
façade shown in the view below.
[Illustration: MAGNARD'S HOUSE (inner façade)]
Magnard retaliated through the Venetian blinds of a window on the first
floor, killing one of the soldiers and wounding another. The composer's
son-in-law returning from a short walk, arrived at the beginning of
this scene. Seized and bound to a tree, he only escaped death by
passing himself off as the gardener. After having fired a few rounds
the Germans awaited the instructions of the commander. The latter at
first decided to burn the village as a reprisal but on the entreaties
of the Public Notary, Me. Robert, modified the sentence and ordered
that the incendiarism should be limited to the villa Magnard. After
having hurriedly pillaged the composer's study, the soldiers set fire
to the kitchen with straw and grenades. When the smoke began to rise
Me. Robert and Magnard's son-in-law heard a report from the interior of
the house. The author of _Guercœur_ and of _Bérénice_ had no doubt just
died by his own hand. An officer then said to the Notary "He takes the
best way out." Magnard's body was consumed in the fire. His revolver
was found with three chambers empty.
[Illustration: BARON CHURCH]
The village was looted. An officer ordered the Notary, Me. Robert, to
open his safe. As he at first refused to obey this order, the officer
told two of his men to load their weapons and Me. Robert was forced to
hand over the 8,300 francs the safe contained. While the Notary was
occupied in satisfying these demands, the Germans stole his silver, his
jewellery and that of his wife, even his personal linen, in exchange
for which they left him their dirty shirts. The cellar was entirely
emptied by the officers, who took 1,471 bottles of rare wine.
The same witness saw an officer wearing nine women's rings and three
bracelets.
_Returning from Magnard's house follow the High Street as far as the_
+Church+ (historical monument). This church is of the twelfth and
thirteenth centuries, with a fine steeple belonging to the fifteenth
(_view above_).
[Illustration: PANELLING OF CHURCH]
There is beautiful panelling to be seen inside (_view below_). Jeanne
d'Arc received the sacrament here on the eve of the battle against the
English below Montépilloy, in 1429.
_Follow the road which is a continuation of the High Street._ At this
point, and as far as Senlis, rearguard actions were fought in Sept.
1914. _After 3½ km., turn to the left._ In the field which forms the
corner of the two roads there is a German grave.