_Literature and Commerce_
Rouen est ville bien marchande
C'est à cause de la mer grande
Et est ce semble sans doutance
Quasi la meilleure de France.
Ouy fameuse cité c'est toy qui prens la peine
D'aller chercher bien loin l'ambre, la porcelaine,
Le sucre, la muscade, et tant d'excellents vins....
... Soye, oüate, tabac, draps de laine, poisson,
Bois, bleds, sel, bescars, tout luy vient à foison.
Such popular festivals as that I have just described upon Ascension
Day are of very ancient origin, even if they do not date back to that
earliest "Fête aux Normands," whose institution you will remember in
1070. Two years afterwards began the Confrèrie de la Vierge to which
Pierre Daré, Lieutenant-General for the King, gave fresh lustre when
he was elected its Master in 1486. Though older poems (like that of
Robert Wace) are connected with the Confrèrie, to him is due the
beginning of those "Palinods" sung in honour of the Virgin in the
Church of St. Jean des Prés, which were called the "Puy de
Conception," like the Puy d'Amour of the Provençal troubadours. The
name probably originated in the refrain which ran through all the
various metres allowed in the poems which were sent in for
competition, as Pierre Grognet describes in 1533--
"On y presente les rondeaulx
Beaulx pallinotz et chans royaulx
Et sappelle celle journee
La feste du Puy honorée."
In these rhymes are preserved just those details of the people's life
for which we have been looking. Great events and mighty personages in
the world outside are passed unnoticed. The important trivialities of
the householder's existence are the main theme of every verse. The
_Muse Normande_ of David Ferrand is a collection of such fragments of
many "Concours des Palinods" from its beginning till his death in
1660. They are chiefly written in that "langue purinique ou gros
normand" which was the distinctive patois of the working classes, and
especially of those "purins" or "ouvriers de la draperie" who dwelt in
the parishes of Martainville, of St. Vivien, and St. Nicaise in the
city. You may hear it to this day in the villages of Caux. Here the
gossip of the populace is reproduced, and you read of the burdens laid
upon the people, of the abundance of wine (which did away with any
need for beer), of the rivalries of corporations, of the amusements of
the town, the mysteries and Miracle Plays, the Basoche, and the rough
practical joking of the populace.
One of the most important subjects, for our purpose, in all David
Ferrand's verse is that famous "Boise de Saint Nicaise," round which a
seventeenth-century war waged, more bitterly and fiercely disputed
than half the contests which take up the pages of your sober royal
histories. You must know that this "Boise de Saint Nicaise" was an
enormous beam of wood, chained by iron bars and links to the church
walls, where every evening the gossips used to gather in the cemetery
and talk over the scandal of the parish, or regulate the proceedings
of the town. Thrice in 220 years had Rouen been besieged, once by the
English and twice by its own countrymen, and each time the virtues of
the famous "boise" had saved it from pillage and desecration. Upon its
black and shining length the disputes of every century had been heard
and settled: masters had brought up their quarrels with the workmen,
merchants had wrangled over sharp practice in their business, girls
had been summoned to receive a lecture from the elders of the parish
on the flightiness and immodesty of their behaviour. No parish had
ever such a palladium of its dignity. And you can easily conceive the
derision and contempt with which the mighty "boise" was treated by the
boys of the rival and neighbouring parish of St. Godard, who used to
sing--
"Les habitants de Saint Nicaise
Ont le coeur haut et fortune basse."
This was a bad pun on the _choeur_, or choir, of the church that was
too good for its worshippers. For there was a great contrast between
the populations on each side of the dividing line. St. Godard was
filled with magistrates and mighty men of law, who lived in sumptuous
houses and carved their coats of arms upon their massive sideboards,
who quoted Malherbe, and approved the early efforts of a young man
called Corneille, and prided themselves upon the delicacy and
scholarship of their speech. In St. Nicaise, on the contrary, you
heard little save the "purinique," or patois of the workmen; in
narrow, dark, and twisting streets the drapers and weavers and dyers
carried on their trades and earned their bread by the sweat of their
brow. Their children had to work early for their living, and helped
the business of their parents when still in the first years of their
youth. No wonder these who "scorned delights and lived laborious days"
laughed at the effeminacy of their neighbours, saying that
"Aux enfants de Saint Godard
L'esprit ne venait qu' à trente ans."
By 1632 this feeling of rivalry and mutual distrust had been sharpened
into positive hatred; for, of course, when the troubles of the Ligue
had come, and St. Godard had declared for its old kings and saints,
St. Nicaise had openly professed belief in Villars and Mayenne, and
almost raised a chapel to the memory of Jacques Clément the assassin;
and you may imagine the gibes of Royalist St. Godard when the tide of
fortune turned against the rebel parish. Athens and Sparta were not
more different, or more hostile. One day the smouldering fires broke
into flame. It was the day of a procession when, at the very meeting
line of the two parishes, the clergy of St. Godard, splendid in gold
and embroidery, with a cross of gold before them, and behind them a
line of ladies richly dressed and escorted by red-robed magistrates,
were moving in procession, with the banner at their head presented by
the Lady President of Grémonville, whereon the figure of the patron
saint was embroidered upon crimson velvet hung round with cloth of
gold. Consider the disdain of these fine ladies for the modest little
gathering that walked, across the way, beneath a little banner of
ordinary taffetas bearing a tiny effigy of St. Nicaise, worked in worn
colours of old faded pink, and followed by a crowd of workmen clad in
blouse and sabot and rough woollen caps. At a certain point the
contrast became unbearable. The workmen, with a shout of fury, made a
sudden rush upon that hateful new banner of St. Godard, tore it from
the standard-bearer's hands, and threw it in the muddy waters of the
boundary-stream. How the two processions got home after that you may
imagine for yourself. It says much for the control of the respective
clergy that there were no open blows at once. But that night St.
Nicaise was vulgarly merry, and St. Godard wrapped its wrongs in
ominous and aristocratic silence. What the songs were that those
workmen sang in the cemetery of St. Nicaise you can read in a queer
little book written by one "Abbé Raillard" in 1557, an "Abbé des
Conards," who imitates Rabelais when he tries to be original, but is
of far more value when he merely reproduces what he heard, to wit, "la
fleur des plus ingénieux jeux chansons et menus flaiollements d'icelle
jeunesse puérille, receuilly de plusieurs rues lieux et passages où il
estoit répandu depuis la primitive récréation, aaze, jeunesse et
adolescence Normande rouennoise."
Here is a chorus which no doubt resounded on that night of victory
over St. Godard--
"Jay menge un oeuf
La lange dun boeuf
Quatre vingt moutons
Autant de chapons
Vingt cougnons de pain
Ancore ayge faim,"
or this, again--
"Gloria patri ma mere a petri
Elle a faict une gallette
Houppegay, Houppegay j'ay bu du cidre Alotel (_bis_)."
Unfortunately, after having gone shouting to bed, the men of St.
Nicaise slept sound without a thought of possible reprisals. But the
young bloods "across the way" were all alert. Waiting till the change
of guard at St. Hilaire should make that customary noise of clinking
arms and tramping feet which every citizen would recognise and forget,
sixty of the bravest champions crossed the Rubicon and advanced in the
depth of the darkness to the cemetery of St. Nicaise. With heavy
labour they broke up the sacred chains, detached the time-worn rivets,
and dragged off the famous timber, the "_Boise_" of St. Nicaise, the
palladium of the obnoxious parish. The next morning the gossips
discovered to their stupefaction that there was no log to sit upon!
Following a few traces that were left here and there, the horrified
drapers and tanners found the smoking remnants of their cherished wood
scattered in the square of St. Hilaire, surrounded by a laughing crowd
of the children and young men of St. Godard. Vengeance was plotted on
that very evening, and a smart skirmish took place up and down the
streets of the aristocratic quarter, in which the victory of the
velvet doublets only roused redoubled ardour in the men of smocks and
leather aprons. The Palais de Justice and the majesty of the Law was
obliged to intervene. The Duc de Longueville, Governor of the
Province, tried to smooth over the crisis with the gift of a new and
most enormous log; but nothing could replace the relic that was gone.
At last the good priests of each parish set to work to heal the
breach, and soundly damned each hardened sinner who attempted to break
the good peace of the town with further quarrels. Messire François de
Harlai, Archbishop of Rouen, aided their efforts, and at last the feud
died down; but the event was never forgotten:
"Donc qu'o mette o calendrier
Qu'o dix huitiesme de Janvier
Fut pris et ravy notte BOISE
Boise dont j'etions pu jaloux
Et pu glorieux entre nous
Que Rouen n'est de Georg d'Amboise."
David Ferrand's "patois" has preserved a good deal of the life and
humour--racy of the soil--that gave Rouen her character, even after
the sixteenth century was over. Something of the old life and its
bravery lingered a little longer, and in the more pretentious Latin
poems of Hercule Grisel you see how all these fêtes and jollities
lasted on till well into the seventeenth century. The Fête St. Anne,
when boys dressed as angels and girls as virgins ran about the
streets; the St. Vivien, which was a great popular fair in Bois
Guillaume and in the city; the Festin du Cochon, when Parliament was
dined; the Pentecost, when birds and leaves and flowers were rained
upon the congregation from the roof of the Cathedral; the Feast of the
Farmers, in November, when the principal dish of roast goose was
provided by a crowd of boys who had to kill the wretched bird by
throwing sticks at it, as it fluttered helplessly at the end of a high
pole; the Papegault, when the Cinquantaine, or Company of
Arquebusiers, went a-shooting to settle who should be the Roi
d'Oiseau, very much as it is described in Germany in the pages of Jean
Paul Richter; the Jeu d'Anguille in May, when there was a jousting
match upon the river like the water tournaments of Provence; the
jollities of Easter Eve, when bands of children went about the streets
shouting derision at the now dishonoured herring, and pitching barrels
and fish-barrows into the river; the greatest and most impressive
ceremony of all, the Levée de la Fierte, upon Ascension Day--all these
festivities made up a large part of the life of the real Rouennais of
the sixteenth and seventeenth centuries, which was so narrowed and
restricted in itself that it took every opportunity of expanding into
a common gaiety shared by all the neighbours and the countryside.
The river was a scene of far greater bustle and activity and
picturesqueness than it is now. Like the Thames, the Seine lost half
its beauty when the old watermen disappeared. The harbour of the
sixteenth century was always full of movement: sailors were always
spreading over the riverside streets into the countless inns and
drinking-places; the river was full of boats going to and fro; the
bank upon the farther side was the fashionable promenade of all the
ladies of the town; the bridges were filled with idlers who had no
better business than to look on. At the fête called the Gâteau des
Rois all the ships were lit up in the port, and every tradesman in the
town sent presents to his customers: the druggists gave gifts of
liqueurs and condiments; the bakers brought cakes to every door; the
chandlers brought the "chandelles des Rois" to every household. At the
favourite meeting-places of Ponts de Robec, or the Parvis Notre Dame,
or the Église St. Vivien, the housewives gathered to watch their
husbands drink and gamble, or bought flowers from the open stalls, or
chaffered with the apprentices who stood ready for the bargain.
Meanwhile, from all the forests near, the children of the poor were
coming in with bundles of the faggots they were allowed to gather
free; at every large house parties were gathering, each guest with her
special contribution to the common fund of sweetmeats and of fruit,
some even had brought bottles of the famous mineral water sold at the
Church of St. Paul, and the Confrèrie de St. Cécile was hard-worked
distributing its musicians broadcast to the many private gatherings
that called for pipe and tabour. Then as the evening lowered, men told
stories over the hearth of the girl who had seen three suns at once
upon the morn of Holy Trinity from a neighbouring hill-top, or of the
luck of their compère Jehan, whose boy, born on the day of the
conversion of St. Paul, was safe for all his life from danger of
poison or of snake-bite. All these customs and superstitions are
reflected in Hercule Grisel's Latin verses, which he begins with a
needless apology--
"Rotomagi patriæ versu volo pandere mores,
Quis captum patriæ damnet amore suæ?"
No one will blame his patriotic love of every detail of the life
around him; and though the Latin that he uses might well have been
exchanged for his own language, it must be remembered that even when
Malherbe and Corneille, Racine and Boileau, were writing French, the
older language kept a firm hold on such men as de Thou, Descartes,
Bossuet, Arnauld, and Nicole, who desired to appeal to European
audiences. "Victurus Latium debet habere liber" was their motto; and
by Jesuits and Oratorians, University dignitaries and ecclesiastics,
lawyers and doctors, the same language was used as that in which
Hercule Grisel has preserved the life of the town from 1615 to 1657.
[Illustration: PIERRE CORNEILLE, FROM THE ENGRAVING BY LASNE]
The greatest name of seventeenth-century Rouen is Pierre
Corneille,[73] "ce vieux Romain parmi les français" as Voltaire called
him; and we may be grateful that after getting the second prize for
Latin verses in the third class of the Jesuit College,[74] he gave up
stilted affectations for the vigorous phrases of his mother-tongue.
Though his brother Thomas passes over the little episode in silence,
his nephew Fontenelle lets us into a literary secret which reveals
Corneille's first love affair in Rouen. In the comedy of "Mélite," the
heroine is Catherine the daughter of the Receveur des Aides, Eraste is
the poet himself. In real life, Thomas du Pont, the Tircis of the
play, supplanted his friend and married the lady. It was to another
Rouen acquaintance that Corneille owed the advice to study Spanish
plays, which resulted in his imitations of de Castro, and no doubt the
many Spanish families then settled, for commercial reasons, in the Rue
des Espagnols and elsewhere, helped to turn the young poet's thoughts
in the same direction. His evident knowledge of the details of legal
procedure, when it cannot be ascribed to the natural Norman turn for
lawsuits, is accounted for by his position as Avocat du Roi and one of
the Admiralty Court (called the "Marble Table") of Rouen. Though in
the "Cid" his law is Spanish, and in "Horace" it is a paraphrase of
Livy, yet Corneille was the first to realise that the speeches of
lawyers, which were then little known to the general public, would
form a very interesting scene upon the stage. His immediate success
proved the worth of the idea. But that such success was possible at
all is even more extraordinary than any particular form it may have
taken. He created types for well-nigh every kind of dramatic
literature in France, in the midst of his work as an advocate, among
serious family troubles, through years of plague, of popular riots, of
military occupations.
[Footnote 73: The portrait of him reproduced in this chapter was
etched on steel in 1644, from a drawing by Michel Lasne of Caen.]
[Footnote 74: The fine chapel of the Lycée Corneille, with its façade
upon the Rue Bourg l'Abbé, is well worth visiting.]
His house in the Rue Corneille, formerly the Rue de la Pie, is still
preserved, though the front has been damaged by the widening of the
street, and it is marked by a bust of the poet over the entrance. In
the last few months it has been put up for auction, and it may be
hoped that the town authorities have taken advantage of the
opportunity to secure it from further mutilation. For it has been not
merely the home of Pierre Corneille and his brother Thomas, but the
meeting-place of several other men distinguished in French literature.
In the summer of 1658, for instance, Molière brought his travelling
troupe to Rouen, and set up his theatre at the bottom of the Rue du
Vieux Palais. There he played in "L'Etourdi" and "Le Dépit Amoureux,"
which Corneille went to see, and tradition says that the most
distinguished of her audience fell in love with du Parc, the pretty
actress, from the spectators' seats, not improbably on the occasion
when his own play of "Nicomède" was being performed. It is certain at
any rate that Molière, who was then some thirty-six years old, visited
Corneille, who was sixteen years his senior, and already famous in the
wider world of literature. And it is at least curious that only after
the six months during which his visits to the elder poet must have
been both frequent and fruitful, did Jean Baptiste Poquelin become
recognised as the Molière of "Le Malade Imaginaire," a play, which I
confess I would rather hear to-day than anything Corneille ever wrote,
even though Parisian audiences can still patriotically endure almost
the whole series of his heroic dramas. This was not Molière's first
visit to Rouen, where a peculiarly dark and dirty street preserves the
memory of his light-hearted appearances. For there is his signature in
the town registers of 1643, when he was only twenty-one, and as the
date is November 3, the coincidence of time has tempted patriotic
antiquarians to suggest that his first _début_ in public was at the
famous Foire du Pardon. What Rouen looked like at this time you may
see in the view, reproduced from Mérian's engraving of 1620, printed
with this chapter.
Even if the language and ideas of Corneille's plays do not touch a
sympathetic chord in these days when the musketeers of Dumas and the
bravery of Cyrano de Bergerac hold the stage on both sides of the
Channel, it is impossible to refuse to Corneille a very high position
in any estimate of French dramatic literature. With that estimate I am
not here concerned, but in sketching the history of his birthplace, I
may be permitted to suggest some of the influences which may be
traced from it upon his work. And in addition to those already
mentioned, I would especially refer to an occurrence some time
previously, which left its undoubted marks upon the writing of
Corneille, and may also serve to introduce you to yet another
interesting figure in the tale of Rouen. For when he was only
thirty-three, when he had won fame with the "Cid," and had followed up
his success by "Horace" and by "Cinna," Corneille had the advantage of
meeting a family of particular distinction.
In 1639 the father of Blaise Pascal was sent down to Rouen as an
"Intendant du Roi." Though but sixteen, the youth had already
attracted the notice of the mathematical world by his treatise on
conic sections. Even when only twelve the precocious boy had worked
out the solutions of the first thirty-two propositions of Euclid
unaided. While at Rouen he invented a calculating machine, and got a
workman in the town to set it up. In 1646 he made his famous
experiments on the vacuum before more than five hundred people,
including half a dozen sceptical Jesuit fathers. Though his famous
letters on the burning question of Jansenism were not written until
1656, after he had returned to Paris, yet the religious influence of
the family must have been a strong one upon all their intimate
friends, and it is hardly too much to suggest that under this
influence Corneille wrote "Polyeucte" and "Théodore," even if it be
too great an extension of the idea to suggest that Racine's "Esther"
and "Athalie," even Voltaire's "Zaïre," were also due to the same
impressions.
It is pleasant to imagine that cultured circle, conversing over the
troubles of the time or arguing on literary and scientific subjects.
There were two girls in the Pascal family, the pretty Gilberte, who
very soon married a young councillor of Rouen at twenty-one, and
Jacqueline, five years her junior, who won the prize at the Puy des
Palonods, and had the honour of an ode from Corneille on her literary
success. There was Berthe Corneille too, the mother of Fontenelle, and
though Thomas was but young, he may well have had his share in a
friendship which must have been very attractive to his older brother.
This house of theirs in the Rue Corneille was not the only one in
which Pierre wrote his tragedies. Indeed, I imagine it was more the
town-lodgings of his legal father, and only used by the sons when
business kept them near the Law-courts. In the country outside, at
Petit-Couronne south of the Seine, Corneille did nearly all his best
work; and in estimating that work it is well to remember that he was
not merely born at Rouen, but that he lived and wrote there till he
was fifty-six.
[Illustration: EAU DE ROBEC]
The Pascals left Rouen in 1648 during the disturbances of the Fronde.
They had come there in even more troublous times, for the riots called
the "Révolte des Va-nu-Pieds" had only just been quelled before their
arrival. The salt-tax had already created strong discontent in
Southern Normandy, and in August 1639 a tax on the dyers roused the
men of the Rue Eau de Robec into such hot rebellion, that they killed
the King's officer and burnt the tax-gatherer's house. In the same
street to-day, which must be but little changed, you may still imagine
the furious assemblages by those black dye-stained waters that flow
muddily beneath their multitude of bridges from the Place des Ponts de
Robec to the eastern confines of the town. Chancellor Séguier was sent
down with several thousand infantry and 1200 horse, called the "Fléaux
de Dieu," and kept the gallows as busy as at any Black Assizes for
some three months.
One sad result of all this was that many of the festivities described
in the earlier pages of this chapter never came off at all in 1640.
"En ceste année," says the local chronicler sadly, "il n'y a point eu
d'estrennes, ny chanté 'Le Roy Boit.' En la maison de Ville n'y eust
point de gasteau party, ni le lendemain à disner." And the loss of the
famous "Fête des Rois" at the Hôtel de Ville was something more than
ordinarily unfortunate. For it was celebrated each year with much
pomposity, to the sound of all the carillons of the town ringing
lustily while every member of the Council "tirait le roi de la fève,"
and the lucky winner of the Bean, after being presented with a wax
basket of artificial fruit (for the sixteenth century is over now), at
once gave his comrades an enormous feast, at which the toast of the
evening was received with loud cries of "Le Roy Boit." Nor was this
the only festivity indulged in by the City Fathers. The "Feu St. Jean"
was solemnly lit by the senior sheriff, to the sound of pipe and
tabour. The "Bûche de Noël," or Yule log, was burnt in the Grande
Salle. Here the different members of the Estates of Normandy were
feasted, here the civic ceremonials were conducted with many presents,
speeches, and "toasts." And the industries of the town seemed to
flourish, in spite of the miseries suffered under Richelieu. Trade
spread to England, Spain, Africa, Florida, Brazil; even with Canada a
brisk bartering of furs went on, and in 1627 the baptism is registered
in the Cathedral, early in December, of Amantacha, a native of Canada,
who was "held at the font" by Madame de Villars, and the Duc de
Longueville, to be blessed by Monseigneur François de Harlay. Half a
century later, it was from Rouen that René Cavalier de la Salle set
out to explore the Mississippi and the Gulf of Mexico; and by a Rouen
diplomat, Ménager, was drawn up in 1713 the Treaty of Utrecht, against
which modern British inhabitants of Newfoundland are complaining so
bitterly in 1898.
But for Englishmen a far more interesting fact in seventeenth-century
Rouen is that Lord Clarendon died at No. 30 Rue Damiette on December
7, 1674. The house is standing still, behind a garden that is shut off
from the street by high gates, and is not open to the public, though
by a fortunate accident I was enabled to see it in the August of 1897.
It is known as the Hôtel d'Aligre, and as the property of Mademoiselle
Le Verdier is almost unchanged since the great exile lived in it two
centuries ago. There are three windows on the ground floor and a
basement. Between the two windows of the first floor is a medallion
held by two figures. On each side of the circular pediment is a little
"Mansard" window in the roof, and on the pediment itself are two
statues. The windows are all decorated with carved flowers and
wreaths, and the cornice beneath the eaves is prettily ornamented.
This is the main façade looking out on the interior court. The garden
front has less decoration, but is an extremely elegant example of the
simple town house of the period. Among the shrubs the fountain for
which Lord Clarendon especially asked still plays in its old stone
basin, and beyond the trees is the Cemetery of St. Maclou.
He had lived, during his exile, in Montpelier, Moulins, and Evreux,
and at last he moved nearer to England and wrote pathetically asking
to be recalled. Seven years, his letter says, was the term of God's
displeasure, yet for more than seven had he borne the displeasure of
the King. A longer life no man could grant him, he asked only that
death might not come to him in a foreign land, but in England near his
children. His prayer was not granted, and in 1674 the archives of the
Hôtel de Ville in Rouen record that the King of France had allowed
"Monsieur le Comte de Clarendon, Chancelier de l'Angleterre" to live
where he pleased within the kingdom by consent of His Majesty of Great
Britain. The house now leased by Monsieur le Comte (goes on this sad
little record) used to have a small lake in the garden, and Monsieur
desired that water might again be directed into it. The request was
granted that same month at a meeting held in the Town Hall.
The first mention of a building on this spot is in the Town Records of
October 1448, when it is called "Hostel des Presses de la Rue de la
Miette," a name for the street which seems to show that this
"Damiette" is at any rate not of eastern origin. The word "Presses" is
connected with the story of Rouen trade by the fact that it
commemorates the presses set up for pressing and finishing cloth by
one of that family of Dufour who did so much towards the decoration of
their parish church of St. Maclou. The house that is standing now was
built (though without its later seventeenth-century ornaments) by
Guillaume le Fieu, who had been treasurer of the Stables of Catherine
de Médicis, or "Receveur de l'Écurie de la Reine" in 1558, and the
Archives of the Department now possess, by the gift of later occupants
of the house, a very interesting manuscript of his accounts for a year
in this capacity. By the untiring diligence of M. Ch. de Beaurepaire
these have been analysed, and his paper describing them, though too
detailed to be reproduced here, is of the highest importance for any
writer attempting to describe the habits of a queen whose abilities as
a horsewoman were so highly praised by Brantôme. Guillaume le Fieu had
evidently considerable financial abilities, for we find him promoted,
later on, to be "Receveur Général de la Généralité de Rouen," and
finally "Maître Ordinaire de la Chambre des Comptes de Normandie," so
that he is also connected with the two beautiful buildings, so
different in style and date, which were described in Chapter XI.
In No. 30 Rue Damiette he died in 1584, having scarcely completed the
house before his daughter married one of the King's secretaries. In
January 1646, an old lease shows that the house was owned by Henry
Dambray, "Conseiller au Parlement," and it was by him let for a year
to Lord Clarendon. It was called the Hôtel de Senneville until the
Revolution, when it became the property of the families of Pommereux
and d'Alligre. Though Lord Clarendon was first buried in Rouen, when
his grand-daughters (through the marriage of the Duke of York, brother
of Charles II., with his elder daughter) became Queens of England, his
remains were transported from Rouen to Westminster Abbey, where they
now are.
The last scene by which this tale of Rouen was connected with the
history of France was when Captain Valdory held the town against Henri
IV. And in leaving for a moment more domestic details of the city's
story, I can suggest the transition no better than by telling you of
another literary claim which Rouen archæologists will not permit a
visitor to forget, the authorship of the famous "Satyre Ménippée,"
which did as much as any political pamphlet could ever do to reveal to
the people the true character of the Ligue, and to restore their
affection to that King Henri whom for so long they had refused within
their gates. This immortal piece of sarcasm and good sense was written
after the États de la Ligue of January 1593. De Thou said, "le premier
auteur de l'écrit est, croit-on, un prêtre du pays de Normandie, homme
de bien...." And the edition of 1677 gives his name as "Monsieur
LeRoy, chanoine de Rouen, qui avoit esté aumosnier du Cardinal de
Bourbon." In the portions before each harangue, he mentions the
tapestry in Rouen Cathedral, the Révolte de la Harelle, the Foire St.
Romain, and other details, with an accuracy and affection which betray
the citizen. He went blind in 1620, and died in penury in 1627.
The troubles of the League had barely died away before the agitation
of the Fronde began, and after the Fronde princes had been arrested
in January 1650, the Duchesse de Longueville tried to continue the
rôle of her husband, though his party had fairly been laughed out of
Rouen. Her own attempts were thwarted by Mazarin, who brought the
little Louis XIV., then only twelve years old, to Rouen for fifteen
days in February 1650. The Revocation of the Edict of Nantes repaid
this hospitality in somewhat untoward fashion, for it reduced the
population of the town by 20,000 souls (of whom many carried their
trade to England or the Low Countries), and commerce almost
disappeared. "Men live," cried St. Simon, "on the grass of the field
in Normandy."
Yet the exhaustless vitality of the town was not easily tapped. In
1723 Voltaire found nothing to complain of, and in the Rue aux Juifs
the first edition of his "Henriade" was printed by Robert Viret. In
1731 he came back, and in the Rue du Bec, or the Rue Ganterie, had
many pleasant conversations with M. de Bourgtheroulde, M. de
Fresquienne, and others, but he left his little sting behind him as
usual, and it remains so true that I must reproduce it here, on the
theme--"Vous n'avez point de mai en Normandie."
"Vos climats ont produit d'assez rares merveilles
C'est le pays des grands talents
Des Fontenelle des Corneilles
Mais ce ne fut jamais l'asile du printemps."
[Illustration: HOUSE IN RUE PETIT SALUT. (RUE AMPÈRE 13.)]
As the eighteenth century progressed, commercial prosperity returned
with extraordinary rapidity, and the town shows every sign of making
an intelligent use of its opportunities. A mission is sent to Smyrna
and Adrianople to learn the textile methods of the East; dyers in the
Rue Eau de Robec are busier than ever; the Quartier Cauchoise is set
apart for industrial work, for silk and wools and linens; there is a
great storehouse for grain, a huge "Halle des Toiles"; a Bourse for
business men. In 1723 a new "Romaine," or Custom-House, was built,
which involved the destruction of the Porte Haranguerie and the Porte
de la Viconté, and upon its triangular pediment was placed Coustou's
beautiful carving of "Commerce," of which I reproduce a drawing in
these pages. After the Revolution the "Tribunal des Douanes" was held
in the Maison Bourgtheroulde, until in 1838 the present "Douane" was
built by Isabelle, and Coustou's relief was set beneath its rotunda
inside. The various fortunes of the Custom-House of Rouen have been
described by M. Georges Dubosc, another of those patriotic antiquarian
writers, in whom Rouen is richer than any provincial town I know. His
large volume on the architecture of the seventeenth and eighteenth
centuries gives so complete and accurate a list that I am fortunately
relieved from any discussion of a period with which I must confess an
uninstructed want of sympathy. But I owe it to his insight that the
beautiful courtyard (illustrated in this chapter) in the Rue Petit
Salut (now No. 13 Rue Ampère) was not put down as sixteenth century in
my notes, a date to which I was inclined by the fine open staircase
and doorway on the right of the courtyard. On its left is an undoubted
Renaissance pillar, probably taken from its original position in
another place, and high above you rises a gabled window with carved
sides.
The only historical event I have been tempted to connect with this
spot is the entry of Louis d'Orléans in 1452, who is said to have
lodged in the "Hôtel d'Estellan, Rue Petit Salut." But the house is
worth visiting if only to speculate on the dungeon windows in the
corner of the little street outside, and to look up the Impasse Petit
Salut a little further on, where the Tour de Beurre rises with an
extraordinary effect of solitary beauty above the twisted roof trees
into the sky.
By the time of Louis XV. it becomes somewhat difficult to find the
interesting men of this or any other French city; you must look for
them in the anti-chambers of the Duc de Choiseul, in the robing-rooms
of the Pompadour or the Du Barry. In 1774 Rouen saw the typical sight
of the Duchesse de Vauguyon reviewing her husband's troops. When Louis
XV. passed through the town, and the Pompadour was seen smiling by his
side, the citizens' reception of the doubtful honour was a very cold
one. And when Louis XVI. paid his call of ceremony upon the Mayor, a
still more melancholy presage broke the harmony of the peal that
welcomed him from the Cathedral belfry, for the great bell Georges
d'Amboise--which weighed 36,000 pounds, and had rung in every century
since the great minister of Louis XII. gave him to the town--cracked
suddenly, and was never heard again. He has a successor now, but his
own metal was used for quite another purpose. When the Revolution
broke out, the bronze that had served to call the faithful from all
the countryside to prayer was melted into cannon and roundshot that
were to send the Royalists to heaven by much quicker methods.
Rouen passed comparatively lightly through the Reign of Terror. Only
322 persons were guillotined in the whole of Normandy, and the local
justices beheaded nearly as many in suppressing the disorders that
followed the general disorganisation of society. Even on the 1st of
November 1793 we hear of the first night of Boieldieu's "La Belle
Coupable" performed at the Théatre de la Montagne. And though Thouret
is sent up as Deputy to Paris (and afterwards to draw up the
Constitution), though the irascible Marquis d'Herbouville is always
making a disturbance, though the "Carabots" revolt and break out into
pillage, it is only when "Anarchists" from Paris come down to trouble
them that the good folk of Rouen "draw the line." In fact, they
hanged the over-zealous Bourdier and Jourdain upon the quay just by
the bridge.
It is interesting that no less a personage than Marat, then plain Dr
Marat, had several Mémoires crowned by the Academy of Rouen, one of
them on Mesmerism. Voltaire thought little of his capabilities then,
but the "ami du peuple" left a gentle reputation in the town, and is
even credited with having preserved an old illuminated manuscript
under his mattress during some riots that threatened its safety. A
more authenticated fact is that Charlotte Corday came from Caen, and
popular tradition insists still that it was from the carving of
Herodias on the façade of Rouen Cathedral (which the townsfolk call
"La Marianne dansant," for some unknown reason) that the suggestion
came to her of saving the People from their Friend.
The great Napoleon first saw Rouen in its capacity as a trading
centre. Its industry very soon recovered after the Revolution, and an
actual "Exposition" was organised in the Tribunal de Commerce, which
was inspected by Josephine and the First Consul Bonaparte. He returned
as Emperor, and in 1840 the city solemnly received him for the last
time, when his body was brought back from St. Helena and passed
beneath the first bridge across the Seine at Rouen.
The kings who had been deposed with so much bloodshed and fanfaronade,
reappeared as if nothing had happened when Louis Philippe laid the
first stone for the pedestal of Corneille's statue carved by David
d'Angers. In 1871 that statue was all draped in black. The streets of
Rouen, hung with funereal emblems, were all in the deepest mourning,
every shop was closed and every window shuttered. Upon the plain of
Sotteville a great army was manoeuvring to and fro to the sound of
words of command in a strange tongue. General Manteuffel, the Duke of
Mecklenburgh, and "Prince Fritz" had led the German army of invasion
into Rouen, and from December till July they occupied the town and its
surrounding villages. For the last time Rouen was in the hands of
foreigners. But the traces of this catastrophe have absolutely
disappeared. The ruin of the Revolution and the iconoclasm of the
religious struggles have left far deeper marks; and Rouen, sacked by
the English, and occupied by the Germans, suffered more injury at the
hands of her own citizens, than either from Time or from any foreign
foe.
In the last half of the eighteenth century it was that Rouen lost most
of her mediæval characteristics, under the levelling régime of
Intendant de Crosne, whose one good work was the building of the
boulevards. Hardly as much change was wrought when the great new
streets of 1859 were cut that swept away the old infected quarters of
the fifteenth century. The Revolution, that is responsible for the
debasement of St. Laurent and St. Ouen, among many other atrocities,
did most injury in abolishing those picturesque local bodies, like the
"Cinquantaine" and the "Arquebusiers," and substituting for them a
meaningless "Garde Nationale." Its efforts at "national" nomenclature
were fortunately in most cases abortive.
The Rouen of to-day, though so much taken up with commerce, is not
unworthy of her great traditions. A town that in art can show the
names of Poussin, Jouvenet, and Géricault; and in letters, Gustave
Flaubert, Maupassant, and Hector Malot, has not been left too far
behind by older memories. But it is in the number of its citizens who
have devoted themselves to the history and the archæology of their own
town, their "Ville Musée," that Rouen has been especially blest. In
Farin the historian, in M. de Caumont the archæologist, in Langlois,
de la Quérière, Deville, Pottier, Bouquet, Périaux; above all, in
Floquet, the town can point to a band of chroniclers of which any
city might be proud. To all of them I have been indebted. And no less
does this sketch of their city's story owe to those who are still
living within its streets, and still ready to point the visitor to
their greatest beauties: M. Charles de Beaurepaire, whose work in the
Archives is of the highest value, and to whom I am indebted for nearly
every reference to the records of the town; MM. Noël and Beaurain, who
preside over the Library; M. Georges Dubosc, M. Jules Adeline, and
many more.
Scarcely a year before these lines were written one more link between
Rouen and the literature of the world was lost. In August 1896 died a
"Professor of German" in the Lycée de Rouen, who had held her post
since 1882. There had lived Camille Selden, in a quiet seclusion, from
which she published the "Mémoires de la Mouche." Universally beloved
for her sweetness, her simplicity, her gentle nobility of soul, she
was the unobtrusive friend of all the best spirits of the day. Upon
her there seemed to have fallen some few mild rays from the genius of
Heine, whom she loved so well. Her last days were spent in studying
the correspondence of two great citizens of the town which sheltered
her, Bouilhet and Flaubert.
My task is over; and I can but leave you now to discover for yourself
the many details, which, for lack of space and leisure, I have
perforce omitted. Yet in this "Story of Rouen" you will find, if you
read it where it should be read, all the typical occurrences which
have made the city what she is, strong in commerce, strong in
traditions, strong above all in the memories of her sons.
"Strength is not won by miracle or rape.
It is the offspring of the modest years,
The gift of sire to son, thro' these firm laws
Which we name Gods; which are the righteous cause,
The cause of man, and manhood's ministers."
APPENDIX
I
_A few more interesting walks in Rouen_
It was in my mind at first to place here an itinerary I had planned by
which it would be possible to visit everything of interest in Rouen in
six days, starting from the Hôtel du Nord near the Grosse Horloge, and
returning to the same spot. But it is perhaps better after all that
you should visit the places mentioned in my chapters as the spirit
moves you, and that I should merely set down in these last pages a few
old streets or houses which you must not miss, merely because I have
had no space to speak of them before.
Returning from the _Chartreuse de la Rose_, it will be good to take
the Route de Lyons la Forêt past the château called _Nid de chiens_ (a
name which preserves the memory of the old Dukes' Kennels) where Henri
IV. was entertained. You will see the seventeenth-century house on
your left, between two railway bridges which cross the road, just
before the Caserne Trupel. Continue by the same road, keeping the
_Aubette_ on your right, and turn round the wall of the great Hospital
enclosure till you reach the _Rue Edouard Adam_, and pass the Rue Eau
de Robec which is beautiful on each side of you. Pass the new
_Fontaine Croix de Pierre_, and as you turn down the _Rue Orbe_ look
quickly at the backs of the houses on the Robec, and then swing to the
right up the _Rue des Champs_. At the _Rue Matelas_ you must stop.
_St. Vivien's_ Church closes the quaint vista of the street, and at
No. 19 is an aged doorway to a dark courtyard, and beyond that, a
charming turret staircase on the roadway with a gallery outside all
wreathed in roses. The gables and the woodwork and the shadowed
windows make up an exquisite little picture of mediæval domesticity.
When you return again to the Rue Orbe, look down the Rue _Pomme d'Or_
to your left, and then turn up the Rue Poisson and admire the
beautiful choir of _St. Nicaise_, remembering the story of the famous
"boise" I told you in the last chapter. Up the Rue St. Nicaise, past
the Rue Floquet, the hideous slit of the _Rue d'Enfer_ opens on the
left, so you turn away to the Rue Roche opposite, and keep swinging to
the left up the _Rue de la Cage_ and so on to the _Boulevard
Beauvoisine_. The _Place du Boulingrin_, where I have no doubt the
English garrison of 1420 played at bowls, is still green and inviting
a little to your right. But pushing on still westwards to the left you
come to the _Boulevard Jeanne d'Arc_, and pass the road that leads
northwards to a fascinating Cider-tavern in the _Champs des Oiseaux_.
A little further on is the Rue Verte (leading northwards to the
Railway Station and southwards to the Rue Jeanne d'Arc and the river)
and at last you reach the _Place Cauchoise_ and the _Rue St. Gervais_
which mounts to the north-west. Look at No. 31 (the Menuiserie Brière)
as you pass, for the sake of the charming old wooden gallery in its
courtyard, and then at No. 71 with its pretty eighteenth-century
panels like plaques of Wedgewood, an ornament which is closely
imitated in the medallions on the wall at the corner of the _Rue
Chasselièvre_. After visiting St. Gervais come back to the Place
Cauchoise and take the Rue Cauchoise until you reach the _Rue des Bons
Enfants_, where at No. 134 died Fontenelle. As you pass the _Rue
Étoupée_ stop to look at the sign of the house at No. 4, built in
1580. If you are wise you will lunch at the old inn at No. 41 Rue des
Bons Enfants, admire the stables, and inspect Room No. 10. Refreshed
and fortified, go straight on, across the Rue Jeanne d'Arc into the
_Rue Ganterie_ and so by way of the Rue de l'Hôpital to the crossing
of the Rue de la République. Almost in front of you on the other side
is the queer little alley called the _Rue Petit Mouton_, and as you
pass down it you will see how much bigger the streets look on my Maps
(for the sake of being clear) than they are in reality. This leads you
across the Place des Ponts de Robec to the beginning of the _Rue Eau
de Robec_ where you will notice at once, on the left, the house at No.
186, with the sign which shows the faithful horse returning from the
scene of his master's murder to bring the news into the town. No. 223
on the other side at the corner of the Rue de la Grande Mesme is fine,
and so is No. 187 at the angle of the _Rue du Ruissel_. All the while
the inky water is trickling under countless bridges on your left hand
("Ignoble little Venice" Flaubert calls it all in "Madame Bovary,"
which gives you, otherwise, the worst impression of Rouen in any book
I know), and swarms of little children chatter and play about the
cobblestones, while women throng the countless dens and cubbyholes,
until you fly for shelter into one of the numerous curiosity shops and
buy a fifteenth-century door-knocker manufactured expressly for your
visit. Past the Place St. Vivien and the Church, the Eau de Robec
still continues; and, as the Rue du Pont à Dame Renaude opens on your
left, there is a good house at the corner of the opposite street.
Further on to the left a great building with overhanging eaves
stretches from 34 to 30. Then, over a broader bridge, the Rue des
Célestins goes northwards, and this street of bridges ends in the
green trees of the Boulevard, with a lovely view of that Maison des
Célestins which the Duke of Bedford endowed, far to your right in the
distant corner of the old wall of the Hospital.
Coming back by the Robec (for it well deserves looking at from each
end), when you reach the Rue de la République turn northwards for a
sight of the south front of St. Ouen, and then leave the Place de
l'Hôtel de Ville by way of the _Rue de l'Hôpital_ due west. No. 1 is
an exquisite Renaissance house with its colonnade and arches and
carved capitals. In the courtyard within is a beautiful doorway of the
same period set at right angles to the street façade. Upon its
entrance columns (which are double, one set above another) two
delicately moulded statuettes of women are placed on each side of the
slender upper shaft. Over the door is the motto--"DomiNuS MICHI
ADIUTOR," the same which occurs above the arms of Cardinal Wolsey on
the terra-cotta plaque at Hampton Court. This fine house extends some
way down the street, and leads you pleasantly onwards till the Rue
Socrate opens to your left. Go down it and glance on each side as the
_Rue des Fossés Louis VIII._ crosses your path. At the end is the
great Palais de Justice. Beyond that (you may go through Louis XII.'s
archway or keep the Palace wall upon your right) is the _Rue aux
Juifs_, in which No. 35 is an exact model of its ancient predecessor.
In the _Rue du Bec_ there are remains of fine houses and spacious
courtyards, and through it you arrive at the Rue de la Grosse Horloge
and the great archway that holds the famous clock of Rouen.
The only other houses I can remember as worthy of a special visit are
Nos. 5, 7, and 18 in the _Rue St. Étienne des Tonneliers_, which opens
out of the Rue du Grand Pont just before the quays. Where the Rue
Jacques Lelieur enters it are the ruins of a lovely church fallen upon
very evil days. All over Rouen you may find walks equally interesting,
but I have done enough in suggesting a few of the most typical.
II
_Monuments classés parmi les Monuments Historiques de France_
HORS CLASSE. Cathédrale (État).
Maison Corneille, Petit Couronne (Départ.).
I. CLASSE. Chapelle de St. Julien des Chartreux à Petit Quévilly.
St. Godard (verrières).
St. Maclou.
St. Ouen.
St. Ouen (Chambre ou Tour aux Clercs).
St. Patrice.
St. Vincent.
II. CLASSE. Tour St. André.
Cathédrale, Salle Capitulaire et Cloître.
Fontaine Croix de Pierre (Musée des Antiquités).
St. Gervais (Crypte et Abside).
Aître St. Maclou.
Choeur de St. Nicaise.
Chapelle de la Fierte St. Romain, à la Vieille Tour.
III. CLASSE. Église Mont aux Malades.
Église St. Paul (abside).
St. Vivien (clocher).
III
_Museums and Libraries_
The _Musée des Antiquités_ at the northern end of the Rue de la
République contains some very interesting prehistoric remains; a
quantity of Merovingian relics, such as axe-heads, finger-rings,
lance-points, necklaces, buttons, buckles, needles, combs, and
pottery; the standard measures of Rouen from the sixteenth to the
eighteenth century; lead crosses with formulas of absolution stamped
upon them from the eleventh to the thirteenth century; medals and
tokens of many local abbeys and confrèries; coins of the Dukes of
Normandy from 911 to 1216; an eleventh-century Oliphant; some glass
mosaics; and the statue of Henri Court Mantel from his tomb in the
Cathedral. All these are in the first room. In the next are Roman
vases and glassware; some fine bronze weapons; and a large Gallo-Roman
mosaic; also "La Capucine," as the first municipal fire-engine was
called, which was only instituted in 1719. It was only in 1686 that
any organisation at all was made to prevent fires, and the first
"Pompiers de Rouen" were created in 1800. These facts, in connection
with the general use of wood for common houses even till late in the
sixteenth century, explain a great deal of the terrible destruction by
fire in every quarter of the town. In a third room are gathered
together some good examples of tapestry and furniture, and in a room
by itself is a magnificent mosaic from Lillebonne. Of the inner
quadrangle and the front courtyard I have spoken already in earlier
pages.
* * * * *
The _Musée de Rouen_ in the Rue Thiers has four separate divisions
each worthy of your attention. The _first_ is the beautiful garden
which stretches westward to the Rue Jeanne d'Arc. The _second_ is the
_Town Library_, which is entered by its own door opposite the Église
St. Laurent. In my list of authorities I have mentioned books which
can all be obtained in the Library, where there are excellent
arrangements for the student to work and take notes from as many books
as he likes, and keep them together from day to day. Among its more
remarkable manuscripts are Anglo-Saxon writings of the tenth century,
illuminated "Heures" of the fifteenth century, the "Missel" of Georges
d'Amboise; there are also several "incunables d'imprimerie de Rouen,"
and other rare works; by the help of M. Noël, M. Beaurain, and their
capable assistants, no student of civic or departmental history can
fail to find all he desires. For more careful researches into original
authorities he will do well to consult M. Charles de Beaurepaire, who
presides of the _Archives_, near the Prefecture in the Rue Fontenelle;
and he will find further documents of interest in the _Hôtel de Ville_
and the _Library of the Chapterhouse_, which is reached by way of the
staircase out of the north transept in the Cathedral. The _third_
division of the Musée de Rouen is the _Gallery of Faience and
Ceramics_. The enamelled tiles for Constable Montmorency, called the
"carrelages d'Ecouen," which bear the mark, "Rouen, 1542," were not
made by Bernard Palissy, but by the man of whom a record exists in May
24, 1545, "Masséot Abaquesne, esmailleur en terre demeurant en la
paroisse St. Vincent de Rouen." After 1565 this "terre émaillée" is
not made here any more, but in 1645 Esmé Poterat is the best maker of
porcelain in France, and was the founder of the famous Rouen school of
the "fond jaune ocré," in which Guilleband and Levavasseur were
conspicuous for their "style rayonnant" in the seventeenth century. On
the right of this gallery is a very fine example of this style, with
blue arabesques, and in the same room a queer mixture of localities is
observable in the Chinese figures dancing the dances of Normandy, to
the tune of Norman bagpipes, in a queerly Celestial atmosphere. There
is also the famous "violon de faience" to be seen. The _fourth_ and
most important division is, of course, that which contains the
pictures, and by a very sensible arrangement those which have
especially to do with the ancient or modern history of the town are
usually gathered into one gallery, which is of the highest interest to
any student of the history of Rouen. Some two hundred and fifty
prints, drawings, and paintings of local interest may often here be
studied. In the galleries themselves, No. 413 is a view of Rouen taken
from St. Sever by Jean Baptiste Martin who died in 1735. It shows the
gates of the town, even the Vieux Palais on the left, the wooden
bridge, the Ile St. Croix full of trees, the old piers still standing
of the Empress Matilda's Bridge, and a fashionable assemblage on the
Cours la Reine, by the St. Sever bank. After reading this book, you
will find few pictures more interesting as a reproduction of the
various pieces of architecture now vanished.
Out of a list of pictures most kindly made for me by M. Edmond Lebel,
the keeper of the Museum, I will select a few which must on no account
be missed.
EARLY WORK.--
No. 421. Ecce homo Mignard.
" 34. Concert sur une place publique Berghem.
Paysage Ruydaël.
" 570. Portrait Velasquez.
" 494. Le Bon Samaritain Ribera.
" 536. Chasse au Sanglier Sneyders.
" 285. Portrait de l'auteur Jouvenet.
" 481. Vénus et Enée Poussin.
" 54. Vierge et Enfant Sandro Botticelli.
" 210. Vierge et Enfant (avec portraits) Gérard (David).
" 573. Vision Veronèse.
" 316. Baigneuses Lancret.
AFTER 1800.--
No. 265. La belle Zélie Ingres.
" 115. Paysages Corot.
Études Diverses Géricault.
" 152. La Justice de Trajan. Delacroix.
" 544. Un métier de chien Stevens (Joseph).
" 239. Études Diverses Meissonier.
" 97. Portrait François Millet.
" " Tête Bonington.
" 489. Le Pilote Renouf.
DRAWINGS.--
No. 811. Étude Lebrun.
" 833. Figures Rembrandt.
" 795. Visite de Bonaparte à Rouen Isabey.
" 737. Vue de Rouen in 1777 Cochin.
" 796. Étude Jouvenet.
" 856. Diverses Études Géricault.
Études Delacroix.
SCULPTURE.--
No. 937. Napoleon (marbre) Canova.
" 959. Géricault (tombeau, marbre) Etex.
" 946. Armand Carrel (bronze) David d'Angers.
" 934. Pierre Corneille (terre cuite) Caffieri.
" 941. Boieldieu (marbre) Dantan Jeune.
" 985. Fontenelle (marbre) Romagnesi.
IV
_Authorities_
Though I desire to express my indebtedness to all the works mentioned
in these pages, the books given in the list that follows are those
which should be first consulted by anyone who wishes to follow on
completer lines the story of the town which I have been obliged to
shorten. The commonplace of artistic, or historical, or architectural
literature I have omitted. Those who know it will easily recognise the
passages in which I have made use of Freeman, of Ruskin, of Viollet le
Duc, of Michelet, of many other standard works. Those who yet have it
to discover can find it for themselves in any library.
But the undermentioned works, some of them only to be found in Rouen
itself, are worthy of the attention of any student who wishes to carry
his researches further into one of the most interesting of French
mediæval cities. All the publications of the "Société Rouennaise des
Bibliophiles" and of the "Société des Bibliophiles des Normandes" may
be consulted with advantage, and every volume of "Normannia" issued by
the "Photo Club Rouennais."
Histoire du Parlement de Normandie--_A. Floquet_, 1840, 7
vols.
Histoire du Privilège de St. Romain--_A. Floquet_, 1833, 2
vols.
Anecdotes Normandes--_A. Floquet_, second edition, 1883.
Rouen Monumental au XVIIme et XVIIIme siècle--_Georges
Dubosc_, 1897.
Dictionnaire des Rues de Rouen--_Nicétas Périaux_, 1871.
Histoire Chronologique de Rouen--_Nicétas Périaux_, 1874.
Sculptures Grotesques de Rouen--_Jules Adeline_, 1878
(illus.).
Description Historique des Maisons de Rouen--_E.
Delaquérière_, 1821 (illus.).
Description, etc., vol. ii., 1841 (illus.).
Siège de Rouen (1418-19)--_M.L. Puiseux_, 1867.
La Danse des Morts du cimetière St. Maclou--_E.H. Langlois_,
1832 (illus.).
Stalles de la Cathédrale de Rouen--_E.H. Langlois_, 1838
(illus.).
Rouen, Rouennais, Rouenneries--_Eugène Noël_, 1894.
Rouen, Promenades et Causeries--_Eugène Noël_, 1872.
L'Ancien Bureau des Finances--_Georges et André Dubosc_,
1895.
Peintures Murales du XIIme siècle--_G.A. Le Roy_, 1895.
Tapisseries de Saint-Vincent--_Paul Lafond_, 1894 (illus.).
Le Donjon du Château (Tour Jeanne d'Arc)--_F. Bouquet_, 1877.
La Muse Normande (_David Ferrand_, 1625-1653), 5 vols.,
Rouen, 1891.
Mystère de l'Incarnation, etc., avec introduction, etc.--_P.
le Verdier_, 1886.
Description des Antiquités de Rouen--_Jacques Gomboust_,
1655.
Roman de Rou (by Robert Wace), edited by _F. Pluquet_, 2
vols., 1827.
Le Livre des Fontaines (J. Lelieur), edited by _T. de
Jolimont_, 1845 (illus.).
Les Quais de Rouen--_Jules Adeline_, 1879 (illus.).
Les Fastes de Rouen (H. Grisel), edited by _F. Bouquet_,
1870.
Éloges de Rouen (P. Grognet, etc.), edited by _Ed. Frère_,
1872.
La Friquassée Crotestyllonnée--"_Abbé Raillard_," 1604.
Rouen Pittoresque, drawings by _Lalanne_, text by various
hands, 1886 (illus.).
Rouen qui s'en va--_Jules Adeline_, 1876 (illus.).
Rouen Disparu--_Jules Adeline_, 1876 (illus.).
Rouen Illustré, drawings by _Allard_, text by various hands,
2 vols., 1880 (illus.).
La Tapisserie de Bayeux--_H.F. Delaunay_, 1824.
Une Fête Brésilienne à Rouen en 1550--_F. Denis_, 1851.
Rouen au XVIe siècle (d'après J. Lelieur, 1525)--_Jules
Adeline_, 1892 (illus.).
Tombeaux de la Cathédrale de Rouen--_A. Deville_, 1881.
The works published by M. Charles Robillard de Beaurepaire deserve
special mention by themselves. The student should consult every one he
can discover. They are chiefly in the shape of paper pamphlets,
containing invaluable reprints from the manuscripts of the town, with
notes and introductions. Published, as they ought to be, in several
collected volumes, they would make an extraordinary contribution to
the history of Northern France from Norman times to the present day. I
have consulted and quoted so many, that I have no space to give all
their titles, but the few which follow are merely those which were of
the greatest importance to me in the pages which have gone before:--
Memoire sur le lieu du supplice de Jeanne d'Arc, 1867.
Don Pedro Niño en Normandie, 1872.
Duc de Bedford à Rouen.
Accord conclu par Robert de Braquemont, etc.
La Sénéchaussée de Normandie, 1883.
Les États de Normandie sous Charles VII., 1875.
L'Écurie de Catherine de Médicis.
Notes sur les Lépreux.
Notice sur une Maison de la rue de la Grosse Horloge.
Les Architectes de Saint Maclou.
Logis de Lord Clarendon en 1674, Rue Damiette.
L'Ancien Clos des Galées, 1869.
Charles VIII. à Rouen, 1853.
Les Tavernes de Rouen au XVI siècle, 1867.
INDEX
A
ABBAYE de St. Amand, 15; 71; 85.
ABINGDON, 76.
"ABJURATION" of Jeanne d'Arc, 223.
AÎTRE St. Maclou, 299 etc.
ALAIN Blanchart, 194.
ALIGRE (Hôtel d'), 384 etc.
AMPÈRE (No. 13 Rue), 389.
ANDRÉ (St.), 247.
ANGLO-SAXON Architecture, 100.
ANSELM, 40; 63; 77.
ANTIQUARIES (Society of), 341; 342.
ANTIQUITÉS (Musée des), 7; 12 etc.; 23; 397.
ARCHITECTS (of Cathedral), 126 etc.; 129 etc.
ARGENTEUIL (Tale of the murder at), 288 etc.
ARISTOTE (lai d'), 260.
ARMAGNACS, 174.
ARPENTS (Rue des), 4.
ARRÊT du Sang Damné, 275.
ATHANAGILD, 26.
AUBETTE, 2; 70.
AUDOWERE, 25; 29.
AUTHORITIES, 400.
B
BAC (Rue du), 15.
BALAIS (Marché aux), 352.
BAPAUME, 2.
BASSE Vieille Tour, 5.
BATAILLE (Pré de la), 52.
BAYEUX Tapestry, 66; 78.
BEAUREPAIRE (Charles Robillard de), 402.
BEAURAIN, 359.
BEAUVAIS (Bishop of), 206 etc.
BEAUVOISINE (Porte), 54.
BEC (Hôtel du), 172.
BEDFORD (Duke of), 197; 198.
BELFRY of the town, 139.
BELLENGUES (The Story of Jeanne de), 172.
BERGERIES carved on Maison Bourgtheroulde, 334.
BERNARD the Dane, 52.
BERTRAND du Guesclin, 149.
BIGOT (Laurent), 289 etc.
BLIND man of Argenteuil, 288 etc.
BLOIS (Theobald of), 46.
BOHIER (Thomas), 286.
BOISE de St. Nicaise, 370 etc.
BOIS Guillaume, 2.
BONNE Âme (Bishop Guillaume), 69.
---- Nouvelle (Church), 68.
BONSECOURS, 2.
BONS Enfants (Hôtel des), 161.
BOULINGRIN (Place du), 6.
BOURGTHEROULDE (Maison), 9; 83; 321 etc.
BOURSE (Quai de la), 48.
BOUVREUIL (Castle of), 5.
---- (Porte), 91.
BRAZIL, 349.
BRAZILIAN Fête, 350.
BRAZILIANS, 351.
BRÉZÉ (Jacques de), 263.
---- (Tomb of Louis de), 314.
---- (Pierre de), 261.
BRUNHILDA, 24 etc.
BUREAU des Finances, 285.
BURGUNDIANS, 175.
BURNING of Jeanne d'Arc, 228.
C
CACHE Ribaut (bell), 9; 137.
CALENDE (Place de la), 42; 48; 70.
CANADA, 383.
CANARIES (King of the), 150.
CANTELEU, 2.
CARADAS (Maison), 346.
CARMES (Rue des), 7; 90; 114.
CARVINGS of Maison Bourgtheroulde, 338 etc.
CATHEDRAL, 115 etc.; 256 etc.
---- Architects, 126 etc.
CATHERINE de Médicis, 350.
CATHERINE (Mont Ste.), 2.
CAUCHOISE (Place), 6.
---- (Rue), 6.
CAUCHON (Pierre), 206 etc.
CAUDEBEC, 186.
CÉLESTINS (Couvent des), 197.
CÉLESTIN (Joyeux), 198.
CEMETERY of St. Maclou, 299 etc.
---- of St. Ouen, 222.
CHAMP du Pardon, 69.
CHANNEL ISLANDS, 52.
CHAPEL of the Archbishop, 213.
CHAPELLE de la Fierte, 5; 37; 108; 357.
---- St. Julien, 96.
---- des Ordres, 214.
CHARLES V., 129.
---- VI., 155.
---- VII., 232.
---- VIII., 40.
---- VIII. in Rouen, 240 etc.
---- le Mauvais, 148.
CHARTREUSE de la Rose, 182.
CHARTREUX, 95.
CHASSELIÈVRE (Rue), 17.
CHASTEL (St. Pierre du), 5.
CHÂTEAU, Gaillard, 87.
CHURCHES of Rouen, 233 etc.
CIVILLE (François de), 316.
CLARENDON'S House at Rouen, 383 etc.
CLÉMENT (St.), 42; 48.
CLERCS (Tour aux), 71.
CLOCK of the Town, 139.
CLOS AUX GALÉES, 112.
CLOS AUX JUIFS, 70.
CLOVIS, 21.
COMMERCE, 85; 112; 349; 369 etc.
COMMUNE (of Rouen), 110.
CONAN, 80.
CONCEPTION (Confrèrie de la), 69.
CONFRÈRIES, 79; 85.
---- (carvings), 259.
CONFRÈRIE de la Conception, 69.
---- de la Passion, 168.
CONFRÈRIE de St. Michel, 305.
---- St. Romain, 356 etc.
CORDAY (Charlotte), 391.
CORDELIERS (Rue des), 5; 48.
CORNEILLE, 377 etc.
---- (Pont de Pierre), 7.
COUR d'Albane, 218.
---- des Comptes, 287.
COUSTOU'S Bas Relief, 389.
CREPIN (St.), 85.
CRIMES. See RECORDS of the Fierte.
CROIX (Ile St.), 3.
---- (St., des Pelletiers), 85.
CROSNE (Intendant de), 392.
CRYPTE, St. Gervais, 9; 18 etc.
CUSTOM-HOUSE, 389.
D
D'AMBOISE (Tomb of the Cardinals), 310.
DAMIETTE (No. 29 Rue), 12.
---- (No. 30 Rue), 384 etc.
---- (Rue), 299.
DANSE Macabre, 306 etc.
DARÉ (Pierre), 369.
DARNÉTAL, 2.
DEATH, 292 etc.
---- personified, 293.
DEMOCRATIC Architecture, 119.
DENIS (Rue St.), 15; 48.
DÉTANCOURT (Maison), 140.
DONJON of Château de Bouvreuil, 208 etc.
DUDO of St. Quentin, 40.
E
EAU DE ROBEC (Rue de l'), 6.
EDWARD the Confessor, 66.
ÉGLISE St. Paul, 99.
ELECTION of Georges d'Amboise, 253 etc.
ELOI (St.), 23; 42; 48.
ÉMENDREVILLE (St. Sever), 68.
ENFANTS (Hôtellerie des Bons), 9.
ENGLISH Army of 1418, 179.
ENGLISHMEN and Rouen, 326.
ENGLISH Palace, 196.
ENGLISHMEN with Henry of Navarre, 319.
ENTRY of Francis I., 280 etc.
ÉPÉE (Rue de l'), 6.
ÉPICERIE (Rue de l'), 9; 352; 353.
EPTE, 48.
ERMONDEVILLE (St. Sever), 55.
ESPAGNOLS (Rue des), 6.
ÉTIENNE des Tonneliers (St.), 70.
EÛRE (river), 2.
F
FAÇADE of St. Ouen, 237.
FAÇADES of Rouen churches, 237.
FAIENCE and Ceramics, 398.
FEAST of the Farmers, 375.
FERRAND (David), 370.
FESTIN du Cochon, 375.
FÊTE St. Anne, 375.
---- aux Normands, 69; 369.
---- des Rois, 383.
---- St. Vivien, 375.
FIELD of the Cloth of Gold, 326.
FIERTE (Chapelle de la), 5.
---- (Levée de la), 69.
---- (Prisoners released by), 163.
---- (Prisoners of the), 200 etc.
---- (Procession of the), 354 etc.
---- (Record of the), 264 etc.; 295.
FINANCES (Bureau des), 285.
FITZOSBERN (William), 62; 66.
FOIRE du Pardon, 69.
---- du Pré, 68.
FONTAINE Croix de Pierre, 13.
---- de la Grosse Horloge, 111.
FONTENELLE, 377 etc.
FORTIN (Mont), 2.
FOSSÉS Louis VIII. (Rue aux), 15.
FRANCE (Hôtel de), 15.
FRANCIS I. (Entry), 279 etc.
FRANCO, 47.
FREDEGOND, 24 etc.
FRIDEGODE, 35.
FULLER-MAITLAND, 359.
G
GALESWINTHA, 26.
GARGOUILLE, 39.
GARRISON of Rouen in 1418, 178.
GASTINEL (Tomb of Denis), 212.
GÂTEAU des Rois, 376.
GEORGES d'Amboise (Election), 253 etc.
GEORGES d'Amboise, 256; 390.
---- (bell), 9; 129; 356.
GERMAN Invasion, 391.
GERVAIS (St.), 5.
GERVAIS (Crypte St.), 9; 18 etc.
---- (Fair of St.), 68.
---- (Priory of St.), 17; 77.
GISELA, 49; 51.
GODARD (St.), 21; 48.
GOSSE (Edmond), 274.
GOTHIC Architecture, 102; 116.
GOUJON (Jean), 244.
GRAND Pont (Rue), 7.
GREGORY of Tours, 31.
GRISEL (Hercule), 375; 377.
GROSSE Horloge (Rue de la), 6.
GROTESQUE carvings, 124 etc.
GUISCARD (Robert), 61.
H
HALLAGE (Rue du), 159; 353.
HALLES, 91; 112; 348.
HARELLE (Révolte de la), 150 etc.
HARENGUERIE (Rue), 343.
HARO (Clameur de), 146.
HAROLD BLACKTOOTH, 53.
HASTINGS the Dane, 47.
HAUTE Vieille Tour, 5.
HENRI BEAUCLERC, 77; 80.
HENRY II., 95.
HENRI II. (Entry), 350.
HENRY V.'S plan of invasion, 177.
HERBLAND (Église St.), 16; 22.
---- (St.), 41.
HERLWIN, 77.
HILAIRE (St.), 2.
---- (Place St.), 6.
HILDESWINDA; 25.
HILPERIK, 25 etc.
HLODOWIG (Clovis), 21; 24.
HLOTHAIR, 24.
HOLBEIN, 307.
HORLOGE de la Ville, 138.
---- (Rue de la Grosse), 6.
HÔTEL Bourgtheroulde, 321.
HÔTEL d'Aligre, 384 etc.
HÔTEL de France, 15.
HÔTEL des Bons Enfants, 161.
HÔTEL de Ville (Place de l'), 6.
HÔTEL de Ville, 84; 110; 144.
HÔTEL du Bec, 172.
HUGH II. (Archbishop), 58.
I
ILE, St. Croix, 3.
INNS, 160.
J
JEANNE D'ARC, 6; 200 etc.
---- (Rue), 7; 15.
---- (Tour), 5; 6; 208.
JOHN LACKLAND, 87.
JUIFS (Clos aux), 70.
---- (Rue aux), 90.
JULIEN (St. J. Petit Quévilly), 95 etc.
JUMIÈGES (William of), 40
JUSTICE (Mediæval), 264 etc.
---- (Palais de), 15; 277.
L
LAI d'Aristote, 260.
LANFRANC, 63; 64; 67; 75; 77.
LATIN Language, 377.
LAURENT (St.), 85; 248.
LECOINTE (Guillaume), 97.
LELIEUR (Jacques), 5; 16; 40; 344; 345.
LE PUY (des Palinods), 69.
LEROUX (Rouland), 130.
LE ROUX, 322.
LESTRANGE (Archbishop Guillaume de), 155.
LEVÉE de la Fierte St. Romain, 69; 104 etc.
LIBRARY, 398.
LION (Porte Guillaume), 4; 6. Lô (Parish of St.), 90.
---- (Priory St.), 15.
LONDON, 16; 21; 88.
LOTHAIR (of France), 57.
LOUIS (of France), 53.
LOUIS d'Outremer, 52.
LOUIS VII., 85.
---- VIII. (Rue aux Fossés), 15; 42.
---- (St.), 115.
---- XI., 157.
---- XII., 40.
---- XIV., 387.
---- XV., 390.
---- XVI., 390.
---- Philippe, 391.
M
MACABRE (Danse), 306 etc.
MACLOU (Église St.), 15.
---- (St.), 243 etc.
MADELEINE (Rue de la), 48.
MADRIGAL sung in 1550, 360 etc.
MAISON Bourgtheroulde, 321.
MAISON des Célestins, 197.
MAISON de Diane de Poitiers, 136.
---- Jeanne d'Arc, 220.
MALADES (Mont aux), 2.
MALPALU (Rue), 15; 80.
MAL S'Y FROTTE, 6.
MALSIFROTTE, 196.
MARAT, 391.
MARC D'ARGENT, 234.
MARCHÉ aux Balais, 352.
MARCHÉ Neuf, 42.
---- (Place du Vieux), 6.
---- VIEUX (Place du), 51.
MARIE D'ESTOUTEVILLE (bell), 9.
MARTAINVILLE (Place), 6.
MARTIN (St., of Tours), 18; 45.
---- (St.), 30; 48.
---- (St. M. de la Roquette), 22; 47.
---- (St., Sur Renelle), 85.
MASSACRE (Porte), 84; 90.
---- (Rue), 42; 82; 135.
MATILDA (Empress), 68; 82; 98.
MATILDA of Flanders, 63; 76.
MAUGER, 63.
MAUPERTUIS, 56.
MAURILIUS, 64; 70; 91.
MEDIÆVAL Workmen, 118.
MELANTIUS, 33; 34.
MELLON (St.), 17; 18.
MEREDITH (George), 169; 393.
MEROWIG, 25; 28 etc.
MESSE du Prisonnier, 355.
MICHEL (Confrèrie de St.), 305.
MILITIA of Rouen, 147.
MINT, 162.
MIRACLE PLAYS, 105.
MISERICORDES, 258.
MOLIÈRE, 378 etc.
---- (Rue), 299.
MONT FORTIN, 2.
MONT AUX MALADES, 2; 92; 93 etc.
MONT RIBOUDET, 2.
MONT SAINT AIGNAN, 2.
MONT STE. CATHERINE, 2; 99; 176.
MONTAIGNE, 351.
MONUMENTS Historiques, 39.
MOSSELMEN (Pol), 258.
"MOUCHE," 393.
MUSÉE des Antiquités, 7; 12; 23; 397.
MUSÉE DE ROUEN, 398.
MUSEUM, 6.
MUSIC sung in 1550, 362.
MYSTERY Plays, 105; 167.
N
NAPOLEON (the Great), 391.
NATIONALE (No. 41 Rue), 48.
NEWFOUNDLAND, 383.
NICAISE (St.), 17.
---- (story of St.), 371.
NID DE CHIENS, 182; 394.
NORMAN Architecture, 101.
NORMANDS (Fête aux), 69.
O
ODO of Bayeux, 63; 78.
OLD Houses, 394 etc.
OLD Hundredth, 359.
ORDERIC Vital, 40.
OSMOND, 53.
OUEN (St.), 5; 6; 17; 35; 48; 152; 233 etc.
---- (Cemetery of St.), 222.
OURS (Rue aux), 15; 42; 48.
P
PALAIS (Rue du Vieux), 6.
---- de Justice, 15; 42; 277 etc.; 351.
PALINODS (Puy des), 69.
PANTAGRUEL, 149.
PAPEGAULT, 375.
PARDON (Champ du), 69.
---- (Foire du), 69.
PARVIS of Cathedral, 4; 6; 16; 42; 70; 86.
PASCAL, 380.
PASTOUREAUX, 114.
PECQUIGNY, 52.
PEDRO NIÑO, 170.
PETIT Quévilly, 3; 95 etc.; 97.
---- Salut, 389.
PETRARCH'S "Triumphs," 332.
PHILIP AUGUSTUS, 6; 90.
PICTURES, 399.
PIERRE DE BRÉZÉ, 261.
---- (Église St., du chastel), 48.
---- (Fontaine Croix de), 13.
PILON (Germain), 308.
PLACE de la Calende, 42; 48; 70.
PLACE de la Haute Vieille Tour 38.
---- du Marché Vieux, 51.
---- de la Pucelle, 226; 227; 321.
---- de la Rougemare, 56.
---- Verdrel, 42.
---- de la Vieille Tour, 354.
---- du Vieux Marché, 226 etc.
PONT Boieldieu, 96.
---- de Pierre Corneille, 7; 68.
---- de l'Arche, 46.
---- (Rue Grand), 7.
---- de Robec (Place des), 6; 16; 42.
PONTIFZ (Guillaume), 129.
PORTAIL de la Calende, 126.
---- des Libraires, 6; 70.
---- aux Libraires, 121 etc.
PORT Morant, 16.
PORTE Beauvoisine, 54.
---- Guillaume Lion, 4.
POTERNE, 42.
PRÉ de la Bataille, 52.
PRETEXTATUS, 25; 29; 31; 32; 33.
PRISONERS released by the Fierte, 264 etc.
---- released by the Privilège St. Romain, 295 etc.
PRIORY of St. Gervais, 17.
---- St. Lô, 15.
PRIVILÈGE St. Romain, 37; 104 etc.
---- St. Romain (Prisoners of), 163 etc.
---- St. Romain (Records of the), 295 etc.
PROCESSION of the Fierte, 354 etc.
PUNISHMENTS of the XVIth century, 273.
PUY de Conception, 370.
PUY des Palinods, 69.
Q
Quentin (Dudo of St.), 40.
Quévilly, 66.
---- (Petit), 3; 95 etc.
R
RABELAIS, 149.
RAGNAR LODBROG, 45.
RECORDS of the Fierte St. Romain, 163 etc.; 200 etc.; 264 etc.; 295 etc.
REHABILITATION of Jeanne d'Arc, 229.
REIGN of Terror, 390.
RELIGIOUS Wars, 315.
RÉPUBLIQUE (Rue de la), 7.
RÉVOLTE de la Harelle, 150 etc.
---- des Va-nu-Pieds, 382.
RICHARD (the Fearless), 52; 58.
RICHARD II. (Duke), 68.
RICHARD COEUR DE LION, 86; 87; 98.
RIBOUDET (Mont), 2.
RICARVILLE, 230.
ROBEC, 2; 15; 48; 70.
---- (Eau de), 48.
---- (Ponts de), 15; 42.
ROBERT (The Devil), 62.
---- (Duke of the Franks), 49.
---- (The Magnificent), 62.
---- Short Hose, 75; 81.
---- (Son of the Conqueror), 78.
ROLLO (Rolf), 45.
ROLF the Ganger, 46.
ROMAIN (St.), 37 etc.; 41; 69.
---- (St., his shrine), 98.
---- (Privilege of St.), 37 etc.; 104 etc.
---- (Rue St.), 6.
---- (Tour St.), 71.
ROMAINE, 389.
ROMAN DE ROU, 69.
ROMANESQUE, 18.
RONSARD, 309.
ROTOMAGOS, 14.
ROU (Rollo), 45.
ROUGEMARE (Place de la), 56.
ROUMARE, 2.
ROUVEL (bell), 9; 86; 137.
ROUVRAY, 3.
RUE des Chanoines, 220.
---- des Charettes, 113.
---- Croix de Fer, 217.
---- St. Denis, 48.
---- Dinanderie, 222.
---- St. Eloi, 162.
---- de l'Épicerie, 352.
---- de la Grosse Horloge, 134 etc.
---- des Fossés Louis VIII., 42; 113.
---- de l'Hôpital No. 1, 396.
---- Massacre, 42.
---- St. Nicolas, 217.
---- aux Ours, 42.
---- St. Romain, 219 etc.
---- de la Salamandre, 352.
RUISSEAU (Rue du), 6.
RUSKIN, 121; 122.
S
SACRISTAN of St. Ouen, 58; 240.
SAINT Denis (Rue), 15.
---- Marie (Place), 16.
SALAMANDRE (Rue de la), 352.
SANG Damné, 275.
SATYRE Ménippée, 386.
SAUT de Conan, 80.
SAVONNERIE (Rue), 344.
"SEGE of Roan" (Poem), 132.
SELDEN (Camille), 393.
SENESCHAL, 261 etc.
SÉRIFONTAINE (Château de), 172.
SEVER (St.), 3; 17; 68.
SIEGE of 946, 53.
---- of Rouen by Henry V., 169 etc.
SIEGES of Sixteenth Century, 315 etc.
SIGEBERT, 25; 27.
SIXTEENTH Century, 294; 300 etc.
SOTTEVILLE, 3.
SPAIN and Rouen, 173.
STAIRCASE of St. Maclou, 245.
STARVATION in Rouen, 188.
ST. AMAND (Abbess of), 253.
ST. ANDRÉ, 247.
ST. CATHERINE'S Mount, 99.
ST. CLÉMENT, 42.
ST. ELOI, 42; 252.
ST. GERVAIS, 5.
ST. GODARD (Windows), 248.
ST. HERBLAND, 41; 135.
ST. HILAIRE, 2.
ST. JULIEN (frescoes), 95 etc.
ST. LAURENT, 248.
ST. LOUIS, 114.
ST. MARTIN, 30.
ST. MACLOU, 243 etc.
ST. OUEN, 5; 35; 48; 55; 152; 233 etc.
ST. PATRICE (Windows), 250.
ST. PAUL (Church), 99.
ST. PIERRE DU CHASTEL, 5.
ST. QUENTIN, 84.
ST. ROMAIN, 37 etc.; 41; 69.
---- (Fête), 107.
---- (Record of the Privilege), 163 etc.; 200 etc.; 264 etc.; 295 etc.
---- (Shrine), 98.
ST. SEVER, 2.
ST. VINCENT (Église), 147.
---- 249; 250.
ST. VIVIEN, 252.
T
TALBOT, 205.
TAPISSIERS (Rue des), 15.
TESTIMONY of Jeanne d'Arc, 216.
THIERS (Rue), 6.
THOURET, 390.
TOMB of the Cardinals d'Amboise, 310.
---- of Louis de Brézé, 314.
TONNELIERS (St. Étienne des), 70.
TOUR (Place de la Haute Vieille), 38.
---- (Basse Vieille), 5.
---- de Beurre, 129; 256.
---- aux Clercs, 71.
---- du Colombier, 197.
---- (Haute Vieille), 5.
---- Jeanne d'Arc, 5; 205; 207; 214 etc.; 230 etc.
---- de Rouen, 57; 81.
---- St. André, 247.
---- St. Romain, 91; 71.
V
VALDORY (Captain), 317.
VELOCASSES, 14.
VERDREL (Place), 15.
VEXIN, 14.
VICOMTÉ DE L'EAU, 84; 86.
VIEUX Marché (Place du), 6.
---- Palais (Rue du), 6.
VITAL (Orderic), 40.
VOLTAIRE, 387.
W
WACE (Robert), 57; 69.
WALLINGFORD, 76.
WANTAGE, 80; 319.
WEST HANNEY, 319.
WHITE SHIP, 82.
WILLIAM THE BASTARD, 62; 72.
WILLIAM THE CONQUEROR, 72 etc.
WILLIAM OF JUMIÈGES, 40.
WILLIAM LONGSWORD, 50.
WILLIAM RUFUS, 80; 81.
WORKMEN (Mediæval), 119.
X
XAINTRAILLES, 230.
Y
YVETÔT, 36; 24.
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