"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]

THE ORIGINAL FONTAINE "CROIX DE PIERRE" NOW IN THE MUSÉE DES ANTIQUITÉS The inner quadrangle, which you reach through the rooms of the Museum, is the best thing it has to show. Remote from the dust and bustle of the highway the little cloistered square is gay with flowers upon the turf, and statues from various churches are set here and there, like pensioners in Chelsea Hospital, after their active service in religious wars has left them mutilated and useless, but not without honour in the days of their old age. From the walls and windows sculptured saints and angels look down with an air of gentle approbation on the scene, and in the very middle a little bishop raises his hand in benediction over pious strangers from the centre of a rosebed.

But it is in the galleries within that we must seek for those records of primitive habitation that we have come to see. Hatchets of silex or of bronze, rude clay vases that were found nine yards beneath the soil, bear witness to the remotest ages of humanity in Rouen. The town grew very slowly, for its name was unknown in any form to CÆsar, and it is not till the second century that Ptolemy mentions Rotomagos as the capital of the tribe of Velocasses who have left their name to the Vexin. The unhealthy marshes in the valley between the hills and the river were not likely to be tenanted by the first Roman conquerors who fixed their centre at Julia Bona, and their amphitheatre may still be seen, near the ruins of a Norman castle, in the midst of the manufactories of Lillebonne. But as the importance of Lutetia grew upon the upper waters of the Seine, the value of this elbow of the stream grew greater every year; and by the days of Diocletian, Rotomagus had become the sea-gate of the capital, and the chief town of the province. Already Strabo speaks of its commerce with the English ports, and it appears as the natural point of exchange between southern civilisation and the barbarism of the north, the gate through which goods came from Italy, travelling by Rhone, by SaÔne, or Seine, to England.

Its first fortifications found a natural southern base upon the river's bend; to east, to west, and north it was protected by hills and by the marshes, and unhealthy as it was, the Roman colonists were compelled, when danger came, to leave the Julia Bona they preferred in peace, and fly for safety to the fine strategical position Nature had marked out at Rouen. Here, too, was the home of the Provincial Governor, and of his military captain; and of the walls they built the eye of faith can still see traces at the Ponts de Robec, at the Abbaye de St. Amand, near the HÔtel de France, close to the Priory St. LÔ, and in the Place Verdrel in front of the Palais de Justice. I have marked out the limits of this earliest castrum on Map C; and in the Rouen of to-day you may see a strange confirmation of the fact that Roman Rotomagus was a far more watery place than may be realised at first. For if you stand anywhere about the level of the Cathedral foundations and look in the direction of the river, you will notice that all the streets slope upwards. Go nearer still, and at the angle where the Rue du Bac meets the Rue des Tapissiers, the upward slope becomes even more pronounced, for though the river is not so far away, there is even less of it to be seen. A great embankment has been slowly built; and upon what was once marshland and islands and the tidal mud, has grown up nearly all that part of Rouen which lies between the Cathedral and the river.

This gradual consolidation of the land which was reclaimed slowly from the Seine must have gone on from the time when the Roman walls stopped at the Rue aux Ours on one side, and at the Rue Saint Denis on the other. Their northern boundary was very slightly farther than the Rue aux FossÉs Louis VIII. The Rue Jeanne d'Arc runs just outside them to the west, and the stream of Robec forms their natural boundary to the east, flowing into the Mala Palus that has left its name in the Rue Malpalu which leads from the west front of St. Maclou towards the Seine. Robec himself is well-nigh hidden now, though once his southern turn formed one of the defences of the town. Now he gropes underground his way into the Seine, and even when his waters can be traced, in the Rue Eau de Robec, their muddy waves were almost better hidden.

There is a striking likeness to all this in the early days of the history of London. Apart from all legends of the Troy Novant, of Lud and Lear and that King Lucius who sanctified Cornhill, legends which have their counterpart in all the old histories of Rouen, there are almost as few relics of the fortified barrack on the Thames, or of the more pretentious "Augusta" which followed, as there are of Roman Rouen. The same mud flats along the river bank remained until, in 982, after the first great fire, Cnut made a canal for his boats round Southwark. Into the marsh fell the Fleet river, just as Robec into Mala Palus; the English stream like the French one, formed the first natural line of defence on that side; and both are now little better than built-in sewers, one flowing into Thames at Blackfriars Bridge, the other through its smaller tunnel into Seine near the Pont de Pierre Corneille.

In the Museum of the Place Sainte Marie are the few Roman tombs that have survived all other relics of their occupants, and some of the money that they brought here, coins of Posthumus, of Tetricus, of Gordian, of Commodus. It is said, too, that when the foundations of vanished St. Herbland were being dug, some rusty iron rings for mooring boats and mouldering ship timbers were discovered, which were supposed to have been traces of the Roman quay. But the word "Port Morant" is probably not derived from Portus Morandi, but from Postis, and refers to the far more modern "avant soliers" or jutting balconies, which were supported on stout beams, and ran round the Parvis when Jacques Lelieur was making his sketches of the town in 1525. With such mere conjectures we must leave all that the Roman occupation has to tell. Their story was a short one; for the town was outside that circle where Roman influence was chiefly felt; and it ended with the Frankish invasions from beneath the Drachenfels. From being the head of a Roman province, Rouen became one of the fourteen cities of the Armorican Confederation, through the influence of the churchmen who now begin to appear in the dim records of the city-chronicles as the defenders of these earliest citizens.

The Romans laid foundations here, as they did in so many places in Europe, and then passed away. But before they disappeared there had been time for the first missionaries of the Christian faith to sow the seeds that were to grow into the Church. The legions left the city, but the faith of Rome stayed on. As early as the second century (and some say earlier still) came St. Nicaise. After him arrived St. Mellon of Cardiff, who is said to have converted the chief Pagan temple into a Christian church. St. Sever was the third "Bishop." In 400, St. Victrice had laid the foundations of the first church on the site of the Cathedral, and tradition puts the beginning of what became St. Ouen as one year earlier. Strangely enough there remains a record of the ecclesiastical architecture of these early days that is of the highest interest, for it is the oldest building of its kind to be found north of the Alps.

To reach it you must pass out of the town to the north-west, going by the Rue Cauchoise where it starts from the Place du Vieux MarchÉ towards the hill of St. Gervais. All Roman burials took place outside their walls, and the tombs generally lined the great roads that led out of the towns. There is no doubt that many such monuments stood on either hand of the road that you must follow now, beyond the Place Cauchoise and into the Rue Saint Gervais. Go straight on up the hill and at the turn into the Rue ChasseliÈvre, upon the left, you will see an uncompromisingly new Norman church standing alone upon some high ground. This is a modern building on the site of the old Priory of St. Gervais, to which William the Conqueror was carried in his last illness, when he could no longer bear the noise and traffic of the town. At the west end, on the outside wall of this third and newest church, is placed a tablet that records his death. Of the second church you can trace the apse, with its Romanesque pillars and carved capitals of birds and leaves, beneath the choir at the east end of the third one.

Look lower still. Beneath the second choir is a still older window that barely rises high enough above the soil to catch the light at all. That is the window of the oldest crypt in France. Down thirty steps from the inner pavement of the new church you can descend with lighted candles to see the first building in which the Church of Rouen met. The only accurate drawing that has ever been published of it was made for these chapters, and it is worth while taxing your patience with rather more detail than usual in describing a subterranean chamber that has no parallel save in the Catacombs of Rome. It was no doubt after his visit to the Holy City in 404 that St. Victrice built this shrine for the safe-keeping of the first relics of his church in a pagan land. The friend of St. Martin of Tours, and of St. Ambrose at Milan, St. Victrice had probably obtained from them the sacred fragments which were to be so carefully preserved for the strengthening of the faith among the infidels. But the little community of Christians at Rouen had its own relics that needed safe disposal too. For in this crypt on the left hand as you enter is the tomb of St. Mellon who died in 311, to whom a church is dedicated that still exists in Monmouthshire, and on the right lies St. Avitien who died in 325. The saint to whose name and memory the crypt was dedicated lies buried beneath the high altar of the Church of St. Ambrose at Milan. The body of St. Victrice, its builder, after lying in this same vault for nearly four centuries after his death, was transferred elsewhere.

ANCIENT CRYPT BENEATH THE CHURCH OF ST. GERVAIS The cold and gloomy little pit is eleven metres forty long, by five metres forty broad, and five metres thirty high, and in the recessed arches above the tombs may still be traced the thin red bricks of the Roman builders and their strong cement between. In the circular apse opposite the tiny square-headed entrance is the high window, set in the east, that we saw from the outside, and in the wall on each side are two square recesses in which the sacred vessels were locked up. The altar on its raised platform stands upon two rude upright stones, and is marked with five small crosses incised upon its upper surface. Behind it, on the rounded wall, are faint traces of carving and of fresco. All round the walls, except at the altar and the entrance, runs a low stone seat after the true type of the Christian Catacomb. A flat projecting rib of stone divides the barrel roof of the nave from the circular vault of the apse which slopes upwards to the rounded summit of the tiny window. A few skulls lie in a shadowed hollow near the altar, but the State has fortunately put a stop to any further grubbing in the floor for corpses that should never have been disturbed.

There is an absolute and elemental simplicity in this tiny crypt, with its stone bench and tombs of stone, that appeals far more strongly to the imagination than any bespangled ecclesiasticism above it. This is the true service of God and of His poor. The cold austerity of a faith that stood in no need of external attractiveness lays hold upon the senses as the reticent syllables of that first gospel, spelt out from its original sentences, must have gripped the hearts of those who heard it first. The Latin phrases of a long drawn litany, set to complicated tunes, rolled overhead with an emptiness of barren sound, among the clouds of incense and the glitter of the painted walls and all the service of "the clergyman for his rich."

More beautiful places of worship we shall see in many parts of Rouen. But in all France there is nothing more sincere than the small crypt of St. Gervais.

So the only remnant that is left of "Roman" Rouen is not Roman at all, but a type of that strong, naÏve, and sincere Christianity which invigorated the Gothic captains who overthrew Rome. It is but fitting that there should be so little left. For the Romans were not so much a nation as an empire. They were not so much a people, as the embodiment of a power. When their work of spreading law and order, of diffusing Greek imagination through the channels of their strength was over, they split asunder at the vigorous touch of the truth that came against them. They left no personal traces in a town so far removed as Rouen from the centres of their civilisation.

It was the same in London, which was still farther off. For if you believe that any "Roman" wall was built round Augusta before 400 a.d., there is little left of it to point to now, save at that south-eastern corner on which the Norman Conqueror built his tower, at the New Post Office buildings in St. Martin's le Grand, and in the churchyard of St. Giles's, Cripplegate. In the British Museum and at Guildhall are some scanty relics of domestic life, some fragments of mosaic, shreds of pavement, and the like.

At Rouen it is the same. The legions left the stamped impression of their armoured feet, impersonal and strong, a hallmark as it were, to guarantee the local strength and value of the first Rothomagus. But it was the Christian worshippers who left the only building that remains of those first centuries, to testify to what some men and women in that early time could really feel and think and do.

It is by another priest that the story of the town is carried on from "Roman" times to the next period of transition. St. Godard appropriately enough, a Frank by descent himself and born of a Roman mother, is the link between this shadowy twilight of early church history and the stronger colouring of the Frankish story that is to come. In 488 he was elected as the fourteenth bishop of Rouen by the unanimous vote of clergy and people together, and eight years afterwards he represented the diocese when Hlodowig or Clovis was baptised at Rheims, from which we may gather that the Frankish power had definitely embraced his town within its grasp some time before. He died about 525 and his body, which was first buried in the crypt of the church which bears his name, was afterwards removed to Soissons. It was at that same Soissons that the Romans were driven out of "France," and Hlodowig with his Franks took possession of the country to the Loire, and then pushed on the boundaries of their kingdom to the Pic du Midi. The profession of Christianity by Hlodowig was not a mere matter of policy. It was another expression of that Frankish quality of sincerity and truth, which has been already noticed, in the Gaul that was shaking off the bonds of Rome. It was perhaps the chief quality of that band of nations north of Tiber which stretched from English hills, across limestone plÂteaux of Northern France, through German forests, to the vales of the Carpathians. These were the first wave of the "barbarian" invasion after Rome had fallen. Behind them, further to the north and east, drifted a piratical band of roaming warriors, who for the next five centuries press and harry the boundaries of the kingdoms, Visigoths and Ostrogoths, Saxons, Danes, and Scandinavians, of whom we shall hear more later.

STATUE SUPPOSED TO REPRESENT ST. LOUIS (FROM THE CATHEDRAL) NOW IN THE MUSÉE DES ANTIQUITÉS The Christian bishops were the shield after Rome fell, between the trembling conquered races and the first wave of conquering barbarian invasion. The strength of their faith we have seen already in the crypt of St. Gervais. This little altar, and the tiny shrine of St. Godard watched infant Rouen from beyond its walls. An edict in 399 had destroyed the rural temples of the old Pagan faith. About 450 a new law recommended the conversion of the old temples within the towns into churches. So in these years we may suppose that the first building had risen on the site of the Cathedral, with St. Herbland's earliest church in front, and upon other eyots in the Seine the shrines of St. Martin de la Roquette, St. ClÉment, and St. Eloi. When Julia Bona was finally deserted, Rouen became the home of a count, who held, under Clovis, administrative, judicial and military power. By the next century the town must have grown to a considerable size and importance. Yet there is absolutely nothing of Merovingian Rouen left except the few poor ornaments in the glass cases of the MusÉe des AntiquitÉs. Here you will see some of the characteristically shaped bronze axe-heads of the period; but by far the larger part of what is left is woman's gear. Beside the axes there are a few lance and arrow-heads; but the finger rings (still on the bones that wore them) are numerous; there are necklaces too, and bracelets; nails and buttons, styles for writing, pins, needles, combs, and pottery. By such pitiful trifles that have survived the pride and strength of all their owners, you may be fitly introduced to the next chapter in the pageant of historic Rouen, the tale of Fredegond and Brunhilda.

CHAPTER III