WE are now in the vicinity of the largest and most important of the Paris cemeteries—PÈre Lachaise. But it lies in the 20th arrondissement. The streets of this 10th arrondissement leading east approach its boundary walls—its gates. Rue de la Roquette comes to it from the vicinity of the Bastille. La Roquette was a country house built in the sixteenth century, a favourite resort of the princes of the Valois line. Then, towards the end of the seventeenth century, the house was given over to the nuns HospitaliÈres of Place-Royale. The convent, suppressed at the Revolution, became State property and in 1837 was used as the prison for criminals condemned to death. The guillotine was set up on the five stones we see at the entrance to Rue Croix-Faubin. The prisoners called the spot l’Abbaye des Cinq Pierres. It was there that Monseigneur Darboy and abbÉ Deguerry were put to death in 1871. On the day following fifty-two prisoners, chiefly monks and Paris Guards, were led from that prison to the heights of Belleville and shot in Rue Haxo. Read À ce propos CoppÉe’s striking drama Le Pater. La Roquette is now a prison for youthful offenders, a sort of House of Correction.

Lower down the street we find here and there an ancient house or an old sign. The fountain at No. 70 is modern (1846). The curious old Cour du Cantal at No. 22 is inhabited mostly by Auvergnats. Rue de Charonne, another street stretching through the whole length of the arrondissement, in olden days the Charonne road, starts from the Rue du Faubourg St-Antoine, where at No. 1 we see a fountain dating from 1710. Along its whole length we find vestiges of bygone times. It is a district of ironmongers and workers in iron and workman’s tools. A district, too, of popular dancing saloons. At No. 51 we see l’hÔtel de Mortagne, built in 1711, where Vaucanson first exhibited his collection of mechanical instruments. Bequeathed to the State, that collection was the nucleus of the Conservatoire des Arts et MÉtiers: Arts and Crafts Institution (see p. 64). Here the great mechanic died in 1782. No. 97, once a Benedictine convent, was subsequently a private mansion, then a factory, then in part a Protestant chapel. The École Maternelle at No. 99 was in past days a priory of “Bon Secours” (seventeenth century). No. 98 is on the site of a convent razed in 1906. There are remains of another convent at Nos. 100, 102. No. 161 was the famous “Maison de SantÉ,” owned by Robespierre’s friend Dr. Belhomme, to which he added the adjoining hÔtel of the marquis de Chabanais. There, during the Terror, he received prisoners as “paying guests.” His prices were enormous and on a rising scale ... the guests who could not pay at the required rate were turned adrift on the road to the guillotine. These walls sheltered the duchesse d’OrlÉans, the mother of Louis-Philippe, protected by her faithful friend known as comte de Folmon, in reality the deputÉ Rouzet, and many other notable persons of those troubled years. On the left side of the door we see the figures 1726, relic of an ancient system of numbering. The Flemish church de la Sainte Famille at 181 is modern (1862).

Crossing Rue de Charonne in its earlier course, we come upon the sixteenth-century Rue Basfroi, a corruption of beffroi, referring to the belfry of the ancient church Ste-Marguerite in Rue St-Bernard. Ste-Marguerite, founded in 1624 as a convent chapel, rebuilt almost entirely in 1712, enlarged later, is interesting as the burial-place of the Dauphin, or his substitute, in 1745, and as possessing a much-prized relic, the body of St. Ovide, in whose honour the great annual fair was held on Place VendÔme. A tiny cross up against the church wall marks the grave where the son of Louis XVI was supposed to have been laid, but where on exhumation some years ago the bones of an older boy were found. We see some other ancient tombs up against the walls of what remains of that old churchyard, and on the wall of the apse of the church two very remarkable bas-reliefs, the work of an old-time abbÉ, M. Goy, a clever sculptor, to whom are due also many of the statues in the park at Versailles. Within the church we see several striking statues and a remarkable “Chapelle des Morts,” its walls entirely frescoed in grisaille but in great need of restoration. From the end of Rue Chancy, where at No. 22 we see an old carved wood balcony, we get an interesting view of this historic old church.

Rue de Montreuil, leading to the village of the name, shows us many old houses, one at No. 52 with statuettes and in the courtyard an ancient well, and at No. 31, remains of the Folie Titon, within its walls a fine staircase and ceiling, the latter damaged of late owing to a fire.