REMOVING THE STATUE OF JOAN-OF-ARC IN MAY, 1918REMOVING THE STATUE OF JOAN-OF-ARC IN MAY, 1918
The Place du Parvis (photo below) is in front of the main façade of the Cathedral. The shells made enormous craters there.
In the centre of the square stands anequestrian statue of Joan-of-Arc, by Paul Dubois, of which there is a replica in the Place St. Augustin in Paris. It was removed in May, 1918, by the Historical Monuments Department (photo above).
THE PLACE DU PARVIS On the right: The Law Courts. In the centre: The Theatre. On the left: The Grand Hôtel. In centre of Square: Statue of Joan-of-Arc.THE PLACE DU PARVISOn the right: The Law Courts. In the centre: The Theatre. On the left: The Grand Hôtel. In centre of Square: Statue of Joan-of-Arc.
Looking towards the Cathedral, the tourist will see on the right the ruins of theHôtel du Lion d'Orand of theHôtel de la Maison Rouge.
INNER COURTYARD OF THE LION D'OR HÔTEL. (Cliché A.S.)INNER COURTYARD OF THE LION D'OR HÔTEL. (Cliché A.S.)
The latter was completely destroyed. Above the door was the inscription: "In the year 1429, at the consecration of Charles VII., in this hostelry—then called the 'Striped Ass'—the father and mother of Jeanne d'Arcq were lodged at the expense of the Municipality." In reality only the father of Joan-of-Arc lodged there.
It was at the Hôtel du Lion d'Or (photo opposite) and at the Grand Hôtel (No. 4 in the Rue Libergier, which opens out in front of the statue of Joan-of-Arc) that the Field-Marshal French stayed in August, 1914, and later General von Zuchow, commanding the Saxon troops which entered Rheims on September 4, 1914.
On the right of the Cathedral are the ruins of the Archbishop's Palace (see plan, p.33). A general view of them is seen in the photograph on p.48.
Of the three buildings which surrounded every Cathedral in the Middle Ages—the bishop's palace, the cloister of the canons, and the house set apart for the sick and poor (Hôtel-Dieu)—only the archbishop's palace existed at Rheims in 1914. It extended all along the south lateral façade of the Cathedral, on the site of the ancient abode of St. Nicaise, which had replaced a Roman palace. Of the ancient building erected by the successors of St. Nicaise down to the 13th century, there remained only the graceful two-storied chapel, doubtless contemporary with the chevet of the Cathedral. The round entrance tower, known as Eon's tower (from the name of the heretic who was imprisoned there in the 12th century), and the great bronze stag placed in the middle of the courtyard by Archbishop Samson in the 11th century, still existed in the 17th century, but about that time the one was demolished and the other melted down. This stag, into which on feast-days wine was poured, which flowed out again by the mouth, was a beautiful specimen of the art of the old metal-founders of Rheims.
The archbishop's palace and most of its rich collections were burnt in the fire of September 19, 1914. Of the palace proper there remains only the great chimney-piece of the Salle du Tau, on which the Latin motto, "Good faith preserved makes rich," is inscribed (see p.64), the very opposite of the German "scrap of paper" theory.
The Archevêché: The buildings which lined the courtyard were of different periods. The wing abutting on the entrance-gate was 19th century, while the correct but heavy and dull southern façade was rebuilt in the 17th century by Archbishop Maurice Le Tellier, from the plans of Robert de Cotte.
THE SALLE DU TAU, BEFORE THE WARTHE SALLE DU TAU, BEFORE THE WAR
At the bottom of the courtyard there used to be a large late 15th and early 16th century hall, access to which was gained by a horse-shoe stair with late 17th century wrought-iron hand-rail.
A small porch-like structure at the top of the stair was an unfortunate addition of 1825.
The hall was known as theSalle du Tau, in memory of the ancient palace which was shaped like the Greek letterTau, or the Kings' Hall, on account of the portraits of the Kings consecrated at Rheims, received in 1825.
Built by the Cardinal Archbishop Guillaume Briçonnet between 1497 and 1507, it comprised two stories.
THE SALLE DU TAU IN 1918 Behind the ruined Hall are seen the Southern Transept and Chevet of the Cathedral.THE SALLE DU TAU IN 1918Behind the ruined Hall are seen the Southern Transept and Chevet of the Cathedral.
ENTRANCE TO THE SALLE DU TAU (OR KINGS' HALL). (see plan, p. 33)ENTRANCE TO THE SALLE DU TAU (OR KINGS' HALL). (see plan, p.33)
The upper hall, in which the royal banquet was served at the consecrations, became the Stock Exchange at the beginning of the 19th century. It was disfigured by poor paintings and false Gothic ornamentation at the time of the consecration of Charles X.
The walls were hung with four admirable tapestries by Pepersack and several others given by Robert de Lenoncourt.
The vast chimney-piece with the Briçonnet and Church of Rheims Arms is all that the fire of 1914 spared of the ancient decoration. It is visible in the photographs on page64, at the bottom of the hall.
The lower hall, with its Gothic arching, was as large as the upper one. The capitals of the prismatic pillars and the key-stones of the arches were adorned with escutcheons, fleur-de-lys, flowers and crockets.
ENTRANCE TO THE ARCHI-EPISCOPAL CHAPEL. (see plan, p. 33)ENTRANCE TO THE ARCHI-EPISCOPAL CHAPEL. (see plan, p.33)
This was without doubt the work of Jean d'Orbais, the first architect of the Cathedral. It resembled the latter in many respects.
With its seven-sided apse, four-bay nave and lancet-shaped windows without rubber-work, it was remarkably slender and graceful.
Its finest ornament was the 13th century bas-relief,The Adoration of the Magi, in the tympanum of the entrance door.
The white marble inner portico of the door dated from the Restoration. The other, formed of in-laid wood panels, was adorned with five 16th or early 17th century painted figures.
The lower chapel, partly subterranean, was fitted up as a lapidary museum in 1865 and 1896.
THE ROYAL APARTMENTS IN THE ARCHBISHOP'S PALACETHE ROYAL APARTMENTS IN THE ARCHBISHOP'S PALACE
From the Kings' Hall, access was obtained to five royal saloons with windows looking on the gardens and adorned with portraits of archbishops.
It was in the archbishop's palace that the Kings stayed at the time of their consecration or when passing through Rheims. Henry IV. lived there during his two sojourns at Rheims. He washed the feet of the poor on Holy Thursday in the great hall and listened to the sermon of Father Cotton. Louis XIII. and Richelieu stayed there in 1641, Louis XIV. in 1680, Peter the Great in 1717, Louis XV. in 1722 and 1744, the Queen in 1765, Louis XVI. and Marie Antoinette in 1774, and Charles X. in 1825. From year VI. (Revolution Calendar) to 1824 it was occupied by the tribunals. The archbishops formerly held many Councils and Synods there, but lived there only rarely. In the Middle Ages they preferred living in their fortified castle of Porte Mars (see p.6). In the 17th and 18th centuries they lived mostly outside Rheims.
After visiting the ruins of the Archbishop's Palace return to the Place du Parvis. Take the Rue Libergier, opposite the Cathedral, turning into the first street on the right (Rue Chanzy). The Museum is soon reached (see Itinerary, p.61).
The Museum, formerlyThe Grand Séminaire
This fine 18th century building was erected by Nicolas Bonhomme in 1743-1752. The carved entrance-door and terraced central pavilion, bordered with a fine balustrade (damaged by shell splinters), are the remains of the ancient Abbey of St. Denis, the church of which was destroyed at the time of the Revolution. The right wing was rebuilt in the 19th century, by order of Cardinal Thomas Gousset. The ground-floor of the left wing is old, but the other floors are modern. These buildings were comparatively little damaged by the bombardments.
THE ENTRANCE TO THE COURTYARD OF THE OLD GRAND SÉMINAIRE (18th century)THE ENTRANCE TO THE COURTYARD OF THE OLD GRAND SÉMINAIRE (18th century)
Successively occupied since 1790 by the District Council, a free secondary school, and by the Russians in 1814-1815, the buildings were handed over to the Grand Séminaire in 1822. Since the separation of the Church and State in 1905, they have been fitted up as a Museum.
The Museum was struck at the beginning of the bombardment on September 4, 1914, several pictures in the Modern Gallery being destroyed. Later, it was again hit by shells, but the greater part of the collections had already been removed to a place of safety.
THE OLD GRAND SÉMINAIRE (MUSEUM)THE OLD GRAND SÉMINAIRE (MUSEUM)
THE BED IN WHICH NAPOLEON SLEPT IN 1814 (In ruined house at No. 18 Rue de Vesle.)THE BED IN WHICH NAPOLEON SLEPT IN 1814(In ruined house at No. 18 Rue de Vesle.)
Continue along the Rue Chanzy, which skirts theTheatre(1873), of which only the walls remain.Take the Rue de Vesle (first street on the left. See Itinerary, p.61).
Among the ruins of this street, in the yard of No. 18 on the left, is a building of which only the ground-floor and front with large windows and spacious dormers remain.
It was there that Napoleon I. slept after his return to Rheims. His room had been preserved exactly as it was in 1814 (see p.8).
THE PARIS GATETHE PARIS GATE
At No. 27 are vestiges of the oldHôtel Levesque de Pouilly. Inside the court there was a 16th century house, the residence of a family which furnished Rheims with some remarkable administrators, chief among whom wasLevesque de Pouilly, "lieutenant of the inhabitants." Among the celebrated guests received by him were Voltaire and Madame du Châtelet (1749).In a letter to him, Lord Bolingbroke wrote: "I know but three men who are worthy of governing the nation: You, Pope and myself."
THE VAULTING AND BELFRY OF THE CHURCH OF ST. JACQUES. (Cliché LL.)THE VAULTING AND BELFRY OF THE CHURCH OF ST. JACQUES (Cliché LL.)
On the right, between Nos. 44 and 46, is the Rue St. Jacques.
Follow the Rue de Vesle to the end, where theParis Gatestands, about 1 km. from the entrance to the Rue St. Jacques.
This Gate replaced the Vesle Gate which formerly abutted on the river. In consequence of the growth of the city it was built in thefaubourgabout 1845. Its beautiful wrought-iron work (photo opposite), by the local master-locksmiths Lecoq and Revel, was erected by the City in 1774, at the time of the consecration of Louis XVI.
From the Paris Gate, return by the Rue de Vesle to the Rue St. Jacques, on the right of which stands theChurch of St. Jacques.
TheChurch of St. Jacques, whose fine tower contributed to the charm of the general appearance of the city, was destroyed by the bombardments of 1918. Begun in the 12th century, it was finished in the 16th. Before the war, it was the only parish church in Rheims which had been preserved intact.
THE INTERIOR OF THE CHURCH OF ST. JACQUES. (Cliché LL.)THE INTERIOR OF THE CHURCH OF ST. JACQUES (Cliché LL.)
THE PLACE DROUET D'ERLON, BEFORE THE WAR On the right: Belfry of the Church of St. Jacques.THE PLACE DROUET D'ERLON, BEFORE THE WAROn the right: Belfry of the Church of St. Jacques.
The Rue St. Jacques leads to the longPlace Drouet d'Erlon, which was much damaged by the bombardments of 1918 (photo opposite).
Formerly known asPlace de la Couture, this square, like the old streets with picturesque names:Rue des Telliers,Rue du Clou-dans-le-Fer,Rue de la Belle Image,Rue de la Grosse-Ecritoire,Rue du Cadran St. Pierre, formed part of theQuartier des Loges, built in the 12th century by Cardinal Guillaume-aux-blanches-mains for the wood and iron workers. The house-fronts above the first storey rested mostly on wooden pillars, leaving recesses or covered galleries on the ground floor.
In the centre of the square stood a statue of Marshal Drouet d'Erlon, afterwards removed to the crossing of the Boulevards Gerbert and Victor Hugo, and replaced by amonumental fountain, the gift of M. Subé.
Follow the Place Drouet d'Erlon to the Boulevard de la République, which skirtsThe Promenades.
THE PLACE DROUET D'ERLON, AFTER THE WAR The Belfry of the Church of St. Jacques no longer exists.THE PLACE DROUET D'ERLON, AFTER THE WARThe Belfry of the Church of St. Jacques no longer exists.
THE SUBÉ FOUNTAIN, IN THE PLACE DROUET D'ERLON Seen from the Rue Buirette (in ruins).THE SUBÉ FOUNTAIN, IN THE PLACE DROUET D'ERLONSeen from the Rue Buirette (in ruins).
The Promenades, greatly damaged by the war, have sometimes been wrongly attributed to Le Nôtre. Their designer was a Rheims gardener, Jean le Roux. Commenced in 1731, they were finished and extended in 1787. They were formerly reached by the Gates of Mars and Vesles, but preferably by the Promenade Gate specially opened in the ramparts in 1740 and inaugurated by Louis XV. in 1744, on his return from Flanders. The Promenades were first calledCours Le Pelletier(the name of theIntendant of Champagne, who approved the plans), thenCours Royal, after the passage of Louis XV. They were encroached upon by the railway station, built in 1860.
In the centre of the Promenades, opposite the station, in theSquare Colbert, laid out by the landscape gardener Varé in 1860, is a statue of Colbert.
Take the Rue Thiers, which begins at the Square Colbert and leads to theHôtel-de-Ville.
THE "SQUARE COLBERT" IN THE MIDDLE OF THE "PROMENADES" The Entrance to the Station is just opposite this "Square."THE "SQUARE COLBERT" IN THE MIDDLE OF THE "PROMENADES"The Entrance to the Station is just opposite this "Square."
THE TOWN HALL IN 1918THE TOWN HALL IN 1918
This building, which was destroyed by shell-fire on May 13, 1917, was similar in many respects to the old Hôtel-de-Ville in Paris, burnt in 1871.
Commenced in 1627, from plans by the Rheims architect, Jean Bonhomme, it was completed in stages, at long intervals. Only the centralpavilionand the left-hand portion were 17th century.
The building was a beautiful specimen of the architecture of the Louis XIII. period. Seventy-eight columns, Doric on the ground-floor and Corinthian on the first storey, framed the windows of the façade, whose bases on the first floor carried trophies in bas-relief and a graceful frieze. The niches in the central portico were empty, but the pediment on twisted columns enclosed an equestrian statue of Louis XIII.
In the interior, in the great vestibule, a staircase with a remarkable wrought-iron balustrade led to the City Library, which was destroyed by the fire of 1917 (photo, p.73).
On the right, the room where the Municipal Council meetings were held, contained rich panelling alternated with paintings by Lamatte, commemorating episodes in the history of Rheims. On the left, the mayor's office contained magnificent Louis XVI. woodwork.
On the other side of the courtyard, in the centre of which is a statue of "La Vigne," by St. Marceaux, was the great marriage-hall, containing a Gallo-Roman mosaic, framed with rosettes and an interlaced border, representing a gladiatorial fight.
A number of the pictures and works of art in the Hôtel-de-Ville were saved by the firemen and soldiers. The mosaic in the marriage-hall was protected by sand-bags and is intact.
In the Place de l'Hôtel-de-Ville, between the Rue Thiers and the Banque de France, are two small streets: the Rue Salin and the Rue de Pouilly.
THE GRAND STAIRCASE OF THE TOWN HALLTHE GRAND STAIRCASE OF THE TOWN HALL
At No. 5 of the Rue Salin, the old 17th centuryHôtel Coquebert, which was destroyed by the shells, used to be the headquarters of theSociety of Friends of Old Rheims. Several of the illustrations in this Guide are taken from the collections of this Society.
In the Rue de Pouilly, close to the Hôtel-de-Ville, are theruinsof theGaleries Rémoisesstores. These shops were partly housed in a Gothic building, of which only a few chimney-stacks remain (see chimney in photo below).
Opposite the Hôtel-de-Ville take the Rue Colbert to the Place des Marchés.
THE RUE COLBERT, BETWEEN THE TOWN HALL AND THE MARKET-PLACETHE RUE COLBERT, BETWEEN THE TOWN HALL AND THE MARKET-PLACE
RUINS IN THE MARKET-PLACE Seen from the Rue de Tambour. The "Maison de l'Enfant d'Or" is among the ruined houses seen in the middle (see pp. 75 to 77). The "Hôtel de la Salle" and "Maison Fossier" (p. 76), on the right-hand side of the Square, are not visible in the above photograph.RUINS IN THE MARKET-PLACESeen from the Rue de Tambour. The "Maison de l'Enfant d'Or" is among the ruined houses seen in the middle (see pp.75to77). The "Hôtel de la Salle" and "Maison Fossier" (p.76), on the right-hand side of the Square, are not visible in the above photograph.
Built on the site of the ancientforum, the Market Square, before the war, still contained several remarkable 15th century wooden houses. Unfortunately, they were destroyed by the terrible bombardment of May 8-15, 1918, together with the Square.
THE "HÔTEL DE LA SALLE" On the left: the Carriage Entrance with Caryatids: Adam and Eve.THE "HÔTEL DE LA SALLE"On the left: the Carriage Entrance with Caryatids: Adam and Eve.
THE COURTYARD OF THE "HÔTEL DE LA SALLE" The graceful Turret has partially collapsed.THE COURTYARD OF THE "HÔTEL DE LA SALLE"The graceful Turret has partially collapsed.
After turning to the right, on leaving the Rue Colbert, and quite close to the Square, at No. 4 in the Rue de l'Arbalète, is the house, dating from the middle of the 16th century, whereJ. B. de la Sallewas born.
Although this house suffered from the bombardments of 1918, its front is practically intact. It is the finest Renaissance front in Rheims, after that ofLe Vergeur's House(see p.85).
The carriage entrance is flanked with two life-size caryatids, popularly calledAdam and Eve, on account of their nudity. Along the first storey runs a broad frieze ornamentated with trophies of arms and a shield of unknown significance. Between two windows of this storey a niche, resting on a console, is crowned with a canopy. The shops on the ground-floor somewhat spoilt the general look of the building. The interior of the house was less interesting than the front.
In the courtyard is a strikingly graceful three-storey turret (photo above), one side of which has collapsed.
Among the wooden houses destroyed by the bombardments of 1918 in the Place des Marchés, the following must be mentioned: theMaison Fossier(see p.76), which stood in the Square at the right-hand corner of the Rue de l'Arbalète, and especially theMaison de l'Enfant d'Or(sometimes wrongly called the House of Jacques Callou), which stood near the Rue des Elus. The latter house took its name from an old sign representing the gilt figure of a sleeping child. Hence, punningly, the nameGoldenorSleepingChild.
In spite of alterations, this house (photo, p.77), with its pent-house roof, two overhanging storeys, windows crowned with finials, and sculptural decoration (see carved console, p.77), was a well-preserved specimen of 15th century architecture.
From the Place des Marchés, follow the Rue Colbert to thePlace Royale.
BEFORE THE WAR See text, page 75.BEFORE THE WARSee text, page75.
AFTER THE WAR THE "MAISON FOSSIER," BEFORE AND AFTER THE WAR See Itinerary, p. 61 (No. 5 of Explanatory Notes).AFTER THE WARTHE "MAISON FOSSIER," BEFORE AND AFTER THE WARSee Itinerary, p.61(No. 5 of Explanatory Notes).
SEE TEXT. p. 75 RUINS OF THE "MAISON DE L'ENFANT D'OR" Second house on the left, after the Rue des Elus. (See p. 77.)SEE TEXT. p.75RUINS OF THE "MAISON DE L'ENFANT D'OR"Second house on the left, after the Rue des Elus. (See p.77).
THIS VERY CURIOUS 15TH CENTURY HOUSE STOOD IN THE MARKET-PLACE It was completely destroyed (see p. 76.) THE "MAISON DE L'ENFANT D'OR," BEFORE THE WARTHIS VERY CURIOUS 15TH CENTURY HOUSE STOOD IN THE MARKET-PLACEIt was completely destroyed (see p.76)THE "MAISON DE L'ENFANT D'OR," BEFORE THE WAR
BRACKET OF THE "MAISON DE L'ENFANT D'OR," REPRESENTING SAMSON SLAYING THE LIONBRACKET OF THE "MAISON DE L'ENFANT D'OR," REPRESENTING SAMSON SLAYING THE LION
THE PLACE ROYALE IN 1765 THE INAUGURATION OF THE STATUE OF "LOUIS LE BIENAIMÉ." August 20, 1765; engraving by Varin. The original statue (by Pigalle) is in the middle of the Square.THE PLACE ROYALE IN 1765THE INAUGURATION OF THE STATUE OF "LOUIS LE BIENAIMÉ."August 20, 1765; engraving by Varin. The original statue (by Pigalle) is in the middle of the Square.
The Place Royale, which had previously suffered severely on September 19-22, 1914, was completely destroyed by fire, with the exception of the modern buildings of the Société Générale Bank, during the bombardment of April 8-15, 1918.
THE PLACE ROYALE IN 1918 The plinth of the statue was protected by masonry-work.THE PLACE ROYALE IN 1918The plinth of the statue was protected by masonry-work.
Commenced in 1756, from plans by the architect Legendre, it formed an oblong, of severe and imposing appearance, at the cross-ways of the four main streets of the City. In order to carry out Legendre's plans, forty-nine houses had to be acquired and pulled down. The Square remained unfinished, only three of its sides being built. The Louis XV.-XVI. transition style houses were of uniform construction, and were remarkable for their arcades and eaveless roofs, around which latter ran a balustrade. The central house (formerly theHôtel des Fermes) had a Doric front with a statue ofMercury surrounded by children arranging bales or carrying grapes to the wine-press. Astatue of Louis XV., in the middle of the Square, was protected from the bombardments by masonry-work (photos, p.78and below).
The monarch is represented in a Roman mantle and laurel wreath. On either side of the pedestal are two allegorical bronze figures. One, a woman, holding a helm with one hand and leading a lion with the other, symbolizesgentleness of Government; the other, a contented man resting in the midst of abundance, representsthe happiness of nations. The wolf and the lamb sleeping side by side at their feet are symbolical of the Golden Age.
STATUE OF LOUIS XV., PLACE ROYALE, WITH PARTIALLY BUILT PROTECTING WALL OF MASONRY The two allegorical figures are supposed to be likenesses of the Sculptor Pigalle and his wife.STATUE OF LOUIS XV., PLACE ROYALE, WITH PARTIALLY BUILT PROTECTING WALL OF MASONRYThe two allegorical figures are supposed to be likenesses of the Sculptor Pigalle and his wife.
The monument, inaugurated in 1765, is the work of Pigalle, but the two allegorical figures, which are supposed to be portraits of the sculptor and his wife, alone are original.
The original statue of Louis XV. was removed at the time of the Revolution (August 15, 1792), and sent to the foundry. It was first replaced by a pyramid surmounted by a "Fame," in memory of the defenders of thePatrie, then by a plaster Goddess of Liberty, and in 1803 by a trophy of arms and flags. The present statue, erected under Louis XVIII. (1818), is due to the sculptor Cartellier, and is an exact replica of the original one.
It was on the steps of the monument that the Conventionist Ruhl smashed the Sacred Ampulla under the Revolution.
From the Place Royale, return to the Market Square, cross over to the Rue de Tambour (parallel with the Rue Colbert).
The Rue de Tambour owes its name either to the statue of a tambourine-player on one of its houses, or to the presence of the town-drummer who lived in it. It was first damaged, then burnt, in April, 1918.
THE STATUES OF THE MUSICIANS' HOUSE The house was destroyed by bombardment, but the statues were saved.THE STATUES OF THE MUSICIANS' HOUSEThe house was destroyed by bombardment, but the statues were saved.
Previous to 1918, old houses in this street were still numerous. The most celebrated was the now completely destroyedMusicians' House(photo above), the true origin of which is unknown.
It has variously been supposed to have been the house of a rich burgess, of the Tom Fiddlers' Brotherhood, and the Mint of the Archbishops of Rheims. The first storey of the façade had been preserved intact since the 13th century. In the Gothic niches which separated the mullioned and transomed windows, five large seated figures on carved consoles (photo above) representeda tambourine and flute player,a piper,a falconerwith crossed legs,a harpistandan organ-grindercrowned with a garland of flowers. The falcon on the wrist of the central figure was removed by the organisers of the consecration of Charles X., as it was feared that the royal banners might get caught on it.
Fortunately, these statues, which are remarkable for their natural expression and vigour were removed to a place of safety before the house was destroyed.
Thanks to a public subscription, the town was able to acquire them shortly before the war, thus preventing them from being sold abroad.
The cellars of this house are curious, but there exists no proof that they date back, as has been said, to the Roman period.
14TH CENTURY DOORWAY, 22 RUE DE TAMBOUR14TH CENTURY DOORWAY, 22 RUE DE TAMBOUR
The adjoining house (No. 22) is 14th century, and probably dates back to about the end of the reign of Philippe-le-Bel. Its front has been greatly spoilt, but still contains a fine door surmounted by an elliptical arch (photo above).
At No. 13 of this street, two 13th century carved heads, one of a man and the other of a woman wearing one of the mortar-shaped hats in fashion until the end of the reign of St. Louis, have been built into the façade.
At the end of the Rue de Tambour, take the Rue de Mars, on the right of the Hôtel-de-Ville, at the end of which, on the left, stands the Triumphal Arch of theMars Gate.
THE RUE DE MARS. THE TOWN HALL IS ON THE LEFTTHE RUE DE MARS. THE TOWN HALL IS ON THE LEFT
MARS GATEMARS GATE
18TH CENTURY ENGRAVING BY COLLIN OF THE VAULTING OF THE ROMULUS AND REMUS ARCADE OF THE MARS GATE In the centre: Romulus and Remus suckled by the she-wolf.18TH CENTURY ENGRAVING BY COLLIN OF THE VAULTING OF THE ROMULUS AND REMUS ARCADE OF THE MARS GATEIn the centre: Romulus and Remus suckled by the she-wolf.
This monument was long believed to be a Romangate—hence its name—although the ornamentation of its four sides proves that it cannot originally have been connected with the ramparts. It was only in the Middle Ages that it was included in the fortified castle (photo, p.6) built by the archbishops a few steps to the rear. About 1334 its arcades were walled up, while towards 1554 it was buried under a mass of rubbish during the building of the fortifications. Partly disinterred in 1594, when the archbishops' castle was pulled down, it was not completely cleared until 1816-1817. Restored, then classed as anhistorical monument(thanks to Prosper Mérimée), it is one of the largest Roman structures remaining in France. Forty-four feet high, one hundred and eight wide, and sixteen thick, it was really a triumphal arch built on the Cæsarean Way at the entrance to the town,probably in the 4th century. It comprises three arches separated by fluted Corinthian columns which support the entablature. On the two main façades between the columns are carved medallions and niches which have lost their statues. The vaulting of the arches is divided into sunken panels, the carving of which is mostly in a good state of preservation. Under the eastern archRomulus and Remusare seen suckled by the she-wolf. Under the middle arch, the twelve months of the year, represented by persons (five of whom have been destroyed), occupied in the labours of the four seasons, surround Abundance and Fortune. Under the western arch Love is seen descending from the sky above Leda and the Swan.
HÔTEL NOËL DE MUIRE Note the curious masonry-work of the first storey, composed of polygonal stones in relief.HÔTEL NOËL DE MUIRENote the curious masonry-work of the first storey, composed of polygonal stones in relief.
Behind the Mars Gate is the Place de la République, containinga statue by Bartholdi, damaged by shell-fire.In front of the Gate, take the Rue Henri IV., leading behind the Hôtel-de-Ville, then turn to the left into the Rue de Sedan.The house at No. 3 was destroyed by shells, except theLouis XVI. frontwith its gracefully carved garlands, which escaped injury.
Take the Rue du Grenier-à-Sel, on the right, to theHôtel Noël de Muire,on the left, at the corner of the Rue Linguet.
This house consists of the remains of a sort of Henry II. manor with turrets and dormer-windows. The walls, rounded at the corners like those of the Templars, are of brick and dressed stone. The plinth separating the two stories is decorated with carved wreathed foliage. Fret-work and hexagonal points frame the windows, while a broad cornice on consoles carries the roof. Formerly the residence of the lords of Muire, this house was popularly known as theMaison des Petits Pâtés, on account of the polygonal shape of the stones in relief. Theodore de Bèze, one of the leaders of the Reformation in France, lived there with his friend, Noël de Muire.
THE RUE DU MARCTHE RUE DU MARC
Take the Rue du Marc, which continues the Rue du Grenier-à-Sel (photo above).
TheRue du Marcwas the quarter where the old noble families and the higherbourgeoisieof Rheims lived. It suffered considerably from the bombardments.
At No. 3 is a Henry IV. house, the windows of which are framed with graceful ornamentation (photo below).
However, the most remarkable house in the street is undoubtedly theHôtel Nicolas le Vergeur(No. 1), which, unfortunately, was partly destroyed by the shells (see p.85).
HOUSE DATING BACK TO THE REIGN OF HENRI IV. (1589-1610) AT NO. 3 RUE DU MARCHOUSE DATING BACK TO THE REIGN OF HENRI IV. (1589-1610) AT NO. 3 RUE DU MARC
The interior building, which has a 17th century carriage entrance, offers two fine examples of 15th and 16th century architecture. It is the finest Renaissance structure in Rheims. The main front, incomparably the most graceful, was but little damaged by the bombardments (photo below).
On the ground-floor the great arched doorway is divided by a wooden post into two delicately carved compartments. Pilasters decorated with heads, flowers, birds, and horns of plenty frame the three stone-mullioned windows. Above these runs a frieze of trophies and medallions, with portraits of noble lords with upturned moustaches and pointed beards, and of great ladies withcollerettesand high head-dresses, gracious or haughty, standing well out in relief.
HÔTEL NICOLAS LE VERGEURHÔTEL NICOLAS LE VERGEUR
On the first storey, carved panels above the window form a sort of broad frieze of bas-reliefs representing men-at-arms or knights of the time of François I. and Henri II. fighting at tournaments with lance, sword, or pike.
In one of the rooms overlooking the Rue Pluche were, a fine stonemantelpiecedecorated with graceful delicate foliage; a timber-workceilingwith large and small beams, carrying panels decorated with scrolls, and 15th centurytile-flooringof terra-cotta, varnished and painted green and yellow.
At the back of the courtyard, a building, supposed by some to be an old chapel, had been transformed into vast cellars and store-rooms. Theoaken ceilingof the latter, about fifty feet long and twenty-one broad, destroyed in 1918, was one of the most beautiful in the world. The beams, whose extremities carried grotesque figures, were carved on all their sides with foliage, dragons, birds, and fruits. The beams were connected by joists resting on stems, which represented apes, dragons, persons, and foliage. Between the joists the panels had the appearance of scrolls.
After visiting the Hôtel Le Vergeur, turn to the right into the Rue Pluche, which leads to the Place des Marchés. Skirt the Square on the left, then take the first street on the left:Rue Courmeaux.