The Story of Rouen. Theodore Andrea Cook

you see to build up one after another the centuries that have rolled over tide-worn Rouen. Let it be said at once that the "Old Rouen" you will first see is almost completely a French Renaissance city of the sixteenth century. Of older buildings you will find only slight and imperfect remnants, and as you pass monstrosities more modern you will involuntarily close your eyes. But the remnants are there, slight as they are; and they are worth your search for them, as we try together to reconstruct the ancient city of which they formed a part.

      Rouen has in its turn been the most southerly city of a Norman Duke's possessions, then the central fortress of an Angevin Empire that stretched from Forth to Pyrenees, then a northern bulwark for the Kings of Paris against the opposing cliffs of England. It has sent out fleets upon the sea, and armies upon land. It has been independent of its neighbours, it has led them against a common foe, and it has undergone with them a national disaster. But no matter who were its rulers, or by what title it was officially described, or how it has been formally divided, eternal bars and doors have been set for its inhabitants by the mountains and the waters, eternal laws have been made for them by the clouds and the stars that cannot be altered. In the natural features that remain the same to-day, in the labourers of the soil, and in the toilers of the city, there has been the least change. For these are the "dim unconsidered populations" upon whom the real brunt of war falls, the units who compose the battalions, the pieces in the game who have little or no share in the stakes; who abide in their land always, blossoming as the trees in summer, enduring as the rocks in snow. Over this deep-rooted heart of humanity sweeps the living hail and thunder of the armies of the earth. These are the warp and first substance of the nations, divided not by dynasties but by climates, strong by unalterable privilege or weak by elemental fault, unchanged as Nature's self.

      In the city of to-day, and in such thoroughfares as the Rue de l'Épicerie, you may look for a moment into that humbler and less spacious form of habitation in which the people and the workers lived their days, making up for the poverty of their own surroundings by the magnificence of that great Cathedral which rose above the low horizon of their roofs, and opened its doors to poor and rich alike. The buildings that have so long outlived their inhabitants may be taken as the background—like the permanent stone scenery in a Greek theatre—to the shifting kaleidoscope of many-coloured life in the old city.

      In the place itself you will see scarcely a trace of the great personages whose names have glittered in its list of sieges, battles, massacres, pageants, and triumphal entries. The story of a town is not a drum-and-trumpet chronicle of the Kings and Queens. It is the tale of all those domestic and municipal details which from their very unimportance have well-nigh disappeared. To hear it you must follow me from the Crypte St. Gervais to the Cathedral, from the Hôtellerie des Bons Enfants to the Maison Bourgtheroulde, and it is to the voices of the people that I shall ask you to listen, and to the life of the people that I shall point you among the streets they lived in. Thus, and thus only, may you possibly realise the spirit of the place, that calls out first to every stranger in the bells that sound through the silence of his first night in a foreign town. These you shall know better soon in Rouen, by name even, "Rouvel" and "Cache-Ribaut," if you be worldly-minded, "Georges d'Amboise" and "Marie d'Estouteville" for your hours of prayer. Before you pass beyond their sound again, their ancient voices shall bring to you something of the centuries that had died when they were young, something of the individuality of the city above which they have been swinging for so long.

      "Spirit of Place," writes the most charming of our living essayists:—

      "It is for this we travel, to surprise its subtlety; and where it is a strong and dominant angel, that place, seen once, abides entire in the memory with all its own accidents, its habits, its breath, its name. It is recalled all a lifetime, having been perceived a week, and is not scattered but abides, one living body of remembrance. The untravelled spirit of place—not to be pursued, for it never flies, but always to be discovered, never absent, without variation—lurks in the byways and rules over the towers, indestructible, an indescribable unity. It awaits us always in its ancient and eager freshness. It is sweet and nimble within its immemorial boundaries, but it never crosses them. Long white roads outside have mere suggestions of it and prophecies; they give promise, not of its coming, for it abides, but of a new and singular and unforseen goal for our present pilgrimage, and of an intimacy to be made."

      How many a traveller moves from place to place, not realising anything beyond the transportation of his body! Yet in every town there is this fresh acquaintance, this lifelong friendship, that shall last while his own memory lasts, that is as fresh for him as for a thousand before him, and for tens of thousands after. When the bells of an unknown city have given me their first greeting, my first acknowledgment of that compelling invitation is to see those buildings in the town that can become alive again beneath their echoes. Of such churches, of such civic buildings, of private houses, of monuments by unknown hands for unknown owners, Rouen is full in almost all her streets.

      "Là dans le passé tu peux vivre

       Chaque monument est un livre

       Chaque pierre un souvenir."

      The history of the Middle Ages is written upon magnificent and enduring volumes, and a great responsibility is laid on those who would deface the writing on the wall. Their virtues and vices, their jests and indecencies, their follies and their fears, are all writ large upon the pages of a book that was ever open to every passer-by, and that remains for us to read. It is no rhetorical exaggeration, that "Ceci tuera cela" of Victor Hugo. Our smaller doings are recorded in the perishable print of fading paper, and we have no care to stamp what little we have left of character upon our buildings. No one, at least it may be fervently hoped, will try in the future to reconstruct the ideals or the life of the Victorian Era from its architecture. Yet we are the heirs of all that is noblest in that greatest of all arts; and if you would test that, you need only look at any mediæval French Cathedral with a seeing eye. You will find no meaningless mass of bricks and mortar, but the speaking record of the age that built them. "The stone shall cry out of the wall, and the beam out of the timber shall answer it."

CHAPTER II

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The First City

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      "Latera aquilonis civitas regis magni

       Deus in domibus eius cognoscetur cum suscipiet eam."

FOLLOW the Rue de la République past the Abbey of St. Ouen and up the hill to the Place Sainte Marie. On your left you will find the Musée des Antiquités which contains the earliest traces of the inhabitants of Rouen. There are so few of them that they are easily contained in a few glass cases; and this Museum is itself an excellent place with which to begin your visitation of the town. Few travellers go there, yet it is well worth the while, for here are collected many relics of an age that has left few traces anywhere, and here can be filled up many gaps in that story of Rouen which you can never read completely in what is left of the old town. In the courtyard that faces the Rue de la République are several of the ancient gateways that have given way before the press of modern traffic, and a few façades of carved and timbered houses rest like empty masks against the wall, looking forlorn enough, yet better here than lost. One of the best of these empty shells was taken in 1842 from No. 29 Rue Damiette. Dating about 1500, its overhanging storeys are carved with statues of St. John and of St. Romain with his Gargouille. It probably belonged to the Professional (Pellottier or Racquettier) of the Tennis Court near it, the Jeu de Paume St. Jacques. In this same courtyard of the Museum is a row of ancient weather-beaten statues, and, best relic of them all, the exquisite original of the fountain Croix de Pierre which is represented by a more modern imitation on the spot it once adorned.[1]