Chapter 4

DÉBIT SIMON (SIMON'S INN) THE PROPRIETOR WAS KILLED BY THE GERMANS

The Germans immediately seized the innkeeper, accused him of having fired, and shot him point-blank.

Other pretended reprisals were made, causing the death of twenty unoffending civilians, of which the reader will learn the details further on.

The view below shows the corner of the Place Saint-Martin where stands the Café Simon. Two German cyclists are seen in the photograph, which was taken on September 4, 1914. It will be noticed that the one on the left has a lady's bicycle, which certainly did not come out of the Army stores!

GERMAN CYCLISTS PLACE SAINT-MARTIN

RUINS FAUBOURG ST. MARTIN

BURNT BUILDING 17, FAUBOURG ST. MARTIN

Following the Rue du Faubourg St. Martin shown above, the tourist will pass a pretty estate (view below), the old quarters of the Gardes du Corps, which was completely burnt and the ruins of which produce a startling effect.

In front, partly burnt, are the headquarters of the Cavalry. Still further on, at the exit of the town, is theHospital.

It was there that the battle raged most fiercely.

The German advance-guards, beating back the French soldiers delayed in the Faubourg St. Martin, were met by the fire of the machine-guns stationed outside the town, along the road.

EQUIPMENTS ABANDONED DURING THE BATTLE

The Germans penetrated into the hospital and the neighbouring gardens, trying to outflank the French defences which they thought were placed onthe road, but a deadly fire from the transverse trenches made them fall back. Furious at this, they seized the passers-by and made them walk in the middle of the road, they themselves keeping close to the walls.

MARKS OF GERMAN BULLETS IN THE HOSPITAL

Among the hostages were a Mme. Dauchy and her young daughter. The latter was shot in the leg. Georges Leymarie was killed; one of his companions, Levasseur, while carrying the body along the pavement beside the hospital wall, suffered the same fate. Two other hostages, Audibert and Minouflet, the latter wounded, had also reached the pavement of the hospital. A German officer discharged a revolver at Audibert and left him for dead; he ordered Minouflet to show his wounds and, finding them insufficient, put a bullet through his shoulder. Three other people fell. The shrieks of the victims reached the French, who ceased fire. The surviving hostages then slipped past the trees along the road, under German fire, up to the French lines. The Germans took advantage of this to make a fresh attack, but were repulsed.

The hospital, situated as it was in the midst of the fighting, was not spared, A German officer, wounded by one of the first shots, entered the hospital and meeting an old pensioner, M. Maumus, on the threshold, shot him down in cold blood.

The ward where the French and Moroccan wounded lay was fired on with machine guns, as shown in the above photograph. By a wonderful chance no one was hit, the Crucifix also remained untouched in the centre of a wreath of bullets.

The tourist will now, retracing his steps, turn to the right into the Rue des Jardiniers, whence he will have a good view of the whole town. Always keeping to the left he will pass through the Meaux Gate into the Rue de Meaux which borders theCollege of St. Vincent(p.64). (If on foot, it would be better to follow the line of the ramparts Bellevue and Saint-Vincent, instead of the Rue des Jardiniers. At the Meaux Gate he will go down the steps into the Rue de Meaux.)

Back in the Rue de la République, he will go up as far as the Rue Odent, which skirts the Hôtel du Grand Cerf. By this road he will arrive at the Place de la Halle, continued to the right by the Rue Saint-Hilaire, which leads to the church ofSaint-Pierre(see p.60).

TRACES OF SHELLS ON THE CATHEDRAL (Photograph by M. H.)

From the Place Saint-Pierre one goes to the left into the little Rue aux Flageards which passes in front of the north doorway of the cathedral, of which a view is given opposite.The tower on the right and the spire were struck by several shells.

Continuing along the Place Mauconseil and turning to the left into the Rue Villevert one reaches the charming square which lies in front of the parvis of theCathedral.

(See pp.53-59for descriptions concerning the artistic features of the cathedral.) Here we shall only give the incidents of September 1914 in which the building shared.

DÉBRIS AT THE FOOT OF THE CATHEDRAL TOWERS (Photograph by M. H.)

During the day of September 2, 1914, about fifty shells struck the old church and caused rather serious damage, as shown in the following photographs. The vicar of the cathedral, the Abbé Dourlent, went about the streets of Senlis during the bombardment and had 125 inhabitants, who had been unable to find shelter in the cellars, escorted out of the town by one of his curates. On his return to the vicarage, which stands at the foot of the tower (the house visible in the photograph on p.54, on the right, behind the two trees), shortly after the Germans had entered the town, the vicar heard violent and repeated blows in the cathedral. Coming out into the square he saw cyclists, holding a large fragment of a statue (which had been flung to the ground by a shell) with which they had battered in the small door of the cathedral (that on the right in the view on p.54). Others, axes in their hands, were attacking the door of the steeple on the south side of the tower. The Germans, revolver in hand, rushed at the vicar, and their leader commanded him to take them to the top of the steeple, accusing him of having allowed machine guns to be placed there which had fired on them.

As they climbed the first step theyheard the first shots fired in the lower part of the town.

TRACES OF SHELLS ON THE CATHEDRAL

The soldiers sprang up and declared the vicar their prisoner.

The visit to the steeple confirmed the Abbé Dourlent's declaration that no one had been up and that no military preparations had ever been made there. The men drew off, but a few moments later the porter of the town-hall brought the vicar the order to render himself immediately as hostage at the Grand Cerf Hotel.

When he arrived the Headquarters Staff had left, taking with them the mayor, who was shot that evening.

The incendiarism had already started; the vicar saw incendiary bombs thrown into the houses facing the hotel, which are shown in the photographon page41. He entered the vicarage, then returned to the Grand Cerf to learn what fate awaited him.

It was there that a German superior officer, who spoke French, said these few words which throw light on the events at Senlis:

Poor Curé, poor Senlis, your civilians have fired on us and we have been shot at from the top of your church tower, therefore Senlis is doomed. You see that street in flames(the Rue de la République),well! this night the whole town will be completely burned down.

TRACES OF SHELLS ON THE CATHEDRAL

We have orders to make of Senlis another Louvain. A terrible example is needed for Paris and for the whole of France.

The vicar implored for mercy for the town, and the officer promised to intervene with his superiors in order to obtain a mitigation of the sentence. Whether he gained his point or whether the giving up of the direct march on Paris caused the part of scape-goat assigned to the peaceful little town to appear of less immediate necessity, the incendiarism was limited to the Rue de la République and the Quartier de la Licorne.

The tourist will visit theCathedral(see pp.53-59),Saint-Frambourg(p.60), theCastle(pp.61-63), and will then go down the old Rue du Châtel.

ABBÉ DOURLENT

This road was the scene of an outrage of 1789, famous in the annals of Senlis. The clockmaker Billon, seeing beneath his windows the company of musketeers from which, as usurer, he had been dismissed, raised his musket and killed the commandant and several others. Trapped in his house, he backed from room to room still adding to the number of his victims. At the moment when they seized him the mine that he had prepared exploded, destroying his house and leaving twenty-six dead and forty injured.

The Rue du Châtel ends in the Square Henri IV., in the corner of which stands theTown-hall.Its façade (see below) dates from 1495. Above the door is the bust of Henri IV., with an inscription taken from the letters-patent sent by the king to Senlis as thanks for the town's resistance against the Leaguers:

"Mon heur a prins son commencement en la ville de Senlis, dont il s'est depuis semé et augmenté par tout le royaume."

(My good fortune had its beginning in the Town of Senlis, whence it has since sown itself and spread over all the kingdom.)

The Square Henri IV. received the first shells of the bombardment in September, 1914, which killed a fireman on guard at the town-hall.

When the Germans penetrated into Senlis, one of their superior officers went to the town-hall and asked for the "burgomaster."

TOWN HALL

LAST PHOTOGRAPH OF M. ODENT (in the middle)

The mayor, M. Odent, came forward.

For three generations the Odents had been mayors of Senlis. The grandfather of the present mayor distinguished himself during the cholera epidemic in 1832; his father was seized as hostage in 1870 and narrowly escaped being shot.

On the eve of the German occupation, M. Odent took his family to Paris and on his return to Senlis wrote a postcard to M. Cultru, oldest member of the municipal council, as follows:—

"Having at last placed my wife in safety, I now belong entirely to Senlis."

M. Odent had the presentiment that he would not come out of German hands alive; a fervent catholic, he performed his religious duties in view of a swiftly approaching death, and fastened a crucifix on his breast.

Above we give the last photograph of M. Odent. It was taken on August 5, 1914, during a military fête. M. Odent is in the middle.

The mayor was violently upbraided by the officer because of the deserted aspect of the town—barely 1,000 inhabitants remained out of 7,000, and during the bombardment houses and shops were closed. He was also blamed for the absence of proclamations exhorting the inhabitants to deposit their arms at the town-hall and to offer no resistance....

M. Odent pointed out the rapidity of events, and the peaceable ways of the old city. He was nevertheless led before the headquarters staff at the Grand Cerf Hotel. Immediately after, came the sound of the first shots fired by the French rearguard at the lower end of the town. The officer was furious and vowed that he would hold the mayor responsible and that his head should answer for the lives of the German soldiers. The town-clerk suggested to M. Odent that the deputy mayor should be fetched, but the latter refused, saying: "One victim is enough."

GERMAN SOLDIERS PHOTOGRAPHED AT SENLIS

The resigned hostage was taken from the Grand Cerf to Chamant (see p.66). He was brutally treated, his gloves snatched from him and flung in his face, his stick seized and brought down violently on his head. M. Odent and some other hostages spent several hours of cruel waiting for their fate. At last, at about 11 o'clock in the evening, they were brought before several officers. After having been made to stand at attention they were ordered to lie flat, their hands stretched forward; they were then again told to stand at attention. The officers, satisfied that they had thus asserted their authority, for form's sake then proceeded to interrogate the mayor, and in spite of his denial persisted in accusing him of having opened fire upon the German troops. They then informed him that he would be shot.

M. ODENT'S GRAVE AT CHAMANT

M. Odent returned to his companions in captivity, gave them his papers and money, shook hands with them, and bade them a dignified farewell. He then went back to the officers. At their command two soldiers dragged him about ten yards further off and put two bullets through his head.

The ground was hastily hollowed out and the body was laid under such a thin layer of earth that the feet were not covered. It was here that the cross shown in the above photograph was erected. The tourist can visit it when passing through Chamant (see p.66). A few hours before the mayor's death six other hostages had been shot and buried in the same field. M. Odent's companions were more fortunate, they were sent back to Senlis the next day. On September 12 the bodies of the mayor and the six other victims were exhumed and taken to the cemetery in the town (see p.52). Other hostages narrowly escaped death. At about eight o'clock in the evening, in the tailor's shop at the corner of the Rue du Châtel, in front of the town-hall, three inhabitants were seized and taken to Chamant. To these, in the course of the journey, were added a dozen others. They were about to share the fate of the preceding hostages when one of them, who spoke German, succeeded in inducing the Headquarters staff to set them free.

By the Rue Vieille de Paris (a continuation of the Rue du Châtel) we descend to the lower part of the town.(In 1358 the "Jacques," masters of Senlis, drove back the nobles who had entered the lower end of the road by rolling down the slope heavily laden wagons which overturned anything that happened to be in their way.)

In front of the old Convent of the Carmes, No. 3 of the Rue Vieille de Paris, standMegret'sBaths, to which a café is attached.In the afternoon of September 2 some Germans smashed in the door and demanded drink. It was no doubt at that time that other German soldiers entered the café Simon, a little further on (see p.43). The two proprietors suffered the same fate. Mégret had barely finished serving the patrol with a dozen bottles of wine when a shot, fired point-blank, felled him to the ground.

Onpage49appears the photograph of three young German soldiers belonging to that column of incendiarists and murderers who did so much damageto Senlis. With threats they forced the photographer, M. Rozycki, to whom we are indebted for the views taken during the German occupation, to take the photograph we have reproduced.

PICTURE IN THE TOWN HALL[Execution of Hostages in 1418]

A little way past the Convent of the Carmes (which is turned into barracks, its chapel being used as a clothing store), we follow, on the right, the line of ramparts that goes from theRue Vieille de Paris (where the Paris gate used to be)to thePlace de Creil (where stood the gate of the same name).

These ramparts were made in the thirteenth and fourteenth and strengthened in the fifteenth and sixteenth centuries.

The first portion is calledle Rempart des Otagesin memory of the executions of 1418, during the fight between the Burgundians, who occupied Senlis, and the Armagnacs, who besieged it.

The town, reduced to famine, was to surrender on April 18 if no help arrived, and six hostages were handed over as guarantee: two abbots, two nobles, and two commoners. Help was signalled on the day of the 18th; but the Armagnacs, before leaving, decapitated four hostages at the foot of the ramparts on which the tourist is standing. In return, the besieged flung down from the walls the heads of twenty prisoners captured during a sally.

Six centuries have elapsed, but it will be seen that, towards hostages, the Germans still retain the mental attitude of the Middle Ages.

A picture by Mélingue (reproduced above), which hangs in the town-hall, commemorates the execution of the hostages of Senlis in 1418.

The next rampart is called theMontauban, after the square tower which was added to it in 1588. It was in the dry moat below that the Archers' Company held their practice. The head of the company, the "King of the Crossbow," was exempted by Henri III. from paying taxes, and ever since that remote period archery has always been held in honour at Senlis. At certain fêtes as many as 4,000 archers were assembled, part of them belonging to the town, the others coming from the surrounding country.

From the rampart, the view of old Senlis, spread out at the foot of the cathedral, is particularly picturesque.

SOLDIERS' GRAVES IN THE CEMETERY

From the Creil Gate, where you come out on leaving the ramparts, theArenacan be visited (see p.65). After that, turn down the Avenue Vernois, at the end of which is seen the entrance to the cemetery.The monument raised in memory of the hostages who were murdered in 1914 (view below) is in the western part of the cemetery. In the northern part is the grave of the soldiers who fell during the battles of Senlis (view above).

MONUMENT OF THE HOSTAGES IN THE CEMETERY

From the Boulevard Pasteur, which is a continuation of the Avenue Vernois, there is a pretty view of the country.

At the corner of the Rue Saint-Joseph stands a convent where seventy nuns remained during the German occupation. Some German soldiers made them open the door and demanded wine: "Oh!" answered the Reverend Mother, "the nuns only drink liquorice-water."

The tourist now finds himself at the Compiègne gate, from where he began his visit to the town. This is also the starting point fixed in the itinerary for the journey to Meaux (see p.66).

(See plan inserted between pp.36-37)

(historical monument)

CATHEDRAL

The cathedral was begun in 1153 on the site of a church which had been destroyed and rebuilt several times since the third century. The work of construction was slow, as funds were often lacking, despite the help given by the kings of France. For several consecutive years collections were repeatedly made throughout the country in order to obtain resources for the bishop.

The consecration of the unfinished church took place in 1191.

Towards 1240, the transept was raised and the spire, which is still the pride of Senlis, built.

In 1504, lightning set fire to the cathedral, which went on burning for two days. Luckily the spire was saved. The reconstruction of all the higher parts and of the façades of the transept lasted until 1560 and completely transformed the appearance of the building.

During the Revolution it was used as a ballroom and afterwards as a store-house for fodder. In 1801 it became once more a place of worship.

CATHEDRAL SEEN FROM THE STEEPLE OF ST. PIERRE

It has been seen (p.46-47) that the cathedral was not spared by the German shells on September 2, 1914, and that its vicar very nearly shared the mayor's tragic fate.

The opposite view is taken from the top of the steeple of St. Peter's Church.

In the foreground are seen the buildings of the old bishop's palace, standing on a Gallo-Roman site; one of the towers of this enclosure was utilised in their construction.

After 1790 Senlis was no longer a bishopric, and an archæological museum is now established in the old dwelling-place of the bishops.

The west façade of the cathedral, which escaped the fire of 1504, has retained the simplicity and bareness of the twelfth century church and is in remarkable contrast with the richness of the side façades built in the sixteenth century.

PLACE DU PARVIS

The great doorway, which will be fully described further on, is flanked by two small doors surmounted by a tympanum, the arcading of which forms a curious ornamentation.

The two towers were originally alike; it was only in the middle of the thirteenth century that the spire was added to the south tower.

ThisSPIREis a masterpiece of Gothic architecture and for nearly seven centuries has been the admiration of architects and archæologists because of the science, audacity and solidity of its construction, which was proof against fire, the inclemency of the weather, and German shells.

THE SPIRE OF THE CATHEDRAL

Its summit is 255 feet above the ground. Octagonal in shape, it rests on the square base of the tower.

The transition from the square to the octagon is masked by the four pinnacles (each supported by three small columns), which occupy the four corners of the square.

The upper part of the spire is pierced with eight highly ornamented dormer windows; the arrises of the spire are decorated with crockets.

This construction reveals the great art of the architect, who knew how to break the monotony of the spire's long, sloping lines without making them appear heavy.

The little Place du Parvis shown above is charming in its archaical decoration.

The edifice seen on the left of the photograph is the old home of the Vermandois family, modified in the fourteenth century. One can walk round the courtyard of the old dwelling, entering through the door seen between two big trees.

Between the house of Vermandois and the church stands the Chapter House (see p.59).

THE WEST DOOR OF THE CATHEDRAL

The twelfth century doorway was damaged during the Revolution. The great statues were decapitated but have since been restored. The bas-reliefs suffered considerably, also.

This is the first doorway consecrated to the Virgin. Its design served as a model for those of the Cathedrals of Chartres, Rheims, Amiens, and Notre-Dame de Paris.

The bas-relief of the lintel, shown below, represents, on its left side, the death of the Virgin. This part is much damaged. The apostles encircle the bed on which the Virgin is lying, two of them swinging censers. Two winged-angels bear away the Virgin's soul, portrayed as a new-born babe wrapped in a swaddling cloth.

The right side, which represents the Resurrection of the Virgin, is in a better state of preservation. An angel stands ready to crown Mary, who is raised from her bed by three others, while a fourth leans forward the better to see over those in front.

All this sculpture shows a truth and freedom of attitude of which very few examples are found in the twelfth century.

Above the lintel, in the tympanum, is the Triumph of the Virgin; the execution of this work is far from equal to that of the lintel.

In the niches of the arches are statues of the patriarchs, the prophets and the kings of Judah.

The eight great statues which flank the door represent personages from the Old Testament.

The one nearest the door, on the left, is Abraham. He holds his son by the hair and stands ready to behead him, but an angel restrains his sword.

Beneath the pedestals of the large statues is a "Calendar,"i.e., a set of symbolical scenes typifying the twelve months of the year, or the seasons. That of Senlis is carved with much spirit.

LINTEL OF CATHEDRAL DOORWAY

CALENDAR OF THE CATHEDRAL (right)1.January.The month of feasts. The peasant, seated at table, prepares to drink.2.February.Work is at a standstill. The peasant is at the fireside.3.March.Work begins again. The peasant digs.4.April.With the spring the time has come to care for the trees.5.May.The lord, his falcon on his wrist, goes forth to hunt.6.June.The peasant mows his meadows.7.July.It is the beginning of the harvest.

CALENDAR OF THE CATHEDRAL (right)

1.January.The month of feasts. The peasant, seated at table, prepares to drink.2.February.Work is at a standstill. The peasant is at the fireside.3.March.Work begins again. The peasant digs.4.April.With the spring the time has come to care for the trees.5.May.The lord, his falcon on his wrist, goes forth to hunt.6.June.The peasant mows his meadows.7.July.It is the beginning of the harvest.

CALENDAR OF THE CATHEDRAL (left)8.August.The peasant threshes the grain.9.September.The peasant gathers the grapes.10.October.The peasant gathers in his crops.11.November.The peasant kills his pig.12.December.The peasant puts cakes in the oven for the fêtes at the end of the year.

CALENDAR OF THE CATHEDRAL (left)

8.August.The peasant threshes the grain.9.September.The peasant gathers the grapes.10.October.The peasant gathers in his crops.11.November.The peasant kills his pig.12.December.The peasant puts cakes in the oven for the fêtes at the end of the year.

The south front of the cathedral has not the harmony of that of the west.

The lower part of the apse dates from the twelfth century, with its radial chapels and, above, the little semi-circular windows of the galleries. The upper part of the church belongs to the sixteenth century.

The rich façade of the transept also dates from the sixteenth century.

SOUTH FAÇADE OF THE CATHEDRAL

THE CATHEDRAL: SOUTH FAÇADE OF TRANSEPT

The opposite view shows the detail of theSOUTH FAÇADE OF THE TRANSEPTdesigned by Pierre Chambiges, son and pupil of Martin Chambiges. The latter worked on the Cathedrals of Beauvais, Sens and Troyes, and his son drew inspiration from his work for the execution of that entrusted to him at Senlis; this explains the great resemblance that various portions of those edifices bear to one another.

In comparing the south portal with the western façade one notes the development of Gothic architecture from the twelfth century, when its restraint and simplicity of line still recalled Roman art, to the sixteenth century, when rich, flamboyant decoration flared in its final splendour, making way for the art of the Renaissance that the Italian wars brought into fashion.

THE CATHEDRAL: NORTH FAÇADE OF TRANSEPT

The appearance of this fineensembleis spoilt by the adjacent polygonal vestry erected on its right, which was rebuilt in the nineteenth century. A part of it can be seen in the above photograph; though one can judge still better of its ugly effect from the photograph on the preceding page.

The north façade of the transeptis, in its general arrangement, the same as that on the south, but it is less richly ornamented.

On the pediment which surmounts the entrance are carved the salamander and the "F" of Francis I. On that of the south are the arms of France.

The tourist should not fail to look at the north side of the Cathedral, which is very picturesque.

On the north tower the marks of German shells are still to be seen.

They are clearly shown in the photograph (foot pp.46-47).

PLAN OF CATHEDRALE, stairs leading to galleries.G, chapel of transept (vault with pendentives).M, aisles of choir.O, radial chapels of the twelfth century (modern windows).

PLAN OF CATHEDRAL

SECTION OF CATHEDRALA, roof of nave. B1, B2, B3, B4, transept.C, piers supporting the vault on the nave by means of flying buttresses.D, first aisles of nave and ambulatory.G, second aisles of nave.T, galleries running round the church.

SECTION OF CATHEDRAL

GALLERIES OF THE CATHEDRAL

HANGING BOSSES

The galleries of the cathedral are among the most beautiful in France. The above view, taken from the choir galleries which overlook the southern part of the transept, shows those of the nave in enfilade.

In order to visit these galleries the key must be obtained from the vestry.

In the chapel seen on the right as one re-enters the church by the south door, the visitor will notice the hanging bosses of the vault of which a view is given opposite.

In the chapter house at the north-west end of the cathedral (see plan, p.58), is seen the curious capital of the central pillar, on which is carved a feast of jesters.

The opposite view shows a fragment of it.

CAPITAL IN THE CHAPTER HOUSE (CATHEDRAL)

Two of the figures are playing the organ, that on the right is working the bellows, another with a stick beats the tambourine that he holds between his legs; on the remainder of the capital other figures are dancing.

The chapter house was used by the canons of the cathedral.

(historical monument)

This stands in a little street which opens on the south of the cathedral square. The church can be seen from the square.

SAINT-FRAMBOURG

This church was founded on the site of a Roman temple, by Queen Adelaide, wife of Hugues Capet. Rebuilt in the twelfth and thirteenth centuries, transformed into a "Temple of Reason" during the Revolution, it now serves as a carpenter's workshop.

On the façade one can distinguish the place intended for a large rose window, which, however, was never finished.

On the left side of the façade stood a tower, since demolished.

The church has no roof left above the vaulting.To visit the interior (consisting of a single nave of graceful proportions) apply to the carpenter.The entrance to the workshop is seen on the left of the photograph.

(historical monument)

Market-day on Tuesdays and Fridays. If the tourist should wish to go to the top of the belfry or to visit the church on other than market days, he must apply to the concierge of the Tribunal (county court) in the square.

This old town of Senlis is so rich in relics of the past that it puts its ancient religious monuments to quite profane uses.

We have seen above that Saint-Frambourg shelters a carpenter. Saint-Pierre serves as a market, another church as a theatre, a fourth as a museum, and others as clothing stores or barns. Five have completely disappeared; as for the Abbey of Saint-Vincent, it has been turned into a college.

SAINT-PIERRE

Saint-Pierre was founded in 1029 and reconstructed during the thirteenth and fourteenth centuries.

The roof of the nave was begun in stone, but completed in timber-work. The façade dates from the sixteenth century and recalls the work of Pierre Chambiges in the cathedral.

The right-hand tower dates from the seventeenth century. From the upper platform there is a splendid view of the town and the surrounding forests. Another more ancient tower exists, the base of which is the remains of the primitive Roman church. The spire (the top of which is seen in the opposite photograph) was added in the fifteenth century.

(historical monument)

The castle belongs to the Count Turquet de La Boisserie, who allows it to be visited. Apply to the concierge.

ENTRANCE TO THE CASTLE AND THE HÔTEL DES TROIS-POTS

The entrance shown in the above view is in the Rue du Châtel, quite close to the square of Parvis-Notre-Dame.On the left side stands the old Hôtel des Trois-Pots, so called from the signboard which hangs from the first floor, and formed of three pots which are being filled by a thin stream of water.

This old dwelling recalls all the history of France from the Gallo-Roman conquest to the reign of Henri IV.

RUINS OF THE CASTLE CHAPEL

The castle itself, of which only a part exists (visible on the left in theabove photograph), was erected on the site of an old Roman fort. At the foot ran the boundary line of the town, partly formed by the wall which encloses this side of the estate and the tower which flanks the north front of the buildings.

CASTLE AND PRIORY OF SAINT-MAURICE

The Merovingian and Carlovingian kings often inhabited the castle, situated as it was in the midst of their favourite hunting-grounds.

It was the theatre of numerous historical events: Pépin, Duke of Aquitaine, grandson of Charlemagne, died imprisoned there, and Baldwin of Flanders carried off from there the daughter of Charles the Bald. In 987, the last Carlovingian king having died while out hunting, the French lords assembled in the castle and elected, as king, Hugues Capet whose dynasty reigned in France until the Revolution. Philippe-Auguste held festivities there on returning from his wedding with Elizabeth of Hainault. Saint Louis founded the priory of Saint-Maurice.

During the Hundred Years War, Catherine of France was married to Henry V. of England at Senlis, in 1420.

After Henri IV., the castle, being very dilapidated, was gradually abandoned. Justice was still administered there until the falling in of the Audience Chamber in the eighteenth century.

The interior of the castle is in ruins. There is one room to be seen, called Henri IV.'s room, which is shown on the following page. It dates from the thirteenth century, and is covered with fine panelling. The fireplace was altered in the fifteenth century, but the big circular section flue remains just as it was two centuries earlier.

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