The "Bourse"

The Bourse is the finest specimen of 17th century Flemish architecture in France. Dissatisfied with transacting their business in the open, twenty-four merchants of Lille petitioned the King of Spain, Philippe IV., for permission to erect a building in the Place du Grand MarchÉ, to be known as the "Bourse."

The plans of the architect Julien DestrÉ were accepted in 1652. It was stipulated in the specification that the faÇades should be "of like symmetry and construction," that only the armorial bearings of the King were to appear over the entrances, and that the twenty-four buildings composing the edifice should be beneath one continuous roof, so as to form a harmonious whole. The petitioners were to guarantee the completion of the building within a given space of time.

To-day, shops on the ground-floor hide part of the faÇade, so that it is difficult to distinguish the bossages and semi-circular tympanums, but the rich, severe ornamentation of the upper stories, composed of caryatids, pilasters, pediments, and garlands carved in the stone-work, is plainly visible. The different periods of life (childhood, youth, and old-age) and the passions are depicted. The head of King Midas with stellated crown is especially noteworthy. A judicious use of brick with stone, while ensuring a harmonious ensemble, reposing to the view, also causes the relief motifs to stand out well.

Of the four doors ornamented with scroll-work, horns of plenty and royal coats of arms, in the four sides of the edifice, one gives access to the interior courtyard which is lined with four wide arcaded galleries. Doric columns of polished black stone support the vaulting, which is of brick, with binding ribs and nerves of white stone. On the plinth are heads of leopards connected by garlands of flowers and foliage. A bronze statue by Lemaire, representing Emperor NapolÉon I., protector of the national industries, stands in the middle of the courtyard. This statue was inaugurated in 1854, and was cast from old presses from the Mint of Lille, which had previously been made from guns taken at Austerlitz.

The interior galleries of the Bourse were decorated in 1850.

Facing each of the bays formed by the intercolumniations are large tablets of marble surrounded by carvings, which recall those of the faÇade. In the midst of this sculpture are the symbols of commerce, industry and science. Inscriptions recall the most important dates and institutions relating to the commerce and industry of Lille. The busts over them represent great inventors or learned men (Jacquart, Philippe de Girard, Chaptal, Brongniart, Chevreul).

On leaving the Bourse, cross the square to the left, and enter the Place de Rihour.

At the corner of the Grand Place, the black faÇade of the Grand' Garde decorated with trophies and curved pediments bearing the arms of France and Lille, should be noticed. A large shell-hole in the left-hand pediment has been temporarily bricked up.

Cross the ruins of the HÔtel de Ville, burnt down on April 24th 1916 (photo below), at the time of the deportations. To the right, abutting on the HÔtel de Ville, is the Palais de Rihour which escaped damage from the fire.

The Palais de Rihour

Built in 1457-1462, this palace was the residence of Philippe le Bon, Duke of Burgundy. Only an octagonal turret, the guard-room and the chapel of brick and white stone remain. The HÔtel de Ville was erected on its site.

The low guard-room, in which the town records are kept, is divided in the middle by three polygonal columns unequally interspaced. The stone staircase with ribbed vaulting and graceful ornamentation, was formerly the grand staircase. Transferred to its present position, it now leads to the chapel known as the "Salle du Conclave," where the magistrates of Lille sat until 1789.

To the right of the chapel is a brick building, the faÇade of which is divided by two similar gables. Jutting out at the corner is an octagonal turret containing two small vaulted chambers. Above is a third room with timber-work ceiling, known as the "Oratory of the Duchess." An opening in the wall communicates with the chapel, and through it the choir is visible. From this room, which is reached by a spiral staircase of stone inside the turret, it is possible to hear the service without being seen.

Re-cross the HÔtel de Ville ruins and return to the Place de Rihour. Follow the Rue de la Vieille-ComÉdie and Rue du Sec-Arembault (plan, p. 25); the latter comes out into the Rue de Paris, in front of St. Maurice's church.

The Church of St. Maurice

(historical monument)

The church was seriously damaged by the bombardment of October 1914, which set fire to the roof.

It is a curious specimen of the 15th century Gothic-Flamboyant style of Walloon-Flanders, and comprises five naves of equal height arranged quincuncially, whereas most of the churches belonging to that period have three naves under a single roof, the aisles being shorter than the great nave, while the tower is necessarily placed over the main entrance (see St. Catherine's Church, p. 54).

It also contains an ambulatory and an apse formed by polygonal chapels.

The faÇade, with its three portals, steeples of open construction, and white stone tower at the entrance, dates from the second half of the 19th century. The old square tower was pulled down in 1826 as unsafe. These different alterations were carried out under the direction of the architect Lannissie. According to Monseigneur Dehaisnes, the remarkable exterior of this church is due to these successive restorations and alterations.

Inside the church are rows of round slender columns with sculptured capitals, irregularly spaced.

The springing of the binding ribs or projecting arches which line the vaults, and their graceful arched branches, rest on and meet at the capitals. The point of intersection of the arches is marked by a pendant keystone. High and broad mullioned windows (note the stone uprights dividing the bays) amply light the interior. In the choir aisles are the following paintings: St. Charles BorromÉe and St. Francis, by Van Oost, and "Les Disciples d'EmmaÜs," by Van der Burgh; in the chapel of St. Barbara: "Vision de StÉ. Therese," by Van Oost and a landscape by Van der Burgh; in the chapel of the Virgin: "Mariage de la Vierge," by Wamps, "Glorification de la Vierge," by Van Minne, and "La CÈne," by Van Audenaerde. In the vestry are 15th and 16th century chasubles and 17th century tapestries.

After visiting the Church, take the Rue du Priez, behind the Church, leading to the Place de la Gare.

Follow the Rue de Tournai, on the right (numerous houses damaged by shells) as far as the Tournai Gate.

The Tournai Gate was built in the reign of Louis XVI.

The bridge over the moats of the ramparts, which the Germans blew up before leaving, has been temporarily repaired.

Return by the Rue de Tournai and the Rue Faidherbe (partially in ruins) as far as the Place du ThÉÂtre: see the Nouvelle Bourse surmounted by a tower, and the New Theatre, inaugurated during the German occupation.

SECOND ITINERARY

From the Grande Place to the Douai Gate quarter, destroyed by the Explosion of the "18 Ponts."

Principal sights on the way: The Prefecture, Museum and Paris Gate.

Starting Point: The Grande Place.

To the right of the Grand' Garde, take the Rue Neuve, continued by the Rue de BÉthune (one of those which suffered most from the bombardments).

Follow this street to the Place de BÉthune and to the Place RichebÉ; see the bronze equestrian Statue of General Faidherbe (1896), at the foot of which are two feminine figures with palm-branches and arms symbolising France and Lille. Two bas-reliefs representing the battles of Pont-Noyelles and Bapaume adorn the sides. The Monument is the combined work of the architect Pugol and the sculptor MerciÉ.

In front of the statue: Boulevard de la LibertÉ and the fine Place de la RÉpublique; on the right is the Prefecture, on the left, the Palais des Beaux Arts.

The Prefecture is a richly ornamented building, erected in 1869 from the plans of the architect Matteau. The walls have been deeply scarred in places by shell splinters (note the white patches on the blackened faÇade).

The Palais des Beaux-Arts was inaugurated in 1892.

Composite in style, it is very richly ornamented. Flanked by two round pavilions with cupolas containing staircases, its principal faÇade is in the Rue de la RÉpublique. The Museum of Lille is installed there.

THE MUSEUM OF LILLE

This is one of the finest provincial museums in France. As early as 1795 it contained 183 works of art. A Consular Decree, dated the 14th Fructidor, Year IX, added 46 paintings taken from the collections of the Louvre and Versailles. The first catalogue, dated 1850, comprised 274 works of art, which number had increased to 1,275 at the time of the inventory of January 1st, 1908.

The Museum during the War

The Museum was the edifice which most suffered from the German bombardments. On October 11th, 1914, it was struck by 75 shells. The curator took measures at once to have the roof repaired and protect the collections.

However, the Museum was not proof against German greed. On Saturday, November 17th, two officers, accompanied by military policemen, came to "requisition" the works of art, in the name of the German authorities. After visiting the different rooms, and being unable to obtain the keys of the cabinets, they broke open the latter and took all the medals and miniatures, which they placed in paper bags from a neighbouring grocer's shop. The curator protested the same day, both verbally and in writing, to the Kommandantur and Military Governor.

The miniatures were brought back on November 19th, and the medals on December 3rd, less various antique gold jewels, two miniatures, and two gold medals, which had been "lost."

Later, two well-known German art experts Herr Demmler and Herr Professor Klemen, armed with carefully annotated catalogues, made a general "requisition" comprising: 1,500 drawings (including those by Raphael and Michael Angelo), 420 paintings and 518 other works of art, all of which were packed up, labelled and sent off. The famous "Wax Head" (page 43) had, however, been hidden away in an underground vault, and replaced by a copy.

In an endeavour to justify their action, the Germans sent out a radiogram on November 4th, 1918, stating that the Museum of Lille had been damaged so seriously as to be unsafe for works of art, and that at the request of the curator, an inventory of the collections had been made and the latter transferred first to Valenciennes and then to the Old Museum in Brussels.

VISIT TO THE MUSEUM

The collections are classed under four distinct heads: paintings, modern sculpture, archeological and lapidary specimens and the Wicar collections.

I.—Paintings

The Flemish and French schools are the best represented. (For a detailed description of the paintings, see "La peinture au MusÉe de Lille," by FranÇois Benoit, 3 vols. in 4to, with reproductions, 1908).

The Spanish school includes a St. Jerome, by Ribera, dated 1643.

The Italian school contains The Martyrdom of St. George by Veronese (duplicate of the painting by San Giorgio Maggiore at Verona); two circular panels: Eloquence and Science (symbolized by two Venetian women with auburn hair), also by Veronese; The Flight into Egypt by Carlo Saraceni, and the Assumption of the Virgin by Piazzetta (two very original painters little known in France); a delicate "Virgin with wild roses," of exquisite colouring, by Ridolfo Ghirlandajo; "Magdalene at the feet of Christ" and a "Judith and Holopherne" by Lambert Zustris (often called Lambert Lambard)—two paintings of limpid colouring; (note the delicate lilac-grey tints).

As befits the "Capital of Flanders," the Flemish and Dutch Schools of the North are fully represented.

The Mystic Press, by Jean Bellegambe; the triptych, Virgin surrounded by Angels, attributed to Gerard David; the first portrait of Philippe le Bon, attributed to Pierre Etret; the Symbolical Fountain, an exceedingly fine altar-screen panel by Thierry Bouts de Haarlem, is particularly noteworthy; a portrait of Emperor Charles Quint at the age of 32, by Christophe Amberger and Charles Quint taking the Monk's Gown, by Nicolas Francken the Elder. Rubens is represented by seven paintings: The Descent from the Cross, of admirable clearness; the expression is more natural than that of the painting in Antwerp; Vision of the Virgin appearing to St. Francis, of warm colouring; St. Bonaventure Meditating, and St. Francis receiving the Stigmas (two fine long panels); The Death of Magdalene (a somewhat monotonous but strangely intense monochrome). Van Dyck is well represented by the following: The Crucifixion, considered by Paul de St. Victor to be his greatest masterpiece (the figure of Christ stands out clearly against a cloudy sky pierced by lightning); Portraits of an Old Lady and Marie de MÉdicis (in the background are seen Antwerp and the Escaut). The following artists are also represented: Jordaens, by the Prodigal Son, Christ and the Pharisees, the Temptation, and a wonderful study of cows; Gaspard de Crayer, by Martyrs buried alive (fine harmonious composition); F. Franchoys, by a Portrait of the Prior of the Abbey of Tongerloo, Gisherts Mutsarts, dated 1645. (Paintings by this artist are exceedingly rare). Verspronck, by the Portrait of Young Boy; Jansen Van Ceulen, by a very fine portrait of Anne Marie de Schurmann; Pieter Codde, by Conversation, of delightful colouring.

The French school, although incomplete (Prudhon, Ingres and Antoine Watteau are not represented), is nevertheless rich and instructive. First of all an anonymous 17th century Portrait of an Architect, whose pale harsh face arrests the attention and haunts the memory. Ph. de Champaigne is represented by the Good Shepherd; Restout by a Jesus at EmmaÜs; Mignard, by A Judgment by Midas; LargilliÈre, by a very fine portrait of his father-in-law, the painter, John Forest; DouvÉ (native of Lille), by a fine portrait of the painter Savage; Jean Voilles, by a delightful portrait of Madame LiÉnard; FranÇois Watteau (grand nephew of Antoine Watteau), by two amusing sketches: Procession of our Lady of the Vine in 1789 and The Old Clothes Market of Lille; David, by his first picture after returning from Rome, "BÉlisaire" (1781), of which there is a reduced copy in the Louvre (this painting marks the re-birth of the antique); Boilly, a native of the district of Lille, is fully represented by his Triumph of Marat—masterpiece of great truth and delicacy—and 28 portraits of artists painted for the picture "RÉunion d'artistes dans l'atelier d'Isabey." The following are the names of these portraits: Van Dael, flower painter; Houdon, sculptor (grey overcoat); Chaudet, sculptor (seated); Duplessis Berteaux, designer (head resting on hands); Hoffman, art critic (long powdered hair); Redoute, flower painter; Bourgeois, designer; Demarne, painter; Thibaut, architect; Swibach, genre painter; Lemot, sculptor; Serangeli, historical painter (half-length, hands in pockets); Taunay, landscape painter; Isabey (red coat); Percier, architect (looking at a plan); Talma, actor; Drolling, portrait-painter (red waistcoat); Corbet, sculptor (grey coat and white waistcoat); Meynier, painter; Fontaine, architect; Blot, engraver; Bidault, painter; Boilly-Chenard, singer; Girodet-Trioson, Gerard and the remarkable group LethiÈre and Carle Vernet.

In the modern school, the following are especially noteworthy: La MedÉe, by EugÈne Delacroix (strikingly dramatic), L'aprÈs-diner À Ornans, by Courbet, the colouring of which is unfortunately fading; La BecquÉe, charming genre painting by Millet; Effet du Matin, by Corot, remarkable for its beautiful effects of silvery light.

II.—Sculpture

Of the collections of sculpture, only the fine bust of Bonaparte by Corbet, dated 1799, is worthy of special mention.

III.—Archeological and Lapidary Museum

The Archeological Museum contains the following remarkable works of art: Three 14th century statuettes of the Virgin (two of wood, one of marble); an ivory diptych of the Crucifixion; a 13th century reliquary cross of Flemish origin; divers curious specimens of brass-work, including the Censer of Lille, rightly considered a masterpiece; a richly embroidered altar-cloth, representing the Annunciation.

IV.—The Wicar Collections

The important Wicar Collections were bequeathed by the Lille painter, Jean Baptist Wicar, pupil of David (1762-1834), who in 1815 succeeded in protecting the Museum of Lille from spoliation by the Allies.

Commissary to Bonaparte in Italy, and later Director of the Royal Academy at Naples, Wicar adopted Roman nationality, and collected a large number of fine drawings and art treasures. Parts of his collections are to-day at Oxford. The famous "Wax Head" (p. 43) is in the centre of the Wicar Room.

There are several Renaissance bronzes worthy of note, also a marble bas-relief by Donatello, representing the Beheading of John the Baptist, and a fine terra-cotta Head of Child by Verrochio. The drawings merit careful inspection. The following are especially remarkable: Studies on pink and yellow grounds, by Filippo Lippi, Filippino, Ghirlandaio, and La Verrochio; Head of Bald Man, by Montegna; 14 drawings on parchment, representing scenes from the Metamorphoses, Children's Games and Arabesques, attributed by L. Gonse to Jacopo Francia, attest marvellous delicacy and skill; two sheets of caricatures by Leonard de Vinci and 60 sketches by Raphael; studies in black and red by Michael Angelo, especially a Dead Christ, figure of a naked man, fantastic masks and a series of 184 architectural drawings, generally known as the "Book of Michael Angelo." Annibal Carrache, Le Guide, Guerchin, Sodoma and AndrÉ del Sarto are also well represented.

On the other hand, French drawings are few in number, the most remarkable being one by David for his "Serment des Horaces." The others include: "Le Corps de Garde," by Boilly (fine, carefully-finished drawing); a naked Woman, by Watteau; two drawings by Ingres for his "Apotheose d'HomÈre;" a drawing by Poussin for the "Massacre des Innocents"; a wonderful Portrait of Old Man, by Lagneau, an artist little known in the reign of Louis XIII, but a great master; lastly a fascinating fusain drawing by Millet: "Le Troupeau de Moutons an milieu d'un bois."

The "Wax Head"

The most celebrated work of art in the collections is the Wax Head (TÊte de Cire), which has so often been reproduced in engravings, photographs and casts. This funeral souvenir, which stands in a golden niche in the middle of a room draped with red plush, was made to perpetuate the memory of a young girl 15 to 18 years of age. The pedestal and draperies are of terra-cotta, and date from the 18th century.

Of Italian origin, the head is attributed by some to Raphael, by others to Leonard de Vinci. The possibility of its being antique is no longer admitted. According to Gonse, it came from the Tuscan studio of Orsino Benitendi, and dates from about 1480. The wax was tinted at a later date.

Leaning to one side, the face is pensive in expression. The neck is flexible and sits with easy grace on the shoulders. The cheeks are rather broad and somewhat flat, the chin round and short. A faint smile hovers round the delicate mouth. The eyes are considered by some to be rather small. The waving hair is divided into two graceful masses, which are rolled up on the back of the neck.

The expression of the face is enigmatical and changes with the angle from which it is regarded. Psychologists and artists alike will long discuss its charms.

When the two German experts Herr Demmler and Herr Professor Klemen "requisitioned" the collections of the Museum (p. 39), what they took away was a copy of this head, the original having been hidden in one of the underground vaults. It narrowly escaped destruction in October, 1918, when the Germans, previous to evacuating the town, cut the water-mains, so that the sub-basement of the Museum was flooded. Fortunately, the water did not rise high enough to do serious damage, and the head was eventually restored intact to its velvet pedestal.

Near the Museum, at the corner of the Rue Jeanne Maillotte and the Rue Denis Godefroy which opens on the Boulevard de la LibertÉ, in line with the Museum, is the house where M. EugÈne Jacquet lived (his apartment was on the 1st floor, see photograph below and page 16).

Leave the Place de la RÉpublique by the Rue Nicolas Leblanc (at the corner of the Square, by the side of the Museum) at the end of which is the Church of St. Michael. Continue as far as the Place Philippe le Bon: in the middle, Monument to Pasteur; on the left, University of Lille.

The University of Lille occupies spacious buildings inaugurated in 1895. An important library and various wings have since been added, including the Coal and the Gosselet Geological and Mineralogical Museums, the Electro-Technical and Pasteur Institutes, etc. The University of Lille is the second in importance in France.

On the left, at the end of the Place Philippe le Bon, take the Rue SolfÉrino which crosses the Place Jeanne d'Arc and leads to the Rue de Douai.

From the Place Philippe le Bon, the tourist may visit the curious Monument built by the Germans in the Southern Cemetery, where several thousands of their soldiers were buried. The monument represents a Walkyrie carrying off a dead warrior to the Walhalla (p. 64).

To reach the Cemetery, take the Rue des Pyramides, on the right of the Church, then the Rue des Postes, go through the Porte des Postes and follow the Rue du Faubourg des Postes to the cemetery. Return to the Porte des Postes, taking on the right the Boulevard Victor Hugo which leads back to the crossing of the Rue SolfÉrino and the Boulevard des Écoles (see Itinerary, p. 36).

If preferred, the tourist can go direct from Philippe le Bon Square to the Douai Gate, via the Rue SolfÉrino (continued by the Rue de Douai), passing between the University and St. Michael's Church.

The "Dix-huit Ponts" (see p. 22)

On reaching the Rue de Douai, the cracked walls of the houses, many of them roofless, which were damaged by the Explosion of the German Ammunition Depot known as the "Dix-huit Ponts," come into view. The tourist will get a closer view of them as he proceeds. At the Douai Gate, take the Boulevard de Belfort on the left, which leads to the scene of the catastrophe. The crater is still plainly distinguishable, although its sides are no longer sharp, and grass is springing up everywhere.

Climb to the highest point of the fortifications above the crater, to get a good view of this moving scene.

To the right and left extends the regular and picturesque line of the Vauban fortifications, the red brick walls standing out well against the green of the grass-covered slopes. In the nearest walls are large crevices, while below, the tourist sees the crater strewn with rubbish and portions of the vaulting. In front, the wrecked spinning-mills, of which only the chimneys remain standing, and the devastated streets (Rue de Ronchin, Rue de TrÉvise, etc.), form impressive silhouettes.

Return to the Douai Gate, in front of which traces on the ground mark the site of a block of buildings burnt down by the Germans in October, 1914, when they entered the town. Take again the Rue de Douai, then the Boulevard des Écoles, following the latter to the Rue and Porte de Paris.

To the right of the Rue de Paris, in the Boulevard Louis XIV, are the School of Arts and Craft and the Pasteur Institute.