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+Project Gutenberg's Rheims and the Battles for its Possession, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Rheims and the Battles for its Possession
+       Illustrated Michelin Guides to the Battle-Fields (1914-1918)
+
+Author: Various
+
+Release Date: July 29, 2011 [EBook #36885]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RHEIMS ***
+
+
+
+
+Produced by Moti Ben-Ari and the Online Distributed
+Proofreading Team at http://www.pgdp.net. (This file was
+produced from images generously made available by The
+Internet Archive.)
+
+
+
+
+
+
+
+    ILLUSTRATED MICHELIN GUIDES
+    TO THE BATTLE-FIELDS (1914-1918)
+
+    RHEIMS
+    AND THE BATTLES FOR ITS POSSESSION.
+
+    MICHELIN & Cie--CLERMONT=FERRAND.
+    MICHELIN TYRE Co. Ltd., 81, Fulham Road, LONDON, S.W.
+    MICHELIN TIRE Co., MILLTOWN, N.J., U.S.A.
+
+
+
+
+[Illustration (Ad)]
+
+You don't know what a =Good Road Map= is if you haven't used the
+=Michelin Map= (_Scale - 1:200,000_) (3.15 miles to the inch).
+
+On sale at Michelin stockists and booksellers.
+
+The tourist finds his way about easily =in town=, if he has a plan
+giving the names of the streets.
+
+He gets about with the same ease and certainty =on the road=, if he has
+a =Michelin map=, because it gives all the road numbers on the
+milestones and road-signs.
+
+
+
+
+[Illustration (Ad)]
+
+THE BEST & CHEAPEST DETACHABLE WHEEL
+
+_The Michelin Wheel is practical and strong_
+
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+
+
+
+
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+
+
+If you are not a Member
+    of the Touring Club de France
+join to-day. By doing so, you will help France and, at the same time,
+yourself. (Intending Members should be introduced by two actual Members,
+or furnish references.)
+
+If you are already a Member
+    of the Touring Club de France
+Introduce new Members. It will only cost you a little good will, and you
+will have the satisfaction of knowing that you have helped to augment
+the Association's beneficent influence.
+
+SUBSCRIPTIONS:
+
+    The yearly subscription is:
+
+    6 francs for new Members of French nationality.
+
+    10 francs for new Members of other nationality, wherever their
+    residence may be.
+
+    New subscriptions paid from October 1 are valid for the
+    following calendar year.
+
+    Life subscriptions may be effected in one payment of 120 francs
+    for persons of French nationality, or 200 francs if of other
+    nationality.
+
+    The title of "Membre-Fondateur" may be acquired by the payment
+    of 300 francs.
+
+    A minimum payment of 500 francs confers the title of
+    "Membre-Bienfaiteur."
+
+    THE TOURING CLUB DE FRANCE,
+    65, AVENUE DE LA GRANDE ARMÉE, PARIS (16).
+
+
+
+
+    IN MEMORY
+    OF THE MICHELIN EMPLOYEES
+    AND WORKMEN WHO DIED GLORIOUSLY
+    FOR THEIR COUNTRY.
+
+    RHEIMS
+    AND THE BATTLES FOR ITS POSSESSION.
+
+    Published by
+    MICHELIN & CIE
+    Clermont-Ferrand, France.
+
+    Copyright by Michelin & Cie. 1919.
+
+    _All rights of translation, adaptation, or reproduction
+    (in part or whole) reserved in all countries._
+
+
+
+
+_On July 6th, 1919, the President of the French Republic conferred the_
+=Croix de la Légion d'Honneur= _on Rheims (fastening it personally on
+the City Arms), with the following_ "=citation=":--
+
+"_Martyred city, destroyed by an infuriated enemy, powerless to hold
+it._
+
+"_Sublime population who, like the Municipal Authorities--models of
+devotion to duty and despising all danger--gave proof of magnificent
+courage, by remaining more than three years under the constant menace of
+the enemy's attacks, and by leaving their homes only when ordered to do
+so._
+
+"_Inspired by the example of the heroic French maid of venerated memory,
+whose statue stands in the heart of the city, showed unshakeable faith
+in the future of France (Croix de Guerre)._"
+
+[Illustration: RHEIMS, AS SEEN FROM THE GERMAN LINES (_Photograph found
+on a German prisoner_)]
+
+
+
+
+=RHEIMS=
+
+=POLITICAL HISTORY=
+
+
+Rheims is one of the oldest towns in France, so old that legendary
+accounts, in an endeavour to outdo one another, carry back its
+foundation sometimes to 1440 B.C. after the Flood, sometimes to the
+siege of Troy. Lying at the intersection of the natural routes between
+Belgium and Burgundy, and between the Parisian basin and Lorraine,
+_i.e._ between political districts that long remained different in
+character, and regions having different commercial resources, it was at
+one and the same time the "_oppidum_" and _market-town_. Its military
+and commercial position destined it early to be a great city.
+
+It probably takes its name from the tribe of the _Remi_, who occupied
+almost the whole territory now forming the "_départements_" of the Marne
+and the Ardennes, and who were clients of the _Suessiones_ (Soissons)
+before the Roman conquest. It was already a prosperous town, under the
+name of "_Durocortorum_," when Cæsar conquered Gaul. It freed itself
+from the yoke of the Suessiones by accepting the Roman domination. When
+the Belgians revolted in 57 B.C., the _Remi_ remained faithful to Cæsar
+and received the title of "_friends of the Roman people_." Neither did
+they take any part in the general revolt of Gaul in 52 B.C. Under the
+Empire, Rheims was, with Trèves, one of the great centres of Latin
+culture in "_Gallia Belgica_." On becoming a federated city, it retained
+its institutions and senate. A favourite residence of the Roman
+Governors, Rheims was embellished with sumptuous villas and magnificent
+monuments, and soon became one of the most prosperous towns in Gaul. At
+the beginning of the Germanic invasions Rheims drew in its borders and
+became a military town. Under _Diocletian_ it was the capital of
+_Belgica Secunda_.
+
+According to tradition, Christianity was first preached in Rheims by St.
+Sixtus and St. Sinirus, the first bishops of the city. However that may
+be, Christianity was firmly established there as early as the 3rd
+century. A bishop of Rheims was present at the Council of Arles in 314.
+The conversion of several great Roman personages (amongst others, the
+_Consul Jovinus_--see p. 118) favoured the progress of the Christian
+religion.
+
+In the 5th century, when Rome, otherwise occupied, was unable to hold
+back the barbarians, invasions interfered with the development of the
+city. The Frankish conquest marked the beginning of a new period of
+prosperity. In 486, after the victory of Soissons, _Clovis_ entered into
+negotiations with St. Remi, who, at the age of 22, had been elected
+Bishop of Rheims in 459, and whose long episcopate of seventy-four years
+is probably unique in history. On Christmas Day, A.D. 496,
+St. Remi, who had arranged the marriage of Clovis with the Christian
+princess Clotilde, baptized the Frankish king with his own hands in the
+Cathedral. This important event took place undoubtedly at Rheims and not
+at Tours, as a learned German, _Krusch_, has attempted to prove.
+
+Under the Merovingians and Carolingians, the history of Rheims became
+merged in that of the French monarchy. The possession of the city was
+disputed as fiercely as that of the throne. The city was mixed up in
+quarrels from which it suffered, without, however, losing its religious
+prestige. Pépin-le-Bref and Pope Stephen III., Charlemagne and Pope Leo
+III. had famous interviews there. When the Carolingians restored the
+religious hierarchy Rheims became one of the twenty-two chief cities of
+the Empire. From the time of Charlemagne, the Archbishop of Rheims ruled
+over twelve bishoprics, comprising the cities of the ancient Roman
+province of _Belgica Secunda_.
+
+From the 9th to the 11th century the history of Rheims is that of its
+church. The Counts of Vermandois, the Lords of Coucy and the archbishops
+first disputed, then divided its temporal possession, the latter falling
+eventually to the archbishops in the 11th century. After becoming
+Counts, with the right to coin money, and, from 940, powerful temporal
+princes, the archbishops played a great political part in the struggles
+between the Carolingian princes. Under _Charles-le-Chauve_, Archbishop
+Hincmar became the protector of the enfeebled monarchy. In 858 he
+prevented _Louis-le-Germanique_ from deposing his nephew and becoming
+King of France. In 987, Archbishop Adalbéron, at the Meeting of Senlis,
+drove the legitimate heir, _Charles de Lorraine_, from the throne, and
+favoured the election of Hughes Capet. Although, under the Capetians,
+Paris became the political capital of France, Rheims became the
+religious metropolis of the kingdom. From the time when _Louis-le-Pieux_
+had himself consecrated emperor in the Cathedral, by Pope Stephen IV.,
+it was understood that every new king must be consecrated by the
+successor of St. Remi.
+
+
+=The Consecration of the Kings of France=
+
+In the 12th century, Popes and Kings formally acknowledged the right of
+the Archbishop of Rheims to consecrate and crown the kings of France. As
+a matter of fact, until the Revolution, all the kings, except Louis IV.
+and Henri IV., were consecrated at Rheims.
+
+The ceremony of consecration filled the Cathedral with a great crowd of
+people. Apart from the peers, numerous prelates, dignitaries of the
+Kingdom, the Court, the Chapter of the Cathedral and the populace
+crowded in. Staging was erected for the public in the transept ends and
+along the choir. Before the consecration took place, the archbishop, at
+the head of a procession, went to receive the _Sacred Ampulla_ at the
+threshold of the Cathedral, brought on horseback by the Abbot of St.
+Remi. Returning to the altar, the prelate received the King's oath and
+then consecrated him, anointing him with the holy oil on his head and
+breast, between and on his shoulders, on the joints of his arms and in
+the palms of his hands, each motion being accompanied with a special
+prayer. Then the Peers handed the insignia of royalty to the archbishop,
+who, surrounded by all the Peers, placed the crown of Charlemagne on the
+head of the King, _while the people shouted_ "_Long live the King_."
+
+The King was then led to a throne prepared for him at the entrance to
+the Choir, and mass was celebrated with great pomp. The King and Queen
+communicated in both kinds, and the royal party then went in procession
+to the archbishop's palace, where the _Feast of Consecration_ was held.
+
+In 1162, the Archbishopric of Rheims, until then a county, became a
+Duchy and the highest peerage in France, which explains why it was given
+to great personages, such as Henri-de-France and Guillaume-de-Champagne,
+brother and brother-in-law of Louis VII.
+
+In the 12th century the archbishops, freed from the feudal rivalries,
+were confronted by a new power, the _bourgeoisie_ or middle classes,
+born of the progress of industry and commerce, and whose importance was
+demonstrated by the great Champagne Fairs held sometimes at Rheims and
+sometimes at Troyes. The first _Company of Burgesses_, founded in 1138,
+soon became a "_Commune_." In 1147, the suburb of St. Remi, which the
+archbishop refused to allow to become attached to the "_Commune_" rose
+in revolt and was only appeased by the intervention of St. Bernard and
+Suger.
+
+In 1160, Archbishop Henri-de-France, with the help of the Count of
+Flanders, who was occupying Rheims with a thousand horsemen, suppressed
+the "_Commune_" whose independence was alarming him. In 1182 a royal
+charter, granting to the inhabitants the right to elect for a year
+twelve "_échevins_" (aldermen), re-established the _Commune_ in fact,
+if not in name, but the struggle between the _Commune_ and the
+archbishop still went on. In 1211, Philippe-Auguste compelled the
+aldermen to hand over the keys of the city gates to the archbishop.
+
+[Illustration: THE CONSECRATION CEREMONY OF THE KINGS OF FRANCE IN THE
+CATHEDRAL OF RHEIMS (_see p. 4_)]
+
+In 1228, Archbishop Henri-de-Braine, not feeling himself safe in the
+city, built the fortified castle of Mars-Gate (or old castle of the
+archbishops) outside the walls, but looking towards the city (_photo, p.
+6_). During the serious riots of 1235, the burgesses besieged the
+archbishop's castle, for which act they were excommunicated by Pope
+Gregory IX., and rebuked by St. Louis. In 1257, St. Louis intervened
+once more, to put an end to the fighting between the free Companies of
+the Burghers and the soldiers of the archbishop.
+
+In the 14th century the two adversaries frequently came to blows, until
+the king, in 1362, put an end to their quarrels by taking into his own
+hands the care and military government of Rheims.
+
+In spite of these local struggles the city developed in the course of
+the Middle Ages. With Chartres it had a well-attended episcopal school,
+long before Paris. Among the masters of this school were _Gerbert_, one
+of the most learned men of the Middle Ages, who became Pope under the
+name of Sylvester II., and _St. Bruno_, founder of the Carthusian Order.
+Among the pupils were _Fulbert_ (afterwards Bishop of Chartres), the
+historian _Richer_, _Guillaume de Champeaux_, and _Abélard_ (adversary
+of St. Bernard).
+
+During the Hundred Years' War (_see military section_) the Town Council
+of Rheims, which the Treaty of Troyes in 1420 had placed under the
+domination of the English, declared in favour of Charles VII., in spite
+of the Duke of Burgundy, who was residing at Laon, and notwithstanding
+the intrigues of the Bishop of Beauvais, Pierre Cauchon, who, profiting
+by the absence of the archbishop, went so far as to have a _Corpus
+Christi_ procession in the city, to call down the blessing of Heaven
+upon the English. On July 17th, 1429, Joan-of-Arc handed over the keys
+of the city to the king, and was present at the consecration, standing
+near the altar with her standard which, "after having been through much
+tribulation, was accounted worthy of a place of honour." Since the
+return of Charles VII. to Rheims, the city had never ceased to be
+French. After the departure of the king and Joan-of-Arc, a friend of
+Pierre Cauchon plotted to deliver the town into the hands of the Duke of
+Burgundy, to whom the English promised it, provided he could take it.
+The plot was discovered and failed.
+
+Under Louis XI. a serious revolt, known as the Micquemaque, broke out in
+the town. Louis, well received at the time of his consecration, had
+promised the people of Rheims (or so they believed) the abolition of the
+tax known as the "_taille._" When, therefore, in the following year, the
+collectors demanded payment, the people rose in revolt and drove them
+out.
+
+[Illustration: THE OLD CASTLE OF THE ARCHBISHOPS OF RHEIMS, RAZED TO THE
+GROUND BY HENRI IV.
+_The Archbishops of Rheims were formerly powerful temporal lords (see
+page 4)._]
+
+As usual, the king had recourse to treachery. Disguised as peasants, his
+soldiers entered the city unperceived. Once inside, they arrested those
+who were most deeply compromised, and carried out violent reprisals.
+Houses were plundered, many of the inhabitants banished, and nine put to
+death.
+
+During the War of Religion, Rheims sided with the Catholics.
+
+Under the influence of the _Guises_, five of whom were archbishops of
+Rheims (notably Cardinal Charles de Lorraine, the protector of Rabelais
+and Ronsard, and founder of the University of Rheims in 1547), the town
+espoused the cause of the League and opened its gates to the Duc de
+Mayenne in 1585. It submitted to Henri IV. only after the battle of
+Ivry, when the Castle of Mars Gate (stronghold of the archbishops) was
+razed to the ground. Henceforth the archbishops played no political
+part, and Richelieu put an end to strife by turning the _Guises_ out of
+the archi-episcopal see.
+
+In the 17th and 18th centuries the town lived in peace, with
+alternations of misery and suffering (caused by plague or famine) and
+commercial and industrial prosperity. It was at Rheims that the first
+French newspaper, the "Gazette de France," printed by Godard in 1694,
+appeared.
+
+During the Revolution, Rheims received the new ideas with enthusiasm. It
+furnished a great number of volunteers to withstand the invasion, and on
+August 14th, 1792, the Legislative Assembly proclaimed that the city
+"_had deserved well of the country_."
+
+Under the Restoration its industry developed. In August, 1830, the
+people, who were favourably to the Revolution of July, overturned the
+cross of the "_Calvaire de la Mission_," erected in 1821 by the
+ultra-Catholic party, and in its place set up a funeral urn with the
+inscription, "To the brave men who died for liberty on the 27th, 28th
+and 29th days of July, 1830." The population accepted the monarchy of
+July, but without enthusiasm.
+
+The Second Empire witnessed a remarkable development of business
+activity which, after the momentary stoppage caused by the War of 1870
+and the Prussian occupation (_see military section_), made of Rheims, at
+the end of the 19th century, one of the great commercial and industrial
+cities of France. The population increased from about 30,000 (in 1792)
+to 59,000 (in 1865) and to more than 115,000 in 1912.
+
+When the War of 1914 broke out, the rich and ancient city was still as
+_La Fontaine_ had described it:
+
+    "_No town is dearer to me than Rheims,
+    The Honour and Glory of our France._"
+
+[Illustration: RHEIMS, FROM AN OLD ENGRAVING (1622)]
+
+
+
+
+=MILITARY HISTORY=
+
+
+If the military and commercial situation of Rheims destined it, from
+early times, to be a great city, it also exposed it to the greed of
+ambitious foreigners, and opened the road to invasion.
+
+During the Hundred Years' War the city was fiercely disputed. On
+December 4th, 1359, Edward III. of England besieged it. On January 11th,
+1360, a sortie of the troops and burghers, under Remi Grammaire,
+compelled him to raise the siege, in recognition of which feat of arms
+Charles V. permitted the "_fleur-de-lys_" (emblem of the Royal House of
+France) to be emblazoned on the City's coat of arms. Since then the
+Shield of Rheims has been: In chief France ancient, in base argent Two,
+laurel branches in Saltire vert. In 1420 the English were more
+successful and entered Rheims, whose gates were opened to them by
+Philippe-le-Bon, Duke of Burgundy. Nine years later (July 16th, 1429)
+the Dauphin of France and Joan-of-Arc entered the town, then finally
+delivered, by the Dieu-Lumière Gate (formerly the Gate of St. Nicaise).
+
+During the invasion of 1814, Marshal Marmont's troops retook Rheims on
+March 13th, after sharp street fighting, and Napoleon entered the city
+the same night.
+
+In 1870, after the investment of Metz, Rheims witnessed the departure of
+the army formed by MacMahon at Châlons-sur-Marne, for the relief of
+Marshal Bazaine. A few days later (September 4th) the Prussian troops
+entered the city at 3 o'clock in the afternoon by three different gates.
+On the 6th, the King of Prussia, accompanied by Bismarck and Von Moltke,
+made an imposing entry, and resided for some time at the archi-episcopal
+palace, in the apartments reserved for the Kings of France at the time
+of their consecration. Rheims was held to ransom, and a number of
+citizens shot for protesting against the German yoke, chief among whom
+was the Abbé Miroy, Curé of Cuchery, whose tomb (the work of the
+sculptor Saint Marceaux) is in the northern cemetery. Others were
+carried away prisoners to Germany. The Prussian troops evacuated the
+town on November 20th, 1872.
+
+
+=The Invasion of 1914=
+
+(_See map, p. 11._)
+
+Forty-four years later to a day (September 4, 1914), German advance
+troops again entered Rheims, as General Joffre's plans had not provided
+for defending the city. However, the Army detachments placed under the
+command of General Foch on August 29, and wedged in between the 4th and
+5th Armies, stayed the German advance for a few days. On August 30 the
+42nd Division from the East, detrained at Rheims and took up positions
+at Sault-Saint-Rémy and Saint-Loup-en-Champagne on August 31, to the
+left of the 9th and 11th Corps.
+
+On September 1, General Foch resisted on the river Retourne but, in the
+evening, withdrew to the river Suippe, in conformity with the general
+orders. On the 2nd the town was still protected by the 10th Corps
+(elements of which occupied the Fort of St. Thierry), by the 42nd
+Division near Brimont and to the north of the Aviation ground, and by
+the 9th and 11th Corps to the east. On the 3rd, the French retreat
+towards the Marne became more rapid, and Rheims was abandoned. On
+September 5, Prince August Wilhelm of Prussia entered the town and took
+up his quarters at the Grand Hôtel. The Germans at once requisitioned 50
+tons of meat, 20 tons of vegetables, 100 tons of bread, 50 tons of oats,
+15,000 gallons of petrol, besides straw and hay, and insisted on the
+immediate payment of a million francs as a guarantee that their
+requirements would be met.
+
+[Illustration: THE TEMPORARY GERMAN OCCUPATION OF SEPT. 1914
+_German troops in front of the Cathedral. The scaffolding of the latter
+was set on fire on Sept. 19._]
+
+This sum was paid in the course of the afternoon, under threats by the
+enemy. From the 6th onwards the German soldiers gave themselves up to
+plundering. The tobacco warehouse at 21 Rue Payen was ransacked, and
+more than 700,000 francs worth of cigars and tobacco stolen. On the
+following days pillaging, especially of the food-shops, continued. On
+the 9th, the Kommandantur requisitioned civilians to bury the dead in
+the Rethel, Epernay and Montmirail districts. On the 11th, the Crown
+Prince arrived and took up his quarters at the Grand Hôtel, where he was
+joined by Prince Henry of Prussia, brother of the Kaiser. On the morning
+of the 12th, the Germans, alarmed at the approach of the victorious
+French troops from the Marne, arrested the Mayor (Dr. Langlet), Mgr.
+Neveux, coadjutor of Rheims, and the Abbé Camus. They then drew up a
+list of a hundred hostages and threatened to hang them at the first
+attempt at disorder. They also threatened to burn the city, wholly or
+partially, and to hang the inhabitants, if any of them molested the
+German soldiers. All that day the Germans, instead of organising
+defences, left the town in haste, after first pillaging it. In the
+afternoon the Crown Prince left the Grand Hôtel with his suite. At 5
+p.m., after setting fire to the forage stores, the Kommandantur left
+Rheims by the Rethel road in drenching rain, followed by the hundred
+hostages, who were only released at the level-crossing at
+Witry-les-Reims. When the latter returned to Rheims, a patrol of French
+mounted Chasseurs had already entered the town by the suburb of St.
+Anne. The next morning, at about 6 o'clock, the French troops, with the
+6th mounted Chasseurs at their head, entered Rheims by the Rue de Vesle.
+At 1 p.m. General Franchet d'Espérey, commanding the French 5th Army,
+entered the city.
+
+
+=The Battles for Rheims, 1914-1918=
+
+Although evacuated by the Germans, Rheims had yet to remain for nearly
+four years under enemy fire. With equal obstinacy the adversaries
+disputed the town, the French seeking to disengage it and the Germans to
+recapture it.
+
+On September 12, on the approach of the victorious French Army from the
+Marne, the Germans entrenched themselves to the south-west of the town,
+and established a line of resistance passing through Thillois, Ormes,
+Bezannes and Villers-aux-Noeuds.
+
+In spite of the very unfavourable weather, the 3rd Corps (Gen. Hache)
+vigorously engaged the enemy at Thillois, and forced them to abandon the
+position in the evening. The 1st Corps (Gen. Deligny), on the right, had
+orders to push forward advance-guards into Rheims, but as a matter of
+fact they reached the suburb of Vesle. The 10th Corps (Gen. Defforges)
+attacked at Puisieulx and forced the enemy across the Vesle.
+
+On the 13th, the left of the 3rd Corps arrived in front of Courcy and
+Brimont, where the Germans were strongly entrenched. A desperate battle
+took place, with the result that Courcy was taken before noon. Loivre
+likewise fell into the hands of the French, but the passage of the Aisne
+Canal was fiercely disputed. The attack on Brimont failed, in spite of
+the great valour of the troops, who sustained heavy losses. Meanwhile,
+the 1st Corps crossed Rheims, with orders to debouch at Bétheny. Just
+outside the town they were met with violent artillery fire, which,
+however, did not completely check their advance. La Neuvillette,
+Pierquin Farm and Bétheny were occupied, and the 1st Corps linked up on
+its left with the 3rd Corps, on the outskirts of Soulain Woods. The
+advance continued during the night, and Modelin Farm was reached by
+advance-guards. General Deligny took up his headquarters in the suburb
+of Vesle. The 10th Corps crossed the Vesle, engaged the enemy at St.
+Léonard and reached the railway.
+
+On the 14th, the fighting greatly increased in violence. The 3rd Corps,
+in spite of repeated efforts, was unable to advance; on the left it
+failed to drive the enemy from the St. Marie Farm, while on the right it
+was held up before Brimont. The 1st Corps was likewise checked; the 1st
+Division (Gen. Gallet) attempted unsuccessfully to support General Hache
+in his attack on Brimont. The 10th Corps, although strongly engaged
+towards the Fort of La Pompelle, made but little progress. Farther away,
+on the right, the battle extended along the front of the 9th Army.
+
+On the 15th, at 5.30 a.m., the 5th Army resumed a general offensive.
+Fierce fighting took place at St. Marie Farm, to the left of the 3rd
+Corps, and also further north, near Hill 100. Despite heavy sacrifices,
+however, the enemy held their positions; but, on the right, the 36th
+Infantry Regiment captured the Château of Brimont at day-break. General
+Deligny, less fortunate, was driven out of Soulains Woods, but stood
+firm at the Champ-de-Courses and Bétheny. The 10th Corps continued to
+advance slowly, and at certain points reached the high-road to Suippes.
+
+On the 16th, the 3rd Corps attacked Brimont again, but failed. At the
+château the situation became more and more critical, by reason of the
+retreat of the 1st Corps on the previous day. This Corps had again to
+face a powerful enemy counter-offensive, which, however, failed to drive
+it from the Modelin Farm and the "Cavaliers de Courcy."
+
+On the 17th, the Germans counter-attacked all along the line. In the
+afternoon the 3rd Corps, which stood firm at Godat Farm and Loivre, was
+elsewhere compelled to cross to the west bank of the canal and fall back
+on Courcy.
+
+After a heroic defence the isolated garrison of Brimont Castle, weakened
+by heavy losses, surrendered during the night, after having spent all
+its ammunition. The 1st Corps, the greater part of which had left for
+the region of Berry-au-Bac, held its positions with its last available
+units. The 10th Corps extended its front westwards to Bétheny, while one
+of its regiments, the 2nd Infantry, occupied La Pompelle Fort.
+
+On the 18th, the enemy increased their efforts against the front held by
+the 3rd Corps and the reserve units further west. Loivre, which had so
+far resisted, fell. The French withdrew to the west of the road to Laon.
+The situation was considered critical at this point of the front. The
+10th Corps, which had been withdrawn from the east of Rheims, in favour
+of another sector, was stopped on the way and sent for a few days in
+support of the 3rd Corps.
+
+On the 19th, one of its brigades counter-attacked Courcy Mill. On the
+other side, the Moroccan Division (Gen. Humbert), which had relieved the
+10th Corps, continued to hold La Pompelle Fort.
+
+Gradually the front became fixed. Desperate, indecisive fighting still
+took place, but finally the front stabilised on the line extending from
+the foot of the Berru and Nogent-l'Abbesse Hills, along the road from
+Rheims to Suippes, on the east, and along the western bank of the Aisne
+Canal on the north.
+
+[Illustration: EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1914
+(_See pp. 9-11._)]
+
+
+=The French Offensive of April, 1917=
+
+The French offensive, planned by the then Commander-in-Chief, General
+Nivelle, and launched in April, between Soissons and Auberive, aimed at
+piercing the German front and disengaging Rheims.
+
+North-west of Rheims was the 5th Army (Gen. Mazel), of which the 38th
+Corps (Gen. de Mondesir) held the immediate approaches to the town,
+followed by the 7th Corps (Gen. de Bazelaire), 32nd Corps (Gen. Passaga)
+astride the Aisne, and, extending beyond Craonne, the 5th Corps (Gen. de
+Boissoudy) and the 1st Corps (Gen. Muteau).
+
+East of Rheims the 4th Army (Gen. Anthoine) was engaged only during the
+second stage of the battle.
+
+At 6 a.m. on the 16th, in drenching rain, the 5th Army attacked all
+along the front, in conjunction on the left with the 6th Army (Gen.
+Mangin), which undertook to storm the Chemin-des-Dames. The enemy was
+expecting the attack, and had concentrated very large forces and
+powerful artillery. Despite their bravery, the French were unable to
+break through.
+
+[Illustration: EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1917]
+
+In the Rheims sector, the 32nd Corps advanced three kilometers to the
+north of the Aisne. The 7th Corps crossed the canal at Loivre and
+captured Berméricourt in the morning, but was forced to give up part of
+the conquered ground in the afternoon, in consequence of a powerful
+German counter-attack. In front of Brimont a brigade of the 38th Corps
+failed to pierce the enemy's positions.
+
+On the 17th, while the army of General Mazel resisted a violent enemy
+counter-attack, General Anthoine attacked from the east of Rheims to
+Auberive with the 8th Corps (Gen. Hély d'Oissel), 17th Corps (Gen. J. B.
+Dumas), 12th Corps (Gen. Nourrisson). At 4.45 a.m., despite violent
+squalls of rain and snow, the French infantry rushed forward and carried
+the first German lines along a front of eleven kilometers. The 34th
+Division (Gen. de Lobit) carried the Mont Cornillet and Mont Blond
+hills, which the enemy attempted in vain to recapture.
+
+On April 18 and 19, and May 4 and 5, the fighting was spasmodic and
+finally ceased. On the whole, the French offensive failed, and Rheims
+continued to remain under enemy gun-fire.
+
+On the morning of May 27, 1918, the Germans commenced a powerful
+offensive between Vauxaillon (on the Chemin-des-Dames) and the Fort of
+Brimont. At the beginning of the attack, the French line passed through
+Bétheny and along the Aisne-Marne Canal. In the evening, after the loss
+of the Chemin-des-Dames and the Aisne Canal, Rheims was no longer
+protected on the north-west, except by the St. Thierry Heights, which
+were soon turned. The Germans crossed the Vesle at several points,
+principally at Bazoches and Fismes, and advanced as far as Muizon.
+
+On May 29, the French line passed through La Neuvillette,
+Châlons-sur-Vesle, Muizon and Rosnay. On the 30th, it extended from
+Perquin Farm to Méry-Premecy, via Champigny. On the 31st, Tinqueux and
+Vrigny fell.
+
+Further to the south the Germans advanced along the valley of the Ardre
+towards the Château-Thierry--Epernay--Châlons railway, threatening
+Epernay (_see the Michelin Guide: "The Second Battle of the Marne"_).
+
+However, Rheims still held out. On June 1, the Germans attacked
+simultaneously, without success, to the south-east of the town (between
+Pommery Park and La Pompelle Fort), and on the west and south-west
+(between La Haubette and Ormes), while the French recaptured Vrigny. On
+three separate occasions--in the evening of the 1st, and on June 9 and
+18, the enemy's powerful and costly efforts to recapture this important
+position broke down. On the 18th, they delivered a fresh general attack
+from Vrigny to La Pompelle, gaining a footing in the Northern Cemetery
+of Rheims and in the north-eastern outskirts of Sillery, but everywhere
+else they were repulsed. On the 23rd and 29th, they rushed Bligny Hill,
+held by the Italians, only to lose it again shortly afterwards. Once
+again, Rheims had eluded the enemy's grasp.
+
+
+=July 15 to August 9, 1918=
+
+[Illustration: EXPLANATORY MAP OF THE MILITARY OPERATIONS DESCRIBED
+ABOVE]
+
+At dawn, on July 15, the Germans began a new offensive from
+Château-Thierry to La Main de Massiges. It was Ludendorf's much vaunted
+"Friedensturm" (peace-battle), and was expected by him to prove
+irresistible and decisive. Its purpose was to complete the encirclement
+of Rheims, carry the hills surrounding the town, crush the French 4th
+Army, and reach Châlons-sur-Marne (_see the Michelin Guide: "Champagne
+and Argonne"_). However, this time, there was no surprise, and the
+Allies held out victoriously.
+
+To the west, between Dormans and Rheims, Franco-Italian forces held
+their ground on the Châtillon-sur-Marne--Cuchery--Marfaux--Bouilly line.
+To the east, from La Pompelle to the Argonne, the army of General
+Gouraud, after voluntarily abandoning its first line previous to the
+enemy's attack, checked and decimated the armies of Von Einem and Von
+Mudra, on its second or battle-line. On July 16, 17 and 18, the enemy,
+now exhausted and incapable of resuming their general attack, attempted
+local attempts only, especially near Beaumont-sur-Vesle, to the north of
+Prosnes, and in the region of Trigny and Pourcy, to the west, all of
+which were repulsed. Once more Rheims escaped, and was destined from now
+on, to be gradually freed from the enemy's grasp. The French
+counter-offensive began on July 18, on the Aisne (_see the Michelin
+Guide: "The Second Battle of the Marne"_), extending shortly afterwards
+to the west of Rheims. On the 22nd, the army of General Berthelot
+captured St. Euphraise and Bouilly, and on the 23rd reached a point
+between Vrigny and the Ardre. A number of German counter-attacks on July
+24, 25 and 30 and August 1 failed to check its advance. On August 2,
+Gueux and Thillois were recaptured. On the 4th, the Vesle was reached to
+the east of Fismes, and the latter occupied, while a small force crossed
+to the north bank of the river. On the 7th, after fierce fighting, in
+which the French and Americans advanced foot by foot, the Vesle was
+crossed to the east of Bazoches and Braine. On the 9th, Fismette was
+taken.
+
+
+=September 26 to November 11, 1918=
+
+[Illustration (Map)]
+
+The disengaging of Rheims, which had begun slowly, was now rapidly
+accomplished. Two French offensives completely effected it in a few
+days--that of September 26 (_see the Michelin Guide: "Champagne and
+Argonne"_), under General Gouraud, and that of September 30, first by
+General Berthelot and then by General Guillaumat. The first of these
+offensives, to the east, brought about the fall of the Moronvilliers
+Heights, after outflanking them; the second, to the west, captured the
+Saint-Thierry Heights, the French troops crossing the Aisne-Marne Canal
+from Le Godat to La Neuvillette. This double manoeuvre forced the
+Germans, whose communications were threatened, to beat a hasty retreat
+on October 5 along a twenty-seven mile front. An important part of the
+old German front of 1914, and one of the most fiercely disputed,
+collapsed suddenly. The formidable forts of Brimont and
+Nogent-l'Abbesse, which had held Rheims under their guns for four years,
+fell. This time the deliverance of Rheims was complete and final.
+
+[Illustration: THE DISENGAGING OF RHEIMS
+
+The dotted lines show the Allied advance at the date indicated in the
+middle of each zone conquered. The line of departure is that of July 18
+(18/7). On the evening of Oct. 6 (6/10)--the upper thick dotted
+line--the town was completely disengaged. The Allied advance has the
+appearance of a fan spreading out west of Rheims until Oct. 5 (5/10),
+when the Germans were forced to make a deep retreat.]
+
+
+=The Destruction of Rheims=
+
+Being unable to capture Rheims, the Germans reduced it to ruins by
+bombardment. For four years (September 4, 1914, to October 5, 1918) they
+rained explosive and incendiary shells on it, almost without
+intermission.
+
+On September 3, 1914, at about 11 a.m., a German aeroplane dropped bombs
+on the town. A few of the inhabitants left, as the enemy approached, but
+the majority remained. A lady-teacher, sixty years of age, Mlle.
+Fouriaux (afterwards decorated with the Légion d'Honneur), who had
+charge of Hospital No. 101 (formerly a high-school for girls),
+transferred the wounded to Epernay and then returned on foot to Rheims.
+
+On September 4, at 9.30 a.m., when the enemy advance-guards were already
+in the town, and a German officer was making requisitions at the Town
+Hall, the bombardment began again. From 9.30 to 10.15 a.m., 176 large
+shells fell into the town, three of which tore open the great gallery of
+modern paintings in the Museum. Forty-nine civilians were killed and 130
+wounded, several of them mortally.
+
+The Germans, hard pressed by the French, evacuated Rheims on September
+12. Two days later, at 9 a.m., they bombarded the town. Their fire was
+especially directed against the headquarters of General Franchet
+d'Espérey, near the Town Hall. On the following days, firing was resumed
+at the same hour. On the 17th, the first fires broke out. Many civilians
+were killed or wounded. The vicinity of the Cathedral, which was
+believed to be specially aimed at, was among the places that suffered
+most. To protect the Cathedral, which the Germans had fitted up on the
+12th for the reception of their wounded, some seventy to eighty German
+wounded were accommodated on straw in the nave. The Red Cross flag was
+displayed on each tower, and notice given to the enemy.
+
+[Illustration: GERMAN SHELLS BURSTING IN A STREET OF RHEIMS]
+
+[Illustration: THE MONT DE PIÉTÉ]
+
+On the 18th, the bombardment began again at 8.15 a.m. In addition to the
+Sub-Prefecture, which was almost entirely destroyed, as were also many
+important factories, the Cathedral, in spite of the Red Cross flag, was
+struck by 8-in. shells, which damaged the outside sculptures of the
+lower windows of the main transept, smashing the 13th and 14th century
+stained-glass. Splinters of stone killed a French gendarme and two
+wounded Germans in the lower part of the south nave.
+
+On the 19th, the bombardment was intensified. The Town Hall, Museum,
+hospitals (including that of the Girls' High School), the south side of
+the Cathedral and the Archbishop's Palace were all hit. Towards noon,
+incendiary shells were rained on the centre of the town.
+
+At about 4 p.m., a shell fired the wooden scaffolding round the
+north-west tower which had been under repair since 1913. The fire spread
+quickly to the roof, the molten lead from which set fire to the straw in
+the nave.
+
+[Illustration: THE SAINT FRÈRES FACTORY IN RUINS (OCT. 1916)
+(_15 Rue de l'University_)]
+
+[Illustration: CENTRAL WOOL CONTROL OFFICE IN SEPT., 1915]
+
+In spite of a rescue party, who risked their lives in getting out the
+wounded, a dozen of the German wounded perished in the flames. The
+conflagration spread to the Archbishop's Palace, from which it was
+impossible to remove the tapestries or the pre-historic Roman and Gothic
+collections. The Protestant Church, the Offices of the Controller of
+silk and woollen cloths, and the Colbert barracks along the eastern
+boulevards were burnt. Everywhere new centres caught fire, and nearly
+thirty-five acres of buildings were destroyed. On the 20th, the
+bombardment continued with equal violence, then after a respite of two
+days began again. Of the Place Royale and the Rue Colbert nothing
+remained but a heap of ruins.
+
+[Illustration: THE PROTESTANT CHURCH IN AUGUST, 1917
+(_Boulevard Lundy_)]
+
+[Illustration: KINDERGARTEN SCHOOL IN THE BOULEVARD LUNDY]
+
+On November 1 the number of civilians killed by shell fire had increased
+to 282.
+
+From September 14, 1914, to the beginning of June, 1915, the town never
+remained more than four days without being shelled. Up to the end of
+November, 1914, the shells rarely went beyond the Cathedral and the
+theatre, falling mostly in the suburbs of Cérès and Laon. On November
+22, the suburb of Paris was struck, and from that time onwards there was
+no security for the inhabitants in any quarter of the city.
+
+As it would take too long to recount all the bombardments, only the most
+terrible ones are here mentioned. On November 26, 1914, the German guns
+fired all day, one shell alone killing twenty-three patients in the
+Hospital for Incurables. On the night of February 21 and on February 22,
+1915, more than 1,500 shells fell in the town, killing twenty civilians,
+setting on fire a score of houses and piercing the vaulting of the
+Cathedral.
+
+[Illustration: RUE GAMBETTA
+_The Cathedral is seen at the end of the street._]
+
+On March 8, terrifying fires broke out again. On April 29 and July 20
+more than 500 shells, many of them incendiary, were counted. In April,
+1916, more than 1,200 projectiles struck the different quarters of the
+town in one day. On August 13, whilst the town was being bombarded,
+seven German aeroplanes dropped incendiary bombs, which burnt the Hôtel
+Dieu Hospital. On October 25, the Germans fired more than 600 shells
+into Rheims and more than 1,000 on the 27th.
+
+[Illustration: THE BOMBARDMENT OF THE CATHEDRAL QUARTER
+_Part of the striking-points of the shells which fell around the
+Cathedral, as noted by the architect of the latter (M. Sainsaulieu). The
+shells which struck the Cathedral were far too numerous to allow all of
+them to be shown on the above plan._]
+
+On April 1, 1917, more than 2,800 shells fell in the town, and on the
+4th, 2,121. According to the Official Communiqué, on the night of the
+5th and on Good Friday, the number of shells was 7,500. Easter-Day was
+likewise terrible. On April 15, 19 and 24 the town received large
+numbers of 8-in., 12-in. and 15-in. shells. On May 3 the Town Hall and
+108 houses were burnt. On the 4th the fires spread to fifteen
+neighbouring streets.
+
+From April 8 to the 15th the enemy rained incendiary shells on the town
+without respite, and completed their work of destruction, in the course
+of the afternoon of the 21st, by burning the centre of the town. Hardly
+anybody was left in the latter, except the firemen, who, despite their
+prodigious activity and valour, were unable to cope with the flames.
+
+Whole streets, often the finest, were burnt down, more than 700 houses
+being destroyed.
+
+When, on October 5, the Germans retreated, the havoc caused by this
+continual bombardment was incalculable. Of the town's 14,000 houses,
+only about sixty were immediately habitable when the people came back.
+
+In addition to the material losses, there were, unfortunately, numerous
+irreparable artistic and archæological losses.
+
+
+=Life in Bombarded Rheims=
+
+[Illustration: THE DESTRUCTIONS, PHOTOGRAPHED FROM AN AEROPLANE (_Cliché
+Illustration_)
+    ND.--The Cathedral.
+    PR.--Place Royale.
+     D.--Hôtel de la Douane.
+    SG.--Société Générale Bank.
+     P.--General Post Office.
+     J.--Palais de Justice.
+     T.--Theatre.
+     M.--Museum.
+    GH.--Grand Hôtel.
+    LO.--Hôtel du Lion d'Or.
+    PA.--Archi-episcopal Palace.
+     A.--The Cardinal's House.
+    EP.--Professional School for Young Ladies.
+    SP.--Sub-Prefecture.
+    PG.--Place Godinot.
+     L.-Lycée.
+     C.--Colbert Barracks.
+]
+
+Although there were short respites, it may be said that for four years
+Rheims led the life of a besieged town, under the fire of the German
+guns and howitzers. The enemy increased the calibre of their shells and
+varied their modes of bombardment, sometimes firing for a few hours,
+sometimes all day long at the rate of one shell every three minutes, or
+again at night. Sometimes 3-in. shells would be used, at others "Jack
+Johnsons" of 8-in., 12-in. and 15-in. calibre; sometimes all four at the
+same time. Both explosive and incendiary shells were used, while
+aeroplane bombs, darts and asphyxiating gas were resorted to
+occasionally. Public holidays were the occasion of the fiercest
+bombardments, in the hope of increasing the number of victims. For
+instance, the shelling was particularly murderous on All Saints' Day of
+1914, when the eastern and southern cemeteries (generally crowded on
+this day) were especially aimed at. Easter Monday of 1916 and Good
+Friday of 1917 were similarly favoured.
+
+[Illustration: THE FIRST AND SECOND STORIES OF A HOUSE IN THE RUE
+D'ANJOU, AFTER THE BURSTING OF AN 8-IN. SHELL]
+
+After each check--at Verdun, in Champagne, on the Somme or wherever it
+might be--the Germans revenged themselves on Rheims. In this way the
+Cathedral was fired by incendiary shells after the defeat on the Marne
+in 1914. The awful fires of February 22 and March 8, 1915, were the
+German reply to their set-backs in Champagne and Argonne. The Hôtel Dieu
+hospital was burnt down in August, 1916, the day after the
+Franco-British attack on the Somme. The Town Hall was reduced to ashes
+on May 3, 1917, after the French offensive on the Champagne hills. For
+the same reason the bombardments reached their maximum of intensity in
+April and May, 1918, _i.e._ after the enemy had lost all hope of
+crushing the Allies and taking Paris.
+
+At the beginning of the siege the population took refuge in the
+south-western districts, which were not as yet bombarded, but on and
+after November 22, 1914, when the German shells reached the suburb of
+Paris, a large number of the inhabitants left the town.
+
+[Illustration: THE EFFECT OF AN 8-IN. SHELL IN THE PREMISES OF "LA
+MUTUALITÉ," IN THE RUE DES ELUS (SEPT. 8, 1915)]
+
+In February, 1915, the exodus began again, but at the end of May in that
+year there were still some 26,000 people in the town. In February, 1917,
+after twenty-eight months of bombardment, there remained 17,100 people,
+or 100,000 fewer than in 1914. At the beginning of April in that year,
+the mayor and later the sub-prefect, requested all those who were not
+prevented by their duties to leave the town.
+
+This invitation not having the desired effect, the military authorities,
+in view of the increased intensity of the bombardment and the imminence
+of the French offensive, announced that they could not guarantee food
+supplies for the town, and decided that the civil population must leave
+not later than April 10. The evacuation was effected by carts and
+motor-vehicles to Epernay, where trains awaited the people.
+
+A part of the inhabitants returned to Rheims after the French offensive
+of April-May, but for a few months only, as, in February, 1918, the
+coming German offensive compelled the civil population again to leave
+the town.
+
+During the thirty-one months, during which a considerable portion of the
+population persisted in staying in Rheims (September, 1914, to April,
+1917), life and work went on in the bombarded city, the people adapting
+themselves courageously to their precarious existence and to the danger.
+They were supplied with helmets and gas masks, like the soldiers. Shell
+and bomb-proof shelters were organised, and the cellars, with which the
+city abounds, became the people's ordinary dwellings. The Town Council,
+with the exception of a few members who left on the approach of the
+enemy, remained at the Town Hall until it was destroyed, then installed
+themselves in a cellar, under the constant chairmanship of the Mayor,
+Dr. Langlet. The services rendered by the latter during these trying
+times were such that the French Premier decorated him personally in
+November, 1914, with the _Croix de la Légion d'Honneur_. The General
+Post Office had to change its quarters several times; but until the
+complete evacuation of the town the postmen went their rounds regularly.
+
+The Courts of Justice were set up in the cellars of the
+Palais-de-Justice.
+
+[Illustration: REMOVING THE WORKS OF ART IN JANUARY, 1918]
+
+The archbishop, Mgr. Luçon, was absent from Rheims in 1914, being
+retained in Rome by the Council. As soon as the latter was ended, he
+returned to Rheims and thereafter, like his coadjutor, Mgr. Neveux, and
+the unmobilized clergy, he remained at his post until the evacuation of
+April, 1917. The Cathedral architect, M. Sainsaulieu, who, like Mgr.
+Luçon, has been made a Chevalier de la Légion d'Honneur, remained
+constantly at his post, repairing from day to day, as well as might be,
+the damage caused to the Cathedral, and saving the art treasures spared
+by the German shells.
+
+[Illustration: SCHOOL CHILDREN WITH GAS-MASKS]
+
+The firemen, reinforced in March, 1915, by thirty-two of their comrades
+from Paris, devoted themselves, at the risk of their lives, to fighting
+the flames caused by the bombardments. Unfortunately, their courage and
+devotion were often unequal to their task. For instance, twenty-two
+separate fires occurred on the night of February 22, 1915. Their task
+was rendered still more difficult by the fact that the Germans often
+fired on the burning buildings to drive off the men who were trying to
+save them.
+
+On July 6, 1917, the President of the French Republic fittingly
+acknowledged the magnificent bravery of the firemen by personally
+decorating their flag with the Croix de la Légion d'Honneur. At the same
+time he conferred this dignity on the city (_see p. 2_).
+
+After remaining closed for several weeks, the schools re-opened. Until
+then, the children had been too much in the streets looking for
+aluminium fuses of shells, out of which they made rings, or for scraps
+of stained-glass from the broken windows of the Cathedral. The first
+school, called the "Maunoury" school, was installed on December 7, 1914,
+in a wine cellar of the firm Pommery, Boulevard Henri-Vasnier, near the
+Rond-Point St. Nicaise. On January 22, 1915, the "Joffre" school was
+opened in the cellars of Messrs. Mumm, 24 Rue du Champ-de-Mars. Then
+came the "Albert I." school, in the cellars of Messrs. Krug, 5 Rue
+Coquebert, and the "Dubail" school in those of Messrs. Champion, Place
+St. Nicaise. In addition to the underground schools, open-air classes
+were conducted. The underground schools, in which the teaching staff,
+exclusively voluntary, lived permanently, together with the
+school-children and their relatives, were situated in the most exposed
+and frequently bombarded districts. The "Dubail" school was struck three
+times: on March 6, 1915 (by an 8-in. shell), and on March 25 and October
+25, 1916. Luckily there were no victims.
+
+The schools were quite close to the enemy lines, the distance varying
+from about two-thirds of a mile to a mile and a half.
+
+In 1915 and 1916, the examinations for the "Elementary School
+Certificate" took place in July, as usual. In 1915, the ceremony of the
+Annual Prize Distribution, which had not taken place at Rheims for ten
+years, was restored, the book-prizes for the pupils coming from every
+corner of France.
+
+[Illustration: CARDINAL LUÇON, ARCHBISHOP OF RHEIMS, COMING OUT OF THE
+CATHEDRAL]
+
+The victualling of the town, thanks to the co-operation between the
+Municipal and Military Authorities, was effected with regularity. There
+was never any shortage of bread. The butchers' and grocers' shops
+remained open. The milk-women and hawkers donned their helmets and
+continued to push their carts through the streets. The market-women
+remained at their stalls. The nuns of St. Vincent-de-Paul, whose convent
+had been largely destroyed, ensured the service of cheap meals,
+organised by the Municipality for the poor. The undaunted inhabitants
+had their daily paper ("_L'Eclaireur de l'Est_"), edited by M. Dramas, a
+courageous journalist, whose printing-house was early wrecked by
+shell-fire, but who continued almost single-handed to issue his paper.
+
+[Illustration: MILK-WOMAN, WITH HELMET, GOING HER ROUND]
+
+[Illustration: WINE-CELLAR OF MESSRS. POMMERY USED AS A DWELLING]
+
+[Illustration: PANORAMIC VIEW, SEEN FROM ST. NICAISE HILL (_p. 102_)]
+
+
+
+
+A VISIT TO RHEIMS
+
+(_pp. 28 to 120_)
+
+
+=THE CATHEDRAL= (_pp. 28 to 60_)
+
+
+=FIRST ITINERARY= (_pp. 61 to 94_)
+
+=The Archi-episcopal Palace, Museum, Church of St. Jacques, Promenades,
+Town Hall, Place Royale, Musicians' House, Mars Gate, Faubourg Cérès,
+Church of St. André, Palais-de-Justice, etc.=
+
+
+=SECOND ITINERARY= (_pp. 95 to 120_)
+
+=The Lycée, Abbey of St. Pierre-les-Dames, Rue Barbâtre, Church of St.
+Maurice, Church of St. Remi, Hôtel-Dieu Hospital, etc.=
+
+[Illustration: GERMAN PRISONERS CLEARING A STREET (OCT., 1918)]
+
+
+=The Cathedral=
+
+The Cathedral of Rheims, which Charles VIII. declared to be "pre-eminent
+among all the churches of the kingdom," and which a local poet in the
+reign of Louis XIII. extolled above the seven wonders of the world, is
+one of the most beautiful Gothic churches extant.
+
+Few edifices combine such grandeur, simplicity and grace; still fewer,
+its characteristic unity and symmetry.
+
+The work of at least four architects, the building operations extended
+over two centuries, yet it has retained rare unity both of plan and
+style. The whole is so harmonious as to give the impression of being the
+effort of a single master-mind.
+
+
+=Historical Account=
+
+The Cathedral stands on the site of former churches, successively
+erected between the 5th and 13th centuries. On the night of May 6, 1210,
+a terrible fire destroyed the then existing edifice, together with a
+portion of the city.
+
+[Illustration: THE CATHEDRAL BEFORE THE WAR]
+
+Exactly one year later, Archbishop Aubri de Humbert laid the first stone
+of a new edifice, which was destined to become the Cathedral of to-day.
+
+Begun in 1211, the building went on without pause for twenty years,
+after which, there was a slackening, followed by a vigorous resumption
+in 1299. Another pause occurred during the Hundred Years' War. The
+Cathedral, less the tower spires provided for in the plans, was finished
+in 1428. The spires were not yet built when the great fire of July 24th,
+1481, entirely destroyed the roof of the Cathedral, further deferring
+their construction, which was subsequently abandoned.
+
+The funds for this colossal work were furnished partly by the clergy and
+the people, partly by Papal Indulgences granted to donors, and by
+collections in Christian lands, especially in the ecclesiastical
+province of Rheims. The wonderful plans of the Cathedral were long
+believed to be the work of _Robert de Coucy_, whereas the original ones
+were in fact drawn by _Jean d'Orbais_, who began their execution between
+1211 and 1231. His work was continued with wonderful fidelity by
+_Jean-le-Loup_, from 1231-1247; by _Gaucher of Rheims_ in 1247-1255,
+_Bernard of Soissons_ from 1255 to 1290, _Robert de Coucy_ until 1311,
+and afterwards by _Maître Colard_, _Gilles le Maçon_, _Jean de Dijon_
+and _Colard de Givry_ in the course of the 14th and 15th centuries.
+
+[Illustration: THE CATHEDRAL AFTER THE FIRE OF SEPT. 19, 1914]
+
+In the 17th and 18th centuries only repairs rendered necessary by the
+wear of the stone were effected. In the 19th century, beginning in 1845,
+important restorations, principally by Viollet-le-Duc, were carried out
+with regularity.
+
+The Cathedral's approximate measurements are 480 feet long (it is the
+longest church in France), and 160 feet wide at the intersection of the
+transept. The vaulting, less lofty than that at Beauvais (156 feet) and
+Amiens (143 feet), is 123 feet in height. The towers are six in number
+(as in the cathedral at Laon), of which the four situated at the
+extremities of the transept have never had more than one storey. The
+principal towers are about 266 feet in height, or about 60 feet higher
+than those of Nôtre-Dame in Paris.
+
+The plan of the Cathedral is in shape a Latin cross, with radiating
+chapels. It is built entirely of stone from the neighbourhood of Rheims.
+Forty pillars support the vaults, which are further sustained by fifty
+buttresses. Three great doorways and eight secondary doors give access
+to the interior, which is lighted by a hundred windows and rose-windows;
+2,303 figures of all sizes decorate the exterior and interior.
+
+[Illustration: THE CATHEDRAL PHOTOGRAPHED FROM AEROPLANE IN 1916]
+
+
+=The Cathedral During the War=
+
+In revenging themselves on Rheims for their disappointments and
+failures, the Germans seem to have been particularly determined to
+destroy the building which is at once one of the most precious artistic
+treasures of France and one of the most ancient evidences of her
+history. In 1814 the then Allies bombarded Rheims but respected the
+Cathedral. It is true that there were Germans who found fault with this
+respectful forbearance. One of them, _Johann Joseph Goëres_, author of a
+voluminous work entitled "_Christian Mysticism_," dared to write in
+April, 1814: "_Destroy, reduce to ashes, this Rheims basilica, where
+Chlodoric was consecrated, and where was born that empire of the Franks,
+those turncoat brothers of the noble Germans; burn the Cathedral._" In
+the course of the recent war the Germans followed the vindictive advice
+of Goëres, although, less frank than he, they did not dare, in face of
+the indignation of Christendom and of the whole world, boast of their
+vandalism.
+
+[Illustration: THE PIERCED VAULTING AND TOWERS OF THE CATHEDRAL IN 1919]
+
+By way of excuse they alleged sometimes errors in firing, sometimes that
+the French had established a battery of artillery near the Cathedral and
+an observation-post in one of the towers (a projector was installed on
+the Cathedral, on September 13, 1914, _i.e._ the day that the French
+re-entered Rheims, and it remained there only one night).
+
+On November 9, 1914, General Rouquerol declared to the French
+Government, who had demanded an enquiry, that the nearest battery to the
+Cathedral was at that time more than 1,200 yards away; that on the day
+(September 19) the Cathedral was set on fire by the German shells, the
+nearest French batteries were still quite close to the spot occupied by
+the above-mentioned battery, whose position the French Premier verified
+personally. The General concluded that the German artillery could not
+have made an error of 1,200 yards in firing, but that they had
+deliberately aimed at the Cathedral.
+
+The Cathedral, though terribly shattered, is still standing. The
+description of the edifice (pp. 33 to 60) gives particulars of the
+damage and destructions which occurred principally in September, 1914,
+April, 1917, and July, 1918.
+
+On September 19, 1914, incendiary shells set fire to various portions of
+the building. The roof was burnt, but the vaulting escaped injury. The
+tambours of the side doors and the statues on the latter were destroyed
+by the flames. The 18th century stalls, consecration carpet of Charles
+X. and archi-episcopal throne were likewise burnt. The great rose-window
+of the western façade, together with several other stained-glass
+windows, were destroyed, as were also the "Angel" steeple and its
+caryatids above the chevet. The northern tower was seriously injured by
+the burning of the scaffolding around it (_see photo, p. 9_). The
+statues were eaten into by the flames and subsequently crumbled away,
+some of them being irrecoverably lost.
+
+In 1915 and 1916 the Cathedral was struck a hundred times, but it was
+during the bombardments of April 15, 19 and 24, 1917, that it suffered
+most. For seven consecutive hours, at the rate of twelve per hour, the
+Germans fired 12-in., 14-in. and 15-in. shells on the edifice, causing
+terrible havoc, especially to the south-western side.
+
+During the terrible bombardments of April, 1918, the Cathedral did not
+suffer--for once the Germans seemed to have decided to spare it; but,
+unfortunately, the truce did not last. In the following months the
+bombardment began again, and the ravages increased, especially in the
+two towers and the vaulting. However, both vaulting and towers, in spite
+of their injuries, have not been irreparably damaged in their vital
+parts, and are capable of restoration.
+
+That the damage is not more serious is due to the protective measures
+taken by the Cathedral architect and by the Department of Historical
+Monuments. As early as 1915, the doorways of the western façade were
+protected with beams and sand-bags (_see photo, p. 25_), while the
+Treasure was removed and placed in safety, together with the paintings
+and tapestries.
+
+In 1916 and following years masonry protections were placed around some
+of the more valuable statues. The fallen fragments of carvings and
+sculpture were carefully collected, with a view to future restoration.
+In this way the débris of the head of the beautiful statue of the
+"Visitation" Group, known as the "Smile of Rheims," on the left-hand
+side of the central doorway of the western façade, were saved.
+
+At the beginning of 1918, it was found possible to save the remains of
+the stained-glass of the windows, and other glass-work still
+intact--amongst which was some of the finest in the nave. The salvage
+was difficult, for scaffolding would have furnished the Germans with an
+excuse for further bombardments. Recourse was had to a small body of
+Paris firemen and two glaziers who, in foggy weather, and before
+daybreak, climbed up to the iron framework of the windows and
+accomplished their work at great heights with remarkable courage and
+skill.
+
+[Illustration: REIMS]
+
+      REIMS
+      SCALE.
+
+      -------------------------
+      0        500        1,000 M.
+
+      PORTE DE MARS                  A. D-3-4
+      MUSICIANS' HOUSE               B. D-4
+      BARRACKS                       C.
+    **CATHEDRAL                      D. D-4-5
+      ARCHI-EPISCOPAL PALACE         E. D-5
+      CHURCH OF ST. MAURICE          F. E-5-6
+      POLICE STATION                 G. D-2
+      HOTEL DE VILLE                 H. D-4
+      LAW COURTS                     J. D-4
+     *HOTEL DIEU                     K. E-6
+     *CHURCH OF ST. REMY             L. E-6
+      MUSEUM                         M. D-5
+      OCTROIS (Tolls)                O.
+      SUB-PREFECTURE                 P. E-4-5
+      THEATRE                        T. D-4-5
+
+      POPULATION                     115,178  H
+      ALTITUDE                            83  M
+
+      PLACES.
+
+     1.--Pl. Luton
+     2.--Pl. de la République
+     3.--Pl. du Boulingrin
+     4.--Pl. Bétheny.
+     5.--Square Colbert
+     6.--Pl. St. André
+     7.--Pl. des Marchés
+     8.--Pl. Colin.
+     9.--Pl. Royale
+    10.--Esplanade Cérès
+    11.--Place du Parvis
+    12.--Pl. Belle Tour
+    13.--Pl. de l'Hôpital Civil
+    14.--Pl. St. Remy
+    15.--Pl. St. Nicaise
+    16.--Rond point St. Nicaise
+    17.--Pl. Dieu Lumière
+
+      HOTELS.
+
+    Hotel Continental                 a C-4
+    Hotel du Nord                     b C-4
+    Temporary Annexe Grand Hotel      c D-5
+    Post Office Telegraph Telephone   f E-4
+
+    Roads and streets to be
+    avoided by motor cars.
+
+[Illustration: ENLARGED PLAN OF CENTRE OF TOWN]
+
+[Illustration: CATHEDRAL OF RHEIMS]
+
+    CATHEDRAL OF RHEIMS
+    Plan of Cathedral
+    and
+    Archi-episcopal Palace
+
+     1. Staircase of the Towers.
+     2. Site of the Labyrinth (p. 53).
+     3. Main Pulpit (p. 53).
+     4. Site of "La Rouelle de Saint-Nicaise"
+          (Flag-stone with memorial inscription) (p. 53).
+     5. Pillar supporting the "Vintage Scene" (p. 52).
+     6. Altar of the Rear Choir (p. 57).
+     7. 14th century Tombstones (p. 53).
+     8. Tomb of Cardinal de Lorraine.
+     9. The Treasure (p. 58).
+    10. Clock with Automatons (p. 55).
+    11. Tombstone of Hughes Libergier (p. 55).
+    12. Norman Door (p. 45).
+    13. Great Organ (p. 55).
+    14. Lady Chapel (p. 55).
+    15. Chapel of the Holy Sacrament (p. 56).
+    16. Rosary Chapel (p. 57).
+    17. Roman Mosaic (p. 57).
+
+
+
+=West Façade=
+
+(_See full views on pp. 28 and 29_).
+
+Better than any other, this part of the building reveals the desire for
+unity and harmony which guided the various builders of the Cathedral.
+The doorway, probably designed by Jean d'Orbais, was very likely not
+begun till about 1250, by Gaucher, of Rheims. Bernard of Soissons built
+the great rose-window and the façade as far as the Gallery of the Kings.
+The architects of the 14th century built the lateral parts forming the
+first storey of the towers, the Kings' Gallery and the gable. The upper
+storey of the towers was only finished in the 15th century. Except for
+slight modifications in detail, the original plan was respected. This
+façade, with its full open-work towers and immense rose-window,
+demonstrates that the architects knew how to obtain the maximum of
+resistance with wonderfully light construction.
+
+The =Western Doorway= (_photo below_) comprises three doors flanked by
+two full arcades, and surmounted by gables adorned with statues.
+
+Between the gables are pinnacles on small columns (the left-hand ones
+have been destroyed). At the foot of the pinnacles are statues of seated
+musicians, which recall those on the house in the Rue de Tambour (_see
+p. 80_), but which have been partly destroyed.
+
+The splaying of the doors is adorned with great statues backed up
+against columns and separated by smaller columns, the capitals of which
+are connected to a foliate frieze of elegant design. The bases are
+ornamented with carved drapery. The tympana of the doors contain
+window-lights, while five rows of statues, separated by lines of flowers
+and foliage, fill up the archings, which suffered severely in the
+bombardment of September 19, 1914. About a dozen subjects were destroyed
+or spoilt. During the subsequent bombardments, shell splinters did
+further damage.
+
+[Illustration: DOORWAY OF THE WEST FRONT BEFORE THE WAR]
+
+Generally the sculptural decoration on the ground-floor dates from the
+middle of the 13th century.
+
+In September, 1914, several of the great statues of the lateral
+splayings were completely destroyed and the others more or less
+seriously damaged. However, subsequent damage was slight, thanks to the
+protective measures taken in 1915.
+
+
+=Central Door=
+
+The lavish decoration of the central door suffered mutilations during
+the last three centuries. The inscription carved on the lintel dates
+from 1802 and replaced carving descriptive of the life of the Virgin,
+destroyed during the Revolution. The sculpture on the arches, especially
+that of the three upper lines, was partly restored in the 17th and 18th
+centuries.
+
+The beautiful statues in the splayings of the door represent: _to the
+right_ (_photo, p. 36_), the =Annunciation= and =Visitation= (the latter
+group is striking by reason of its inspiration from the antique); _to
+the left, the_ =Purification= (_photo, p. 36_).
+
+The Virgin of the Annunciation group was damaged by shell splinters on
+September 4, 1914.
+
+[Illustration: CENTRAL DOOR OF THE WEST FRONT BEFORE THE WAR (_Cliché
+LL._)]
+
+[Illustration: _The Annunciation._ _The Visitation._
+RIGHT-HAND SPLAYING OF CENTRAL DOOR]
+
+In the gable, a pretty group representing the =Coronation of the Holy
+Virgin= was injured by the fires of 1914.
+
+Of the two fine statues on the top of the buttresses framing the Central
+door, only the right-hand one (=Solomon=) exists to-day; the other,
+representing the =Queen of Sheba=, was destroyed by a shell in
+September, 1914, except the head, which was saved.
+
+[Illustration: LEFT-HAND SPLAYING AND LINTEL OF THE CENTRAL DOOR
+(_Cliché LL._)]
+
+
+=The Right-Hand Door=
+
+_See photograph on p. 25._
+
+On the lintel, =Saint Paul=, blind, is being led to Ananias, who
+restores his sight and baptizes him.
+
+On the jambs are pretty little figures which have been variously
+interpreted. The majority represent vices and virtues, _e.g. on the
+inner portion_: =Courage=, in knightly raiment; =Cowardice= fleeing
+before a hare; =Charity= holding out a purse; =Avarice= with a cash-box;
+_on the outer portion_: =Pride= blasted and overthrown with his horse;
+=Sloth=, represented as a man seated with his head resting on his
+elbows, in a stall; =Wisdom= seated, holding a book and a lighted lamp.
+On the same jambs other figures are supposed to symbolise the seasons:
+=Autumn= sitting on a vine-trellis; =Winter= standing before a fire
+place; =Spring= in the midst of flowers; =Summer= with bared chest.
+
+[Illustration: RIGHT-HAND SPLAYING OF THE RIGHT-HAND DOOR
+_The two central figures have been decapitated._]
+
+The six statues in the splaying on the right (_photo above_) represent:
+the aged =Simeon= holding Christ in his arms; =John the Baptist=,
+=Isaiah=, =Moses= with the brazen serpent and the tables of the Law;
+=Abraham= about to sacrifice Isaac; =Samuel= carrying a lamb (which has
+been broken). They differ by their more archaic style from the other
+sculptures of the lower façade, and closely resemble those of the
+central door of the north transept of the Cathedral of Chartres. Like
+the latter, they date without doubt from the beginning of the 13th
+century. Possibly they belonged to an earlier doorway, or were prepared
+in advance for a purpose not realised, being finally utilised in the
+place where they now stand.
+
+The =Last Judgment=, in the gable, was severely damaged by shell
+splinters.
+
+
+=The Left-Hand Door=
+
+This door, on account of the scaffolding which surrounded it, was
+seriously damaged by the fires of September, 1914 (_see p. 17_).
+
+On the lintel is =Saint Paul=, thrown from his horse at the gates of
+Damascus. On the outside of the jambs, fourteen seated figures
+meditating, are supposed by some to be embodiments of the arts and
+sciences, but represent more probably prophets or teachers. Along the
+splayings are eleven statues, which have not definitely been identified.
+
+In the left-hand splaying is =Saint Nicaise= between two angels. The
+right-hand angel, generally known as the "=Smile of Rheims=," was
+decapitated on September 19, 1914. Fortunately, the fragments of the
+head of this fine statue were saved.
+
+The sculptures in the archings depict scenes from the Passion, while the
+group which adorns the gable represents =The Crucifixion=.
+
+These archings and gable were greatly damaged by the fires of September
+19, 1914, and the bombardments.
+
+[Illustration: LEFT-HAND DOOR OF THE WEST FRONT
+_The headless angel on the left against the door was known as the "Smile
+of Rheims."_]
+
+[Illustration: LEFT-HAND SPLAYING OF THE LEFT-HAND DOOR, BEFORE THE WAR
+_St. Nicaise (between two angels) and St. Clotilda. The angel on the
+right, known as the "Smile of Rheims," was decapitated._ (_See photo, p.
+38._) _Cliché LL._]
+
+[Illustration: GABLE OF THE LEFT-HAND DOOR, WITH CRUCIFIXION
+(_Cliché LL._)]
+
+[Illustration: FIRST STOREY OF THE WEST FRONT]
+
+
+=The First Storey=
+
+In the centre is the great rose-window, best seen from the interior of
+the nave. The stained-glass is broken. On either side, against the
+arching which surmounts it, were two large statues. One of them, _David
+as a youth in shepherd's garb_ (also known as the _Pilgrim_), was
+destroyed by the bombardments. The other very fine statue is variously
+said to be _Saul_, _Solomon_ and _St. James_.
+
+The arching which begins above these statues was adorned with small
+groups of figures representing scenes from the life of Solomon. Most of
+them were destroyed at the same time as the Pilgrim statue.
+
+Above the arching, a gigantic statue (twice restored) represents _David
+challenging Goliath_. The bombardments of 1914 destroyed a similar
+statue on the left representing _David slaying Goliath with a stone from
+his sling_.
+
+The first storey of the towers flanking the rose-window is broken by
+lofty twin bays crowned with gables. The niches and pinnacles of the
+buttresses are identical with those of the nave, but the style of their
+decoration denotes a more recent period (early 14th century).
+
+The northern tower was badly damaged by the bombardment of September 19,
+1914, which fired the scaffolding around it (_see photo, p. 9_). Two of
+the pinnacled niches surmounting the buttresses were decapitated, while
+the flames completely disfigured the statues, including that of Christ.
+
+A large calibre shell burst in the southern tower on April 19, 1917,
+causing very serious damage.
+
+[Illustration: SECOND STOREY AND UPPER STOREY OF THE TOWERS]
+
+
+=The Second Storey=
+
+The second storey comprises a series of niches, surmounted by sharply
+pointed gables and adorned with gigantic statues, known as the _Kings'
+Gallery_.
+
+The central group, consisting of seven figures, commemorates the
+_Baptism of Clovis_. Clovis, standing in the baptismal font; between
+Saint Remi, receiving the Sacred Ampulla, and Clotilda.
+
+The balcony in front of the _Baptism of Clovis_ was formerly called the
+_Gloria Gallery_, as it was the custom for the choir-boys to sing the
+_Gloria_ there on Palm Sunday.
+
+
+=The Upper Portion of the Towers=
+
+The upper storey of the towers, built on an octagonal plan, is flanked
+with four open-work turrets, one of which contains stairs leading to the
+platforms.
+
+The northern tower, badly damaged by the fire of 1914, lost several of
+the fine colonnettes of its corner turrets in 1918.
+
+In the same year, the pierced staircase of the southern tower was almost
+entirely destroyed.
+
+At the time of the last restorations, the foundations of the spires
+provided for in the original plans, but which have never been built,
+were laid.
+
+In the belfry of the northern tower are two magnificent deep-toned
+bells. One of them is modern and was cast at Le Mans, and blessed in
+1849 by Cardinal Gousset. The other, one of the finest bells known, and
+presented to the church in 1570 by Cardinal Charles de Lorraine, is the
+work of the Rheims metal-founder, Pierre Deschamps.
+
+The scaffolding fire of 1914 reached the belfry, bringing down the
+bells, which were broken in the fall.
+
+
+=The Lateral Façades and Chevet=
+
+The lateral façades of the Cathedral are of rare beauty. Nowhere have
+abutments and flying buttresses been so harmoniously employed as here.
+They are not merely supports, but form part of the decorative scheme of
+the nave, and ensure the harmony of the whole. Buttresses, finished off
+with pinnacles, serve as points of support for two superimposed
+flying-buttresses. The octagonal pinnacles are flanked with four small
+triangular pyramids and supported in front by two slender detached
+columns. Between the latter, under canopies, angels with outstretched
+wings carry the instruments of the Passion and various other emblems
+(_see photo, p. 49_).
+
+_Skirt the Cathedral on the left, passing in front of the North Façade
+(see photo below), to reach the Northern Transept._
+
+[Illustration: THE NORTHERN TRANSEPT IN 1919]
+
+
+=The Northern Façade and Transept=
+
+The transept is pierced with broad bays, whose completion, as in all the
+windows of the Cathedral, consists of two twin arches surmounted by a
+six-leaved rose. The niches in the buttresses are ornamented with
+statues believed by some to represent Kings of France. At any rate, that
+of the buttress on the western front of the north-west tower greatly
+resembles the figure of St. Louis carved on the doorway of the church of
+St. Vincent at Carcassonne.
+
+The carvings of the lower windows were either destroyed or damaged on
+September 19, 1914, at the same time as the stained-glass. The two
+towers which flank the crossings were left unfinished.
+
+Before the fire of 1481, there was a lantern over the intersection of
+the transept.
+
+[Illustration: CENTRAL DOOR OF THE NORTHERN TRANSEPT]
+
+
+=The Central Door of the Northern Transept=
+
+The sculptural decoration, while rich, is more sober than that of the
+doorway of the western façade. It is commemorative of the glory of the
+Archbishops of Rheims.
+
+The statue of the Pontiff with a tiara, backing up to the
+dividing-pillar, is supposed to be that of St. Sixtus, first Bishop of
+Rheims. In the splaying, on the left, is St. Nicaise holding his head in
+his hands, between St. Eutropia, an angel and a figure improbably said
+to be Clovis.
+
+The pediment was pierced by a shell and scarred with splinters. It is
+divided into five tiers, and represent the life of St. Remi and St.
+Nicaise.
+
+Beginning at the bottom, the figures represent: _on the first tier_, the
+beheading of St. Nicaise by the Vandals and the Baptism of Clovis by St.
+Remi; _on the second_, St. Remi, as a child, restores sight to Montanus
+and, as a man, exorcises the demons who had set fire to Rheims; _on the
+third_, the story of Job; _on the fourth_, the restoring to life of a
+young Toulouse girl, and the miracle of the cask filled with wine by St.
+Remi; _on the fifth_, Christ between two angels.
+
+[Illustration: LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST
+JUDGMENT
+_The dead rise from their graves._]
+
+
+=The Left-Hand Door of the Northern Transept=
+
+This door, which has long been walled up, is called _The Doorway of the
+Last Judgment_, on account of the carving on the tympanum.
+
+In the upper part, Christ is supported on one side by the Holy Virgin,
+and on the other by John the Baptist. Below (_two rows_) the dead rise
+from their graves (_photo above_). Lower down, on one side are _The
+Virtues_, represented by seated women; on the other, _The Vices_,
+mutilated in 1780 on account of their realism. On the lowest tier, _to
+the left_, angels carry souls to Abraham's bosom: _on the right_, Satan
+leads a chain of damned souls to Hell (_photo below_), amongst whom are
+a king, a bishop, and a monk.
+
+In the arching are three rows of angels carrying books or blowing
+trumpets, and the wise and foolish virgins.
+
+Backing up to the dividing pillar is an exceedingly fine 13th century
+statue, which recalls the "_Beautiful God_" of Amiens Cathedral (_see
+the Michelin Guide: Amiens Before and During the War_); Jesus blessing
+with His right hand, holds the globe of the world in His left (_see
+photo p. 45_).
+
+This statue was decapitated by a shell which struck the doorway in 1918,
+also taking off the head of the first statue on the left-hand portion of
+the doorway.
+
+[Illustration: LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST
+JUDGMENT
+_Satan drags a chain of damned Souls to Hell._]
+
+On the plinth of the dividing pillar is a bas-relief, remarkable for its
+delicate carving.
+
+According to local tradition, this plinth was erected at the expense of
+a dishonest master-draper, convicted of selling by false measure.
+
+_On the left_, the merchant is seen in his shop. In front of the
+counter, customers of both sexes look at the outspread stuffs, while
+clerks write in books.
+
+_On the right_, the merchant kneels before a statue of the Virgin in
+penance.
+
+Near-by, burgesses talk together and seem to judge the delinquent's
+conduct severely.
+
+The six statues against the walls represent the apostles: _on the
+right_, St. John, St. James and St. Paul; _on the left_, St. Andrew, St.
+Peter and St. Bartholomew.
+
+The rose is carved in a voussoir; the uprights are decorated with
+statues of Adam and Eve in long tunics, and the arch with twenty-two
+groups of small figures depicting, _from left to right_, the story of
+Adam and Eve, the various tasks to which they and their descendants were
+condemned, and the story of Cain and Abel.
+
+[Illustration: DIVIDING-PILLAR OF THE LEFT-HAND DOOR OF THE NORTHERN
+TRANSEPT
+_The statue of Christ was decapitated by a shell._
+_On the plinth is the legend of the Master-draper_ (_see text
+opposite_).]
+
+Above the rose an open-work gallery contains seven statues of the
+prophets. The statues are 13th century, but the gallery was restored in
+1846.
+
+The balustrading and triangular gable flanked with pinnacles, which
+dominate the gallery, date from the beginning of the 16th century, but
+have been repaired in recent times. On the gable is a colossal
+=Annunciation=; the Archangel and Mary are under Flamboyant canopies.
+
+
+=The Right-Hand Door of the Northern Transept (Norman Door)=
+
+This little door formerly connected, by means of a vaulted passage, the
+Cathedral with the Cloister (no longer existing) of the Chapter.
+
+Its tympanum is a relic of the Cathedral built by Archbishop Samson. It
+depicts, in beautiful Romanesque relief, a majestic Virgin. The
+archivolt which frames it, doubtless belonged to a 12th century tomb. At
+the top of the arch, angels carry away a soul, while on the uprights,
+clerks officiate at a funeral service.
+
+
+=The Chevet=
+
+(_See photograph of Cathedral, taken from aeroplane, p. 30._)
+
+The Chevet, begun by Jean D'Orbais and finished by Jean Le Loup, was
+inaugurated by the Chapter about 1241. It is one of the finest 13th
+century chevets in existence.
+
+It is stayed by two rows of buttresses supporting double
+flying-buttresses. Like those of the nave, the buttresses are surmounted
+with pinnacles, beneath which niches shelter statues of flying angels.
+
+[Illustration: THE CHEVET BEFORE THE WAR
+_One of the finest 13th century Chevets._]
+
+All around the apse, between the windows of the radial chapels and on
+the main buttresses, are statues of angels, some of them of great
+beauty.
+
+The 13th century clerestory gallery, which surrounds the upper portion
+of the apsidal chapels, was restored by Viollet-le-Duc. It was partially
+destroyed by the bombardments. On April 19, 1917, three large calibre
+shells, which burst on the chevet, destroyed forty to fifty feet of it.
+At the same time, the buttress jutting on the centre of the destroyed
+gallery lost its pinnacle, and behind, an arch of the flying-buttress.
+The buttresses between the above-mentioned one and the corner of the
+South Transept Tower lost either a colonnette or their pinnacle with
+angel statue.
+
+The slender spire which, before the War, rose above the chevet, was
+known as the =Angel Spire=, on account of a bronze angel which
+surmounted it, and which was removed in 1860 as unsafe. This spire, the
+work of Colard le Moine, was built in 1485, after the fire of 1481. Its
+pierced base with balustrading was supported by eight leaden caryatids,
+some of which, in the popular costume of the Louis XI. period, became
+deformed in consequence of the rotting of their oaken core.
+
+The fire of September 19, 1914, caused by the German shells, entirely
+destroyed the spire and its caryatids.
+
+[Illustration: THE CHEVET IN 1919
+_The roof with the "Angel Spire" was destroyed._]
+
+The bombardments in the spring of the following year further damaged the
+gallery, also causing fresh mutilations to the flying buttresses and the
+pinnacles of the apse.
+
+A plain stone gallery with blind arcading, which formerly ran round the
+chevet on a level with the springing of the roof, was replaced by
+Viollet-le-Duc, with pierced battlemented arcading. Part of the original
+gallery which surrounded the entire building, level with the roof, still
+exists on the northern side.
+
+On October 12, 1914, a shell destroyed about twenty five feet of the
+gallery round the chevet, which later was further damaged by another
+shell.
+
+
+=The Lateral Façade and South Transept=
+
+This façade and transept (_which should be seen from the courtyard of
+the Archbishop's Palace_) are identical, as a whole, with the northern
+façade and transept (_see pp. 28 and 42_).
+
+The gallery at the springing of the roof of the nave was entirely
+rebuilt in 1878 by Architect Millet, in a style foreign to that of the
+Cathedral.
+
+Among the statues of the transept buttresses that at the corner of the
+south-western tower, bestriding a lion, is thought by some to represent
+=Pepin-the-Short=, and another near him, =Charlemagne=.
+
+[Illustration: THE LATERAL FAÇADE AND SOUTHERN TRANSEPT IN 1919]
+
+The façade of the transept has no doorway. Above the lower storey, the
+architectural arrangement is the same as that of the northern transept.
+At the base of the rose-window, on each side, are two very fine statues.
+
+_On the left_, =The Christian Religion=, symbolised by a crowned woman
+with chalice and standard. This statue was destroyed by a German shell
+in 1918, after being damaged in April 1917.
+
+_On the right_, =The Synagogue=, with eyes bandaged and a crown on one
+side, was not seriously damaged.
+
+In consequence of the fire of 1481, the gable of South Transept was
+rebuilt at the beginning of the 16th century by three master-masons, one
+of whom, Guichart Antoine, co-operated later with the building of =Nôtre
+Dame de l'Epine=. (_See the Michelin Guide: The Revigny Pass._) It was
+restored about 1888 in the original style. The subject sculptured on the
+pediment represents the =Assumption of the Virgin=.
+
+The =Sagittarius= which surmounted the gable was destroyed in 1914. It
+was a modern faithful copy of the old lead-covered wooden Sagittarius,
+which was carved, gilded and painted about 1503 by the Rheims sculptor,
+Jean Bourcamus. According to tradition, this Sagittarius, which appeared
+to be shooting its arrow at the bronze stag of the archi-episcopal
+palace, symbolised the rivalry between the Archbishop and the Chapter of
+the Cathedral.
+
+[Illustration: GABLE OF THE SOUTHERN TRANSEPT IN 1914]
+
+[Illustration: THE SOUTHERN LATERAL FAÇADE IN 1914]
+
+[Illustration: REVERSE SIDE OF THE CENTRAL DOOR IN 1914
+_See complete view on p. 52._]
+
+
+
+
+=THE INTERIOR OF THE CATHEDRAL=
+
+=The Inner Western Façade=
+
+(_See description of the Exterior on pp. 34 to 41._)
+
+This is a masterpiece. Its sculptural decoration is unique, and as rich
+as that of the outer façade.
+
+In the tympanum of the central door a sixteen-leaved rose-window, the
+stained-glass of which was made shortly before the Revolution, is faced
+with three small trefoil rose-windows.
+
+At the top of the dividing pillar St. Nicaise, headless, is between two
+angels and two armed men personifying the barbarians who killed him.
+
+The entire door, as far as the triforium, is framed by seven rows of
+superimposed niches separated by panels of sculptured foliage. The
+basements are covered with figured drapery, as on the outside. In each
+niche, under a trefoil arcade, is a statue. The subjects represented
+are, _from bottom to top_: _on the right_: =The Life of John the
+Baptist=; _on the left_: =The Fulfilment of the Prophecy= and =The
+Childhood of Christ=.
+
+[Illustration: STATUES ON REVERSE SIDE OF DOORS AFTER FIRE, SEPT., 1914]
+
+The first row on the right is known as "=The Knight's Communion="; a
+priest offers the Host to a knight wearing 13th century armour, and
+turns his back on another knight clothed in a leathern Carolingian tunic
+with iron scales, and armed with a small round buckler.
+
+Above the door, a gallery with nine openings lights the triforium.
+
+On the highest storey, the great rose-window occupies the whole breadth
+of the nave. It is the masterpiece of Bernard de Soissons (_see p. 40_).
+
+In the form of a gigantic flower with twelve petals, each of the latter
+is sub-divided by quatrefoils and trefoil archings. Its harmonious
+gracefulness and seeming lightness, in spite of the great thickness of
+its border (about 7 ft.), and mullions (about 2 ft. 6 in.), are very
+striking.
+
+The stained-glass, which, with the stonework, formed a harmonious whole,
+was restored in modern times. The subject represented was: =The Virgin
+surrounded by angels, kings and patriarchs=.
+
+The fire of 1914 destroyed the stained-glass.
+
+The side-doors have only a quatrefoil rose-window (_see pp. 25 and 34_),
+and their framework of niches consists only of four rows of two niches
+each. However, two lines of niches, in which are statues in demi-relief,
+form the contour of the arches which frame their top.
+
+The subjects of the sculptures are allied, in the case of each door, to
+those of the outer decoration, _i.e._ "=The Life of St. Stephen=."
+
+The wooden doors and their tambours were destroyed by the fire of
+September 19, 1914, which also disfigured or destroyed the statues
+framing them (_see photos above_).
+
+[Illustration: INTERIOR OF THE NAVE IN 1919]
+
+
+=The Great Nave=
+
+The fire of September 19, 1914, destroyed the framework of the Nave and
+its 15th century lead roof. In the following years a number of shells
+pierced the vaulting, without, however, damaging its vital parts. It
+will be possible to restore it.
+
+It seems to be clearly established that although the first four bays
+were built later than the others, the nave as a whole, like that of the
+Cathedral of Amiens, was completely finished before 1300 A.D. Vaulted
+throughout on diagonal ribs, the nave, which is perfectly regular, has
+three stories: the lowest, formed of great arches, rests on massive
+pillars; the triforium, formed of two, four, five, or six arcades,
+extends round the entire building; the high twin-bay windows are
+surmounted with a six-leaved rose-window.
+
+The pillars, which have been likened to a row of antique columns, are
+composed of a great cylindrical shaft, reinforced by four smaller
+engaged columns, standing on an octagonal base. The pillars which follow
+the first bay of the nave and carry one of the corners of the towers, as
+also the four pillars of the transept square, are more massive.
+
+[Illustration: CAPITAL IN THE NAVE]
+
+The capitals of the pillars and of the columns (_photo opposite_) are
+most beautifully decorated. The dominating subject of their decoration
+is natural foliage (vine, oak, thistle, ivy, ranunculus, fig-tree).
+Occasionally, human or animal figures or monsters, and scenes from
+nature, _i.e._ the dainty =Vintage scene= on the capital of the sixth
+pillar on the right of the nave, are interspersed. The ornamentation of
+the capitals of six pillars of the first bays is more elaborate and more
+recent in style. These capitals are not, like those of the other
+pillars, divided on the four flanking columns into two equal courses by
+an astragal, neither do they include, like some of the others, crockets,
+acanthus leaves and other conventional ornaments of an older and less
+realistic style.
+
+[Illustration: ROOF OF THE NAVE IN 1914
+_In the foreground on the right: Corner of the Southern Transept._]
+
+The 13th and 14th century stained-glass of the high windows represents,
+on two superimposed lines, figures of kings of France and archbishops of
+Rheims. Some of the glass was broken, but the finest was saved.
+
+In the third and fourth bays there was formerly a square =Labyrinth=,
+flanked at the corners by polygonal compartments. In the interior, a
+line of white tiles bordered with black stones ran from one side, and
+after complicated windings reached a central compartment. At the corners
+of the compartments were figures of the four first architects of the
+Cathedral: Jean d'Orbais, Jean le Loup, Gaucher of Rheims and Bernard of
+Soissons. The central figure is probably that of Archbishop Aubri de
+Humbert, who laid the first stone of the edifice. This Labyrinth, the
+drawings of which revealed the names of the builders of the Cathedral,
+was destroyed in 1778 by the Chapter, to prevent the children playing
+there.
+
+[Illustration: ROOF OF THE NAVE IN 1919
+_In the foreground, on the right: Corner of the Southern Transept._]
+
+Between the Labyrinth and the Choir are about twenty 14th century
+tombstones.
+
+The =great pulpit= set up against the fifth left-hand pillar was made,
+in the time of Louis XV., by a Rheims artist (Blondel). It comes from
+the old church of St. Pierre-le-Vieil.
+
+In the sixth bay, just before the entrance to the choir, the spot where
+St. Nicaise was beheaded, on the threshold of his church, was formerly
+indicated by a small circular chapel known as _La Rouelle de St.
+Nicaise_. The tiny building was replaced by a memorial inscription on
+the flagstone, supposed to have been stained with the blood of the
+martyr.
+
+
+=The Aisles of the Naves=
+
+The windows of the Aisles are similar to the lofty windows of the nave.
+The walls were formerly hung with valuable tapestries, which were taken
+down and evacuated by the _Historical Monuments Department_ at the
+outbreak of the War. The two oldest, dating back to about 1440, and
+known as the tapestries of the _fort roi Clovis_, were presented by
+Cardinal Charles de Lorraine, and depict the history of Clovis. Those of
+the Renaissance, given in 1530 by Archbishop Robert de Lenoncourt, who
+caused himself to be portrayed kneeling in the picture of the Birth of
+Christ, depict the _Life of the Virgin_. The most modern, presented in
+1640 by Archbishop Henri de Lorraine and worked by the Fleming, Daniel
+Pepersack, represent Jesus at the _Marriage at Cana in Galilee_ and
+_Jesus among the Doctors_.
+
+At the foot of the walls, three stone steps serve as seats.
+
+[Illustration: TAPESTRIES IN THE SOUTHERN SIDE AISLE, BEFORE THE WAR]
+
+
+=The Interior of the Northern Transept=
+
+(_See plan, p. 33, and the Exterior, p. 42._)
+
+The inner façade is partially hidden by the great organ, built about
+1487 and transformed several times since then. Of the original organ the
+loft only remains, the Gothic balustrading of which is pierced with
+Flamboyant arcading.
+
+[Illustration: THE NORTHERN TRANSEPT _(see p. 33)_]
+
+The façade originally consisted of three lofty bays with lancet-shaped
+windows surmounted by a gallery lighted by three rose-windows of six
+lobes each and one of twelve lobes. The subsequent addition of a doorway
+about the _middle_ of the 13th century caused the partial suppression of
+the bays, of which the transformed summits alone remain.
+
+Almost all the high windows of the transept contained 13th century
+_grisaille_ glass, which was damaged or broken by the bombardments, as
+was also the 13th century stained-glass of the great rose-window
+(repaired in 1869), which represented _The Story of the Creation_ and
+_The Fall of Adam_.
+
+The reverse side of the Central Door is bare, except the dividing
+pillar, the statue of which is hidden by the 18th century wooden
+tambour.
+
+The small western side-door, which formerly communicated with the
+cloister of the Chapter, is entirely covered with 18th century woodwork.
+The adjoining bay, closed in by a beautiful 13th century wrought-iron
+railing, is the old chartulary or muniment room of the Chapter. Near the
+railing, in the corner of the transept, is a clock with automatons,
+which come out when the hours strike. Its woodwork is 14th and 15th
+century and its works 17th and 18th century.
+
+To the right of the door of the organ stair, a =tombstone= to =Hugues
+Libergier= was set up against the wall. He was the architect who, in
+1231, commenced the abbatial church of St. Nicaise. The tombstone has
+been in the Cathedral since 1800. The altar in the Lady-Chapel,
+surmounted with a statue by François Ladatte (1742), replaced a Gothic
+altar-screen destroyed in 1739.
+
+The picture _The Washing of the Disciples' Feet_ is by Jerome Muziano.
+
+On the western walls of the transept is a fine tapestry, the pendant of
+which is in the south transept. These two great tapestries, made at the
+Gobelins, after cartoons by Raphael, represent the life of St. Paul.
+They were removed in 1914, at the same time as those in the aisles.
+
+[Illustration: THE VAULTING OF THE CHOIR FELL IN ON THE HIGH ALTAR
+_The photo on p. 31 shows the collapse, seen from above._]
+
+
+=The Choir=
+
+(_See the Chevet, p. 46._)
+
+The ambulatory with its radiating chapels is of incomparable beauty.
+Excepting the larger central chapel, known as the _Chapel of the Holy
+Sacrament_, which is nine-sided, each chapel has seven sides rising from
+a circular floor.
+
+In each chapel, three windows similar to those of the nave, light the
+three hindmost walls. Blind windows imitate the true ones on the side
+walls.
+
+At the base of the windows a narrow gallery, passing through the
+pillars, continues all along the side-aisles of the transept and nave--a
+peculiarity in Champagne architecture.
+
+The 13th century stained-glass of the high windows was destroyed by the
+bombardment of September 19, 1914.
+
+In April, 1917, part of the vaulting fell in on the High Altar (_photo
+above_).
+
+The costly marble High Altar was erected in 1747 by Canon Godinot, who
+spent considerable sums in making alterations to the Cathedral, not all
+of which were happy. Its six chandeliers date from the consecration of
+Charles X.
+
+The High Altar of the rear choir dates from 1764 and came from the
+Church of St. Nicaise. On either side of this altar are two 14th century
+tumulary stones. Behind is the tomb of Cardinal de Lorraine.
+
+The small pulpit of the rear choir, the medallions of which depict the
+life of St. Theresa, dates from 1678. It is a gift of the widow of M.
+Pommery (_photo below_).
+
+Twenty-two archbishops of Rheims were buried under the choir pavement.
+Their tombstones were removed in 1747. The present flag-stones came from
+the old church of St. Nicaise.
+
+[Illustration: THE SMALL PULPIT IN THE REAR CHOIR]
+
+The archbishop's throne, by Viollet-le-Duc, was destroyed by the fire of
+1914, together with the 18th century stalls.
+
+The railings (1826-1832) replaced, not very happily, an ancient stone
+rood-loft destroyed in 1761.
+
+
+=The Interior of the Southern Transept=
+
+(_See plan, p. 33, and the Exterior, p. 47_)
+
+A gap was made in the vaulting by the bombardment of April 19, 1917.
+
+The arrangement of the inner façade is similar to that of the northern
+transept, except that the three high bays with lancet windows, which are
+partially hidden in the northern transept, are here entirely visible.
+
+The stained-glass of the rose-window, destroyed by a hurricane in 1580,
+was replaced in 1581 by the Rheims artist Nicolas Dérodé. It represents
+the Eternal Father surrounded by the twelve apostles.
+
+In the Rosary Chapel is a Renaissance altar-screen (1541), attributed to
+the Rheims sculptor Pierre Jacques. The general scheme represents _The
+dead body of Christ on the knees of the Virgin_, and above, _Christ
+coming forth from the sepulchre_. It was a gift of Canon Paul
+Grandraoul, who is shown on his knees before Mary Magdalene.
+
+The Roman mosaic work in the centre of the chapel was discovered in the
+courtyard of the archbishop's palace in 1849. Among the most remarkable
+scenes are: _Christ appearing to Mary Magdalene_, attributed to Titian;
+_Christ with the angels_, by Thaddeo Zuccaro; _The Nativity_, attributed
+to Tintoret; _Manna in the Desert_, attributed to Nicolas Poussin.
+
+[Illustration: ST. REMI'S CHALICE. (_Cliché LL._)]
+
+
+=The Cathedral Treasure=
+
+This is kept in a sacristy built by Viollet-le-Duc, which is reached
+through a plain door in the southern façade of the transept.
+
+The treasure, which is very rich in precious reliquaries, chalices, and
+other pieces of goldsmith's work, was saved from the fire of September
+19, 1914, by the Curé of the Cathedral and one of his abbés. After being
+temporarily placed in the house of the Cardinal, it was evacuated in
+1915, at the order of the Historical Monuments Department.
+
+Among the best known of these art treasures are the Chalice of St. Remi
+and St. Ursula's Skiff.
+
+The =Chalice of St. Remi=, with its gold filagree work, six rows of
+chasing, and precious stones set in a _collier_, is a remarkable work of
+art. It was in this chalice that, by special privilege, the kings of
+France communicated in wine at the conclusion of their consecration.
+Tradition has it that the gold of which it is made was that of the
+Soissons Vase, whereas in reality it is 12th century. Confiscated in
+1793 and deposited in the _Bibliothèque Nationale_, it was restored to
+the Cathedral by Napoleon III.
+
+[Illustration: ST. URSULA'S SKIFF. (_Cliché LL._)]
+
+=St. Ursula's Skiff= is a reliquary given by Henri III. It represents a
+ship carved out of cornelian, floating on a sea of enamel. The ship,
+whose mast bears the royal crown, is adorned with the escutcheons of
+France and Poland, and contains eleven small figures. That of St. Ursula
+is said to be the portrait of the Queen of France.
+
+Amongst the other remarkable works of art in the Treasure are the
+following: the _reliquaries_ of Archbishop Samson, St. Sixtus (12th
+century), St. Peter and St. Paul (14th century), and the Holy Sepulchre
+(16th century); a _monstrance_ of gilt copper (13th century); a
+_liturgical comb_ of ivory, said to have belonged to St. Bernard (12th
+century); a rock-crystal _cross_, which formerly belonged to Cardinal de
+Lorraine; _orfrays_ embroidered with silver thread (13th century); the
+_credence_ and _oil vessels_ of Abbot de la Salle; a _fragment_ of a
+carved wood crozier (incorrectly said to be the crozier of St.
+Gibrien), two other fragments of which are in the Town Museum (12th
+century); the _vases_, _utensils_, and _sacred ornaments_ which were
+used at the consecration of Charles X.; the _reliquary_ of the Sacred
+Ampulla, designed by Lafitte for the consecration of Charles X. The
+original Sacred Ampulla was broken in 1793. The present one, which has
+only served for the consecration of Charles X., is a replica said to
+have been made with the few drops of balsam of the Clovis Ampulla, which
+pious hands saved from the broken fragments of the sacred vessel.
+
+[Illustration: CASKET OF THE SACRED AMPULLA. (_Cliché LL._)]
+
+[Illustration: FRAGMENTS SAVED FROM THE RUINS. (_Cliché LL._)]
+
+[Illustration (Map)]
+
+
+
+
+=FIRST ITINERARY FOR VISITING RHEIMS=
+
+=Starting-point: Place du Parvis Nôtre-Dame=
+
+     1. The Archbishop's Palace (p. 63).
+     2. The Theatre (p. 68)
+     3. The House of Levesque de Pouilly (p. 68).
+     4. The Stores: Galeries Rémoises (p. 73).
+     5. The Maison Fossier (p. 75).
+     6. The House of J. B. de la Salle (p. 75).
+     7. The House of the Enfant d'Or (p. 75).
+     8. The Statue of Louis XV. (p. 79).
+     9. The Musicians' House (p. 80).
+    10. The House of De Muire (p. 83).
+    11. The House of Le Vergeur (p. 85).
+    12. A 16th Century House (p. 86).
+    13. The General Post Office and Chamber of Commerce (p. 87).
+    14. The Cloister of the Franciscan Friars (p. 90).
+    15. The House of Thiret de Prain (p. 89).
+    16. The House of de la Pourcelette (p. 92).
+
+[Illustration: REMOVING THE STATUE OF JOAN-OF-ARC IN MAY, 1918]
+
+
+=Place du Parvis=
+
+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 an =equestrian 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_).
+
+[Illustration: 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._]
+
+Looking towards the Cathedral, the tourist will see on the right the
+ruins of the _Hôtel du Lion d'Or_ and of the _Hôtel de la Maison Rouge_.
+
+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.
+
+[Illustration: INNER COURTYARD OF THE LION D'OR HÔTEL. (_Cliché A.S._)]
+
+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.
+
+
+=The Archbishop's Palace=
+
+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.
+
+[Illustration: THE SALLE DU TAU, BEFORE THE WAR]
+
+
+=The Salle du Tau (or Kings' Hall)=
+
+(_See plan, p. 33._)
+
+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 the =Salle du Tau=, in memory of the ancient
+palace which was shaped like the Greek letter _Tau_, 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.
+
+[Illustration: THE SALLE DU TAU IN 1918
+_Behind the ruined Hall are seen the Southern Transept and Chevet of the
+Cathedral._]
+
+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 page 64, at the bottom of the hall.
+
+[Illustration: ENTRANCE TO THE SALLE DU TAU (OR KINGS' HALL). (_See
+plan, p. 33._)]
+
+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.
+
+
+=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.
+
+[Illustration: ENTRANCE TO THE ARCHI-EPISCOPAL CHAPEL. (_See plan, p.
+33._)]
+
+[Illustration: THE ROYAL APARTMENTS IN THE ARCHBISHOP'S PALACE]
+
+
+=The Royal Apartments=
+
+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=, formerly =The 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.
+
+[Illustration: 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.
+
+[Illustration: THE OLD GRAND SÉMINAIRE (MUSEUM)]
+
+[Illustration: THE BED IN WHICH NAPOLEON SLEPT IN 1814
+(_In ruined house at No. 18 Rue de Vesle._)]
+
+_Continue along the Rue Chanzy, which skirts the_ =Theatre= (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_).
+
+[Illustration: THE PARIS GATE]
+
+At No. 27 are vestiges of the old =Hôtel 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 was _Levesque 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._"
+
+[Illustration: 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 the_ =Paris Gate= _stands,
+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 the _faubourg_
+about 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 the_ Church of St. Jacques.
+
+The =Church 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.
+
+[Illustration: THE INTERIOR OF THE CHURCH OF ST. JACQUES (_Cliché
+LL._)]
+
+[Illustration: THE PLACE DROUET D'ERLON, BEFORE THE WAR
+_On the right: Belfry of the Church of St. Jacques._]
+
+_The Rue St. Jacques leads to the long_ Place Drouet d'Erlon, which was
+much damaged by the bombardments of 1918 (_photo opposite_).
+
+Formerly known as _Place 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 the
+_Quartier 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 a =monumental fountain=, the gift of M. Subé.
+
+_Follow the Place Drouet d'Erlon to the Boulevard de la République,
+which skirts_ =The Promenades=.
+
+[Illustration: THE PLACE DROUET D'ERLON, AFTER THE WAR
+_The Belfry of the Church of St. Jacques no longer exists._]
+
+[Illustration: THE SUBÉ FOUNTAIN, IN THE PLACE DROUET D'ERLON
+_Seen 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 called _Cours Le Pelletier_ (the name of the
+_Intendant of Champagne_, who approved the plans), then _Cours 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 the _Square
+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
+the_ =Hôtel-de-Ville=.
+
+[Illustration: THE "SQUARE COLBERT" IN THE MIDDLE OF THE "PROMENADES"
+_The Entrance to the Station is just opposite this "Square."_]
+
+[Illustration: THE TOWN HALL IN 1918]
+
+
+=The Hôtel-de-Ville=
+
+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 central _pavilion_
+and 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._
+
+[Illustration: THE GRAND STAIRCASE OF THE TOWN HALL]
+
+At No. 5 of the Rue Salin, the old 17th century _Hôtel Coquebert_, which
+was destroyed by the shells, used to be the headquarters of the _Society
+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 the =ruins= of
+the _Galeries Rémoises_ stores. 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._
+
+[Illustration: THE RUE COLBERT, BETWEEN THE TOWN HALL AND THE
+MARKET-PLACE]
+
+[Illustration: 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._]
+
+
+=The Place des Marchés=
+
+Built on the site of the ancient _forum_, 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.
+
+[Illustration: THE "HÔTEL DE LA SALLE"
+_On the left: the Carriage Entrance with Caryatids: Adam and Eve._]
+
+[Illustration: 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, where =J. B. de la Salle= was 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 of =Le Vergeur's House= (_see p. 85_).
+
+The carriage entrance is flanked with two life-size caryatids, popularly
+called _Adam 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: the =Maison Fossier=
+(_see p. 76_), which stood in the Square at the right-hand corner of the
+Rue de l'Arbalète, and especially the =Maison 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
+name _Golden_ or _Sleeping_ Child.
+
+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 the_ =Place
+Royale=.
+
+[Illustration: BEFORE THE WAR
+_See text, page 75._]
+
+[Illustration: AFTER THE WAR
+THE "MAISON FOSSIER," BEFORE AND AFTER THE WAR
+_See Itinerary, p. 61 (No. 5 of Explanatory Notes)._]
+
+[Illustration: 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.)_]
+
+[Illustration: 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 WAR]
+
+[Illustration: BRACKET OF THE "MAISON DE L'ENFANT D'OR," REPRESENTING
+SAMSON SLAYING THE LION]
+
+[Illustration: 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=
+
+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.
+
+[Illustration: THE PLACE ROYALE IN 1918
+_The 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 the _Hôtel des Fermes_) had a
+Doric front with a statue of Mercury surrounded by children arranging
+bales or carrying grapes to the wine-press. A =statue of Louis XV.=, in
+the middle of the Square, was protected from the bombardments by
+masonry-work (_photos, p. 78 and 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,
+symbolizes _gentleness of Government_; the other, a contented man
+resting in the midst of abundance, represents _the happiness of
+nations_. The wolf and the lamb sleeping side by side at their feet are
+symbolical of the Golden Age.
+
+[Illustration: 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._]
+
+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 the _Patrie_, 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.
+
+[Illustration: THE STATUES OF THE MUSICIANS' HOUSE
+_The 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 destroyed =Musicians' 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_) represented _a tambourine and flute player_, _a piper_, _a
+falconer_ with crossed legs, _a harpist_ and _an organ-grinder_ crowned
+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.
+
+[Illustration: 14TH 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 the_ =Mars Gate=.
+
+[Illustration: THE RUE DE MARS. THE TOWN HALL IS ON THE LEFT]
+
+[Illustration: MARS GATE]
+
+
+=The Mars Gate=
+
+[Illustration: 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._]
+
+This monument was long believed to be a Roman =gate=--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 an _historical
+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 arch _Romulus and Remus_ are 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.
+
+[Illustration: HÔTEL NOËL DE MUIRE
+_Note the curious masonry-work of the first storey, composed of
+polygonal stones in relief._]
+
+_Behind the Mars Gate is the Place de la République, containing_ a
+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 the =Louis XVI. front= with its gracefully carved garlands, which
+escaped injury.
+
+_Take the Rue du Grenier-à-Sel, on the right, to the_ =Hôtel 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 the _Maison 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.
+
+[Illustration: THE RUE DU MARC]
+
+_Take the Rue du Marc, which continues the Rue du Grenier-à-Sel (photo
+above)._
+
+The =Rue du Marc= was the quarter where the old noble families and the
+higher _bourgeoisie_ of 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 the
+=Hôtel Nicolas le Vergeur= (No. 1), which, unfortunately, was partly
+destroyed by the shells (_see p. 85_).
+
+[Illustration: HOUSE DATING BACK TO THE REIGN OF HENRI IV. (1589-1610)
+AT NO. 3 RUE DU MARC]
+
+
+=The Hôtel Nicolas Le Vergeur=
+
+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 with _collerettes_ and high head-dresses, gracious
+or haughty, standing well out in relief.
+
+[Illustration: HÔTEL 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 stone
+_mantelpiece_ decorated with graceful delicate foliage; a timber-work
+_ceiling_ with large and small beams, carrying panels decorated with
+scrolls, and 15th century _tile-flooring_ of 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. The
+_oaken ceiling_ of 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=.
+
+[Illustration: HÔTEL ROGIER DE MONCLIN, 18 RUE COURMEAUX]
+
+_At No. 18 are the_ ruins of the =Hôtel Rogier de Monclin=, destroyed
+after April, 1918. This house dated back to the Louis XV. period, but
+had been disfigured by modern alterations. The façade overlooking the
+courtyard, the entrance-hall, and the staircase with ornamental
+balustrade, were interesting. At the time of the consecration of Louis
+XVI., one of the saloons was furnished for the King's brother, the Comte
+(or _Monsieur_) d'Artois, whence the name "_Rue de Monsieur_," formerly
+borne by the Rue Courmeaux.
+
+_At No. 30_ is a Renaissance door, almost intact (_photo below_). _At
+No. 34, at the corner of the Rue Legendre_, is a late 16th century
+house, whose interior arrangement and façade are intact, except for the
+woodwork of the windows, which was modernised in the 18th century. It
+was built on the site of the old wool-market, after Marshal de
+Saint-Paul, at the time of the League, had compelled the inhabitants of
+the Faubourg Cérès to destroy their houses.
+
+[Illustration: RENAISSANCE DOOR,
+_30, Rue Courmeaux_.]
+
+[Illustration: CÉRÈS ESPLANADE]
+
+_Return to the Rue Courmeaux and take the Rue Bonhomme on the left,
+which leads to the Rue Cérès._
+
+The =Rue Cérès= was totally destroyed by fire, from the Place Royale to
+the Post Office, which had to be given up in the autumn of 1914.
+
+_At No. 30_ is the =Chamber of Commerce=, one of the finest late 18th
+century buildings in Rheims. The magnificent Louis XVI. rooms escaped
+practically uninjured. The staircase leading to the first storey, with
+its delicate balustrade, is very remarkable.
+
+[Illustration: CHURCH OF ST. ANDRÉ,
+_Rue du Faubourg Cérès._]
+
+[Illustration: INTERIOR OF THE CHURCH OF ST. ANDRÉ]
+
+_The Rue Cérès ends at the Esplanade Cérès_ (_photo, p. 87_), which was
+made outside the old ramparts near the Cérès Gate. The name Cérès is
+derived from a tower that long served as a prison (_carcer_, whence by
+corruption _chair_, _cère_, and then by false mythological association,
+_Cérès_). It was in this tower (no longer existing, but famous as early
+as the 9th century) that, according to the _chansons de geste_, Ogier
+the Dane, handed over by Charlemagne to the custody of the Bishop of
+Rheims, was incarcerated.
+
+_From the Esplanade continue, if desired, by the Rue du Faubourg Cérès_
+(greatly damaged by the bombardments), to the =Church of St. André=, a
+modern building erected by the architect Brunette.
+
+It was struck several times by shells and will have to be rebuilt. As
+early as the first bombardment of September 4th, 1914, shell splinters
+damaged the doorway, transept, stained glass (part of which was 16th
+century and came from the old church), small organ, and the painting of
+the _Baptism of Clovis_. Subsequently, the vaulting and parts of the
+walls collapsed.
+
+The Church possesses a precious =reliquary= of copper (15th century) and
+a =statue of St. André= (patron of the church) of painted and gilded
+stone, attributed without authority, to Pierre Jacques.
+
+[Illustration: RELIQUARY OF ST. ANDRÉ]
+
+[Illustration: HÔTEL THIRET DE PRAIN IN 1916
+_19 Rue Eugène Desteuque._]
+
+_Return to the Esplanade Cérès, turn to the left at the beginning of the
+Boulevard de la Paix, then to the right into the_ =Rue Eugène
+Desteuque=.
+
+_At No. 19 of this street_ are the ruins of the =Hôtel Thiret de Prain=.
+
+
+=The Hôtel Thiret de Prain=
+
+This was a mansion in the days of Henry IV. and Louis XIII. Richelieu
+stayed there in 1641.
+
+[Illustration: HÔTEL THIRET DE PRAIN IN 1918
+_These two photographs illustrate the systematic destructions practised
+by the Germans._]
+
+An imposing building, bordered with streets on its four sides, it had
+retained its original appearance. The carriage-entrance in the Rue
+Eugène Desteuque alone had been rebuilt in 1697. The principal entrance
+was surmounted with a gallery, the walls, ceiling and beams of which
+were covered with delicate decorative paintings.
+
+On the first floor one of the corner rooms, looking east, contained a
+large Henry IV. mantelpiece, above which were the arms of the nobles of
+Prain. Only the metallic portion remains.
+
+[Illustration: INTERIOR FAÇADE OF THE CLOISTER OF THE FRANCISCAN FRIARS
+_In the courtyard of No. 9, Rue des Trois-Raisinets._]
+
+The dove-cot of the Hôtel, a massive square tower with pent-house roof,
+overlooking the Rue d'Avenay, was destroyed by the bombardments.
+
+_On the left of the Rue Eugène-Desteuque, opposite the Hôtel
+Thiret-de-Prain, is the_ Rue des Trois-Raisinets. At No. 9 are the ruins
+of a Franciscan Cloister (_photo above_).
+
+This street (_photo below_), like the Cloister, suffered severely from
+the bombardments.
+
+[Illustration: RUINS OF THE MARGOTIN FACTORY
+_14, Rue des Trois-Raisinets._]
+
+_Return to the Rue Eugène-Desteuque and follow the same as far as the_
+Rue de la Grue (_on the right_). This street was badly damaged by
+shell-fire and is impracticable for motor-cars.
+
+It was named after the sign carved on a stone (_photo, p. 91_) of the
+house at No. 5 (entirely destroyed by the shells). At the end stood the
+house where J. B. Colbert was born (at the corner of the Rues Cérès and
+de Nanteuil, _photo below_).
+
+[Illustration: THE SIGN WHICH GAVE ITS NAME TO THE RUE DE LA GRUE
+_It was at No. 5, but has been destroyed._]
+
+_Return to the Rue Eugène-Desteuque, follow it as far as the_ Rue de
+l'Université. _Turn into the latter on the left._
+
+This street was destroyed as early as September, 1914. At No. 25 are the
+ruins of a Professional School for Girls, formerly the St. Martha
+Hospital. The latter, also known as the "Hôpital des Magneuses," was
+founded in the 17th century by Mesdames de Magneux, and rebuilt in the
+18th century in the Louis XVI. style.
+
+[Illustration: RUINS OF THE HOUSE WHERE COLBERT WAS BORN
+_At the corner of the Rues Cérès and de Nanteuil._]
+
+At No. 40, opposite the Sub-Prefecture, now in ruins, is the =Maison de
+Jean Maillefer=, named after the rich merchant who built it in 1652. It
+was scarcely finished, when it was chosen--and this was a source of
+pride to its owner--as an abode for Anne of Austria, at the time of the
+consecration of Louis XIV. The inside of the courtyard alone has
+retained practically its ancient appearance. The front looking on the
+street had recently been put back and altered. Some of the sculpture
+which adorned it came from another house.
+
+_A short distance farther on, on the left, is the_ Place Godinot, named
+after a canon of the 18th century, who caused numerous alterations to be
+made in the decoration of the choir and sanctuary of the Cathedral.
+
+_Take the Rue St. Just on the right, and follow its continuation_ (_the
+Rue des Anglais_) as far as the Rue d'Anjou, _which take on the right_.
+
+The =Hôtel de la Pourcelette= (No. 7) evokes memories of _Mabillon_, who
+lived there when a young student at the University of Rheims.
+
+_At the end of the Rue d'Anjou, turn to the left into the Rue du
+Cardinal de Lorraine, and follow the same to the short_ Rue des
+Tournelles _on the left_.
+
+In the house at No. 3 of this street were incorporated the turret and
+two principal windows of an old Gothic 16th century structure, situated
+at No. 18 of the Rue des Anglais, and in ruins since 1898. The
+drawing-room likewise contains a large stone chimney-piece, which
+formerly stood in the great hall of the old house.
+
+[Illustration: LOUIS XIII. DOOR
+_At No. 20 Rue du Carrouge._]
+
+_At the end of the Rue des Tournelles, turn to the right into the Rue
+des Fusiliers, which leads to the Place du Parvis. Cross the latter to
+the Rue Tronson Ducoudray. Follow this street, which runs between the_
+Palais de Justice _and_ _the_ Theatre, _turn to the left, in front of
+the latter, into the Rue de Vesle, and take the first street on the
+right_, the Rue de Talleyrand.
+
+_Follow this street_, the greater part of which was destroyed by fire
+during the bombardments of April, 1918. It suffered further damage in
+the months that followed, and a number of interesting old houses were
+destroyed.
+
+_Turn into the first street on the right (Rue du Cadran St. Pierre), and
+follow the same as far as the Rue de la Clef. Take the latter on the
+right._
+
+Before doing so, however, take a look at the =fine Louis XIII. entrance=
+(_photo, p. 92_) of the house at No. 20 of the Rue du Carrouge opposite.
+
+_At No. 4 of the Rue de la Clef are the_ ruins of the former =Hôtel de
+Bezannes=, partly built by Pierre de Bezannes, Lieutenant of Rheims in
+1458 This house contains some fine 16th and 18th century woodwork.
+
+_The Rue des Deux Anges, which continues the Rue de la Clef, leads to
+the_ Place du Palais, destroyed during the bombardments of April, 1918.
+_In this square stands the_ =Palais de Justice=. The _Palais_ replaced
+the old Hôtel-Dieu, but has been almost entirely rebuilt. It is a
+building of little note, the principal entrance in particular being
+stiff to excess.
+
+[Illustration: RUE CARNOT
+_The Place Royale is seen in the background._]
+
+Its only interest is provided by two relics of the past: the vast
+cellars or subterranean vaults with pointed arches supported by columns
+with Gothic capitals; and the façade of the Audience-Chamber, formerly
+the principal ward of the old Hôtel Dieu, the exterior of which has
+retained its venerable appearance and the interior, vestiges of its
+lofty timber-work and wainscoted vaulting.
+
+The ground-floor of the _Palais_ alone escaped damage from fire and the
+shells, thanks to a terrace of reinforced concrete.
+
+_On the left of the Palais take the Rue Carnot_, destroyed by the
+bombardments of April, 1918.
+
+The Rue Carnot communicates with the courtyard of the Chapter-House,
+also burnt, by a great gate and passage which pass right through a
+house.
+
+This entrance was built about 1530, in the transition style between the
+Gothic and Renaissance. Its elliptical arch bears a scutcheon with the
+arms of the Chapter. Consoles, decorated with grotesque figures, support
+the beams. The points of the turrets have disappeared, a supporting
+shaft has been mutilated, and the carved wooden leaves of the door have
+been removed to the Lycée, yet the gate is still imposing.
+
+It is the last remaining vestige of the Chapter buildings which, with
+their gates closing at the same time as those of the city, at the sound
+of the bell, formed a "city within a city." In point of fact, the
+Chapter was once lord of that part of the city which lies around the
+Cathedral, and which it administered. The canons, jealous of their
+prerogatives, were often in conflict with the archbishops.
+
+[Illustration: DOOR OF THE CHAPTER-HOUSE COURTYARD
+_The Northern Transept of the Cathedral is seen in the background._]
+
+A few capitals and shafts of the ancient cloister of the Chapter,
+adjoining the Cathedral, were recently discovered and placed under one
+of the penthouses built between the buttresses of Nôtre-Dame.
+
+_Go through the gate, cross the Place du Chapitre, follow the Rue du
+Préau towards the Cathedral, then turn to the right into the Rue Robert
+de Coucy, which leads back to the Place du Parvis Nôtre-Dame._
+
+
+=SECOND ITINERARY FOR VISITING RHEIMS=
+
+[Illustration (Map)]
+
+_Starting from the Place du Parvis-Nôtre-Dame, take the Rue Libergier,
+opposite the Cathedral. Turn to the left into the_ Rue Chanzy, which was
+destroyed by the bombardments of April-August, 1918.
+
+[Illustration: RUE CHANZY]
+
+[Illustration: DOOR AND BALCONY OF THE HÔTEL DE COURTAGNON, (_18th
+Century_), _at No. 71 Rue Chanzy_]
+
+The ruins of the 18th century =Hôtel Lagoille de Courtagnon= may be seen
+at No. 71 of this street. It was destroyed by the bombardments of April,
+1918, with the exception of a part of the front. The finely carved door
+and remarkable ironwork of the balcony are visible in the above
+photograph.
+
+[Illustration: ORNAMENTAL RAIN-WATER PIPE-HEAD OF LEAD UNDER THE ROOF OF
+THE HOSPICE NOËL CAQUÉ (_see p. 97_)]
+
+[Illustration: GALLO-ROMAN BAS-RELIEF _at No. 65, Rue de l'Université.
+This bas-relief and the one opposite, on the wall of the Lycée, are the
+last remaining vestiges of a Gallo-Roman gate_.]
+
+The =Hospice Noël Caqué= (formerly Hospice St. Marcoul), _on the right_,
+was seriously damaged by the bombardments of April, 1918. It dated from
+the middle of the 17th century, and was well preserved, with the
+exception of the chapel, rebuilt in 1873.
+
+_Take the Rue de Contrai, on the left, which leads to the_ Rue de
+l'Université. Inserted in the façade of the house at No. 65 (_on the
+right_), and in the wall of the Lycée (_on the left_), are two stone
+=bas-reliefs= ornamented with trophies of arms and Roman insignia, the
+sole remaining vestiges of the _Porte Basée_ (_from Basilea_) which
+formerly stood there on the Cæsarean way, at the southern extremity of
+the Gallo-Roman town. (_See photo above of the right-hand bas-relief._)
+
+[Illustration: THE FAÇADE OF THE LYCÉE DESTROYED BY THE BOMBARDMENTS]
+
+_Follow the Rue de l'Université and skirt the_ =Lycée de Garçons=, of
+which only the chapel and one of the buildings are left. The rest was
+burnt or destroyed by shell-fire.
+
+[Illustration: DOOR OF THE PETIT LYCÉE, _5, Rue Vauthier-le-Noir_. _On
+either side of the arcade are heads of "Jean qui rit" and "Jean qui
+pleure."_]
+
+The Lycée replaced the old _Collège des Bons Enfants_, founded in the
+Middle Ages, and rebuilt in the 16th century by the Cardinal de
+Lorraine, founder of the University of Rheims.
+
+Of the old _Collège_, only the central part remained, in the second
+court built by Archbishop Charles Maurice Le Tellier in 1686 and the
+following years.
+
+The gate of the _Cour des Etudes_ dates from 1688.
+
+The ancient door of the Collège--the tympana of whose arcading contain
+two laughing and crying heads--was transferred to the entrance of the
+_Petit Lycée_, at No. 5 of the street on the right of the Lycée (Rue
+Vauthier-le-Noir) (_photo above_).
+
+_Shortly after the Lycée, turn to the right into the Place Godinot, then
+take the Rue St. Pierre-les-Dames on the right._ At No. 8 are the ruins
+of the =Abbey of St. Pierre-les-Dames=.
+
+Of this celebrated Abbey, where several royal persons stayed: _Mary
+Stuart_ twice, in her childhood and after she was widowed; _Henry IV._,
+on a visit to his cousin, the Abbess Renée II.; _Anne of Austria_, of
+whom the _Congrégation_ library contains a portrait; there remains
+hardly anything but two 16th century _pavillons_ belonging to the period
+when Renée de Lorraine, sister of the Queen of Scotland and aunt of Mary
+Stuart, was abbess of the convent. Built of stone and brick with marble
+incrustations, and adorned with beautiful carvings, these _pavillons_
+were pure Renaissance in style. The head of an angel with unfolded wings
+and the head of a grinning demon surmounted the two windows of one of
+the ground-floors. On the first floor of the same _pavillon_ the window,
+framed with delicate ornaments, opened above a cornice, the principal
+sculptural subject of which was a nude woman, helmeted, suckling two
+children.
+
+[Illustration: RUINS OF THE ABBEY OF ST. PIERRE-LES-DAMES, _8, Rue St.
+Pierre-les-Dames_.]
+
+_The Rue St. Pierre-les-Dames leads to the Rue des Murs, into which turn
+to the right, then to the left into the Rue du Barbâtre. Follow the
+latter to the end._ This street suffered greatly from the early
+bombardments, and was almost entirely destroyed in the summer of 1918.
+
+_At Nos. 137 and 139, at the corner of the Rue Montlaurent_, are the
+ruins of the =Hôtel Féret de Montlaurent=.
+
+
+=Hôtel Féret de Montlaurent.=
+
+[Illustration: GALLERY FACING THE COURTYARD OF THE HÔTEL FÉRET DE
+MONTLAURENT
+_The statues in the niches represent the sun and planets._]
+
+This large building, occupied by the _Cercle Catholique_, was commenced
+about 1540 by Hubert Féret, a _Lieutenant_ of the people, and the most
+celebrated member of a family which played an important part at Rheims
+in the 15th, 16th, and 17th centuries. The outside façade has been
+greatly altered. At No. 137 it was entirely rebuilt under Louis XVI. At
+No. 139 the ground-floor openings have been modified.
+
+As in many of the mansions of the 16th century, most of the decoration
+is on the inner façades. Inside the courtyard, on the ground-floor of
+the wing abutting on the Rue Montlaurent, there is a six-arched gallery
+which was damaged but not destroyed (_photo,_ p. 99). Between the
+arch-centres and at the ends of the gallery are seven niches, three feet
+high, enclosing stone statues of the sun and the six planets known in
+the 16th century.
+
+Taken in their order they are: =Saturn=, with a scythe in his hand and
+serpent round his arm, devouring a child, and the zodiacal signs
+Aquarius and Capricornus at his feet; =Jupiter=, holding a lighted
+torch, with Sagittarius at his feet; =Mars=, armed from head to foot,
+surmounting Cancer and Aries; the =Sun=, personified by Phoebus with
+flowing mantle, a lion at his side; =Venus=, clothed only in her hair,
+surmounting Taurus and Baloena; =Mercury=, with wings on his head and
+heels, the caduceus in his hand, Virgo and Gemini at his feet; the
+=Moon=, represented by Diana bearing a crescent; below her Scorpio.
+
+The escutcheons on the wall at the back of this façade bear the initials
+of Régnault Féret, who completed the mansion. In the second court there
+are still vestiges of the chapel of this family.
+
+_At No. 142 of the same street_, the entrance to the =Cour Maupinot=
+(one of the numerous _cours_ which have survived in Rheims) is framed in
+pilasters, the carved entablature of which supports a triangular
+pediment (_photo below_).
+
+_The Rue Barbâtre is continued by the Rue des Salines, which leads to
+the Place St. Nicaise._
+
+[Illustration: ENTRANCE TO MAUPINOT COURT. THE DOORWAY IS RENAISSANCE,
+_142, Rue du Barbâtre. See Itinerary, p. 95_]
+
+The Place St. Nicaise was destroyed by the bombardments of April-August,
+1918. It took its name from the celebrated Bishop of Rheims, who, with
+his sister St. Eutropia, was put to death by the Vandals in 407.
+
+The Church of St. Nicaise, rebuilt in the 13th century by Libergier and
+Robert de Coucy, was destroyed at the time of the Revolution. Amongst
+other curiosities it contained a loose pillar, which Peter the Great had
+pointed out to him at the time of his journey through Rheims.
+
+At the corner of the Place St. Nicaise, between the Boulevard
+Victor-Hugo and the Rue St. Nicaise, is the entrance to the =Champion
+Cellars=, in which the _Dubail_ school was installed during the war
+(_see p. 24_).
+
+_Take the Rue St. Nicaise to the Boulevard Henry Vasnier (photo below),
+turn into the latter, on the right, and follow same as far as the_
+=Rond-Point St. Nicaise=.
+
+All this part of the town, which was quite close to the German lines,
+was constantly under the fire of their guns. It was violently bombarded
+during the German offensives of May, June and July, 1918.
+
+_Near the Rond-Point de St. Nicaise are the_ =Pommery Cellars=, which
+gave shelter to many citizens and school-classes during the war (_see p.
+24_).
+
+
+=The Pommery Cellars=
+
+These cellars are among the finest in Rheims, and form, with their
+eleven miles of streets, squares and boulevards lighted by electricity,
+rail-tracks, waggons, lifts, electric pumps and siphons, quite an
+underground city. A visit to them will give the tourist an idea of the
+importance and complexity of the Champagne wine industry in Rheims.
+
+[Illustration: THE "HENRY VASNIER," SEEN FROM THE "ROND-POINT ST.
+NICAISE"]
+
+[Illustration: TRENCHES AND SHELTERS IN THE SQUARE ST. NICAISE
+_See Itinerary, p. 95, and panorama seen from the top of St. Nicaise
+Hill, p. 27._]
+
+_The Boulevard Diancourt, which skirts the Square St. Nicaise, begins at
+the_ Rond-Point St. Nicaise.
+
+This square was much cut up by the bombardments, and by the trenches and
+defensive works made there during the war (_photo above_).
+
+The square contains two eminences, from the top of which there is a fine
+panoramic view of Rheims.
+
+The photograph on page 27 was taken from the eminence nearest the
+Rond-Point St. Nicaise.
+
+The other eminence is crowned by a limestone tower--all that remains of
+the ancient city ramparts.
+
+_Follow the Boulevard Diancourt to the Place Dieu-Lumière._
+
+The name _Dieu-Lumière_, borne by the old gate through which Joan-of-Arc
+and the Dauphin entered Rheims, was not derived, as supposed at the
+Renaissance, from the Sun-God Apollo, but from the old Gate
+_Dieu-li-Mire_ (God the Physician), so called in the Middle Ages on
+account of the proximity of a Cistercian hospital.
+
+_Cross the square and take the Rue Dieu-Lumière on the right to the_
+Place St.-Timothée. The wood-panelled houses, whose _loges_ faced the
+Place St.-Timothée, were destroyed by the bombardments of
+April-September, 1918, except the one at the corner of the Rue St.
+Julien. This house, though severely damaged, has retained its butcher's
+stall with 17th century wooden balustrading.
+
+_Take the Rue St. Julien on the left to the Place St.-Remi, in which
+stands the_ =Church of St. Remi=.
+
+
+=The Church of St. Remi=
+
+The Church of St. Remi is the oldest church in Rheims, and one of the
+oldest in all France. Although it is not certain that it replaced a
+Roman basilica, said to have stood on the site of the present transept,
+there is no doubt that Gallo-Roman building materials, taken from
+neighbouring edifices, were used in its construction or restoration.
+
+To-day, the church covers a ground-space of about an acre and a quarter.
+In shape a Latin cross, it measures inside about 450 feet in length, 98
+feet in breadth and 124 feet in height under the vaulting. Only the
+southern façade shows to advantage, but in spite of its varied styles,
+which mark the different stages of its growth, the church realises to
+the full the purpose of its founders. Its architecture and decoration,
+especially in the interior, make it, as was intended, a grand and
+dignified depository for sacred remains.
+
+The Church of St. Remi stands on the site of a former cemetery, in the
+middle of which was the Chapel of St. Christopher, where St. Remi was
+buried. The chapel soon became popular and grew rapidly, especially
+between the 6th and 9th centuries, when it became a great fortified
+church. The present church, which replaced it, is not only one of the
+finest Romanesque churches in the north of France, but also forms a
+curious epitome of the history of architecture for several centuries.
+Begun in 1039 under Abbot Thierry, it was still far from finished when
+consecrated in 1049 by Pope Leo IX. Building was continued in 1170 by
+Abbot Pierre de Celle, the future Bishop of Chartres, whose restorations
+were the first application of the Gothic style to a great building in
+Rheims; in the 13th and 14th centuries, under Abbot Jean Canart, and in
+the 15th century, under Abbot Robert de Lenoncourt. Partially
+transformed at the end of the 16th century, it has been restored and
+partly rebuilt at intervals since 1839.
+
+
+=The Church of St. Remi during the War=
+
+The Church of St. Remi escaped severe damage until the middle of 1918.
+The bombardment of September 4, 1914, injured one of the tapestries
+depicting the life of St. Remi, and destroyed a fine painting: _The
+Entry of Clovis into Rheims_. The bombardment of November 16, 1914,
+wrecked the apsidal chapel of the Virgin, bringing down the vaulting,
+destroying the key-stone and pointed arches, crushing the altar beneath
+a heap of ruins, smashing the magnificent windows of the apsidal
+gallery, and destroying the priceless 12th century stained-glass
+depicting _Christ crucified between the Virgin and St. John_. The Church
+narrowly escaped destruction when the Hôtel-Dieu Hospital was burnt down
+in 1916. From April, 1918, it was marked down by the German batteries.
+The roof was entirely burnt, and the dummy vaulting of the nave
+collapsed. Of the fine 15th century timber-work nothing remains, but
+parts of the lofty 13th century vaulting over the choir and transept
+withstood the bombardment. The treasure, tapestries, sacristy doors,
+storied tile-flooring of the chapel of St. Eloi, the old stained-glass
+of the lofty windows, and the apsidal windows round the gallery of the
+first storey, were saved by the Historical Monuments Department.
+
+The tomb of St. Remi is intact. The relics of the saint which, at the
+request of the Archbishop of Rheims had not been disturbed, were removed
+by the vicar of the parish at the time of the final evacuation of the
+town. The reliquary was taken away by officers at a later date, while
+the church was burning.
+
+
+=The Apse of St. Remi Church=
+
+The Apse was rebuilt under Pierre de Celle in 1170, in early Gothic.
+Five three-sided radiating chapels arranged in three stages, one behind
+the other, have flowing and elegant lines, broken by the enormous
+projections of the buttresses which were added at a later period.
+
+This apse is one of the earliest religious edifices in France, in which
+flying buttresses were employed.
+
+The latter, very simple in design, rest on outside fluted columns
+detached from the wall of the apse. This is one of the last examples of
+fluting, as applied to columns, the process disappearing generally with
+the introduction of pointed architecture, only to reappear at the
+Renaissance.
+
+The persistence of this fluting is doubtless explained by the influence
+of the many specimens of Roman architecture which Rheims had preserved.
+
+
+=The Doorway of the Southern Transept=
+
+Although the transept dates from the 11th century, its southern façade
+was built in 1480 by Robert de Lenoncourt.
+
+The doorway, which bears the Lenoncourt arms, comprises only one door,
+divided by a pillar with statues of St. Remi and the Virgin.
+
+The deep vaulting of the door is ornamented with vine-foliage. At the
+base, in the supporting walls, are statues of St. Sixtus and St.
+Sinicius (the first missionaries to Rheims) bare-footed, clothed in long
+embroidered mantles and holding books. In the vaulting above the
+head-covering of the missionaries are eight groups of statuettes
+representing episodes in the Life and Passion of Jesus.
+
+Tourists who follow the Itinerary on page 95, come out by the Rue St.
+Julien, in front of the doorway of the south transept. The latter is
+between the ruined apse (_on the right_) and the south lateral façade
+(_on the left_).
+
+[Illustration: SOUTHERN TRANSEPT OF ST. REMI CHURCH]
+
+[Illustration: DOORWAY OF THE SOUTHERN TRANSEPT (_see photo, p. 104_)]
+
+The 15th century leaves of the door are composed of wood panels in blind
+arcading, ornamented with flowering clover.
+
+On the buttresses which frame the doorway are five statues of saints,
+including St. Remi, St. Benedict, and St. Christopher carrying a
+kneeling Jesus on his shoulder.
+
+The tympanum of the gable above the great flamboyant window is arranged
+on a Gothic pediment. Its decoration represents the _Assumption of the
+Virgin and her crowning in Heaven_.
+
+On the top of the pediment, and crowning the whole, is St. Michael
+trampling Satan underfoot.
+
+The whole of the doorway is a beautiful example of Flamboyant Gothic.
+Its rich carvings and delicate ornamentation are in striking contrast
+with the severity of the rest of the building.
+
+At the intersection of the transept, there was formerly a wooden spire,
+built in 1394, which was pulled down as unsafe in 1825, by order of
+those who had charge of the arrangements connected with the consecration
+of Charles X.
+
+On the right-hand side of the transept, and also in the north transept,
+are small semi-circular chapels.
+
+
+=South Lateral Façade=
+
+This front has the bare, massive appearance of the 11th century
+buildings. The remarkable Roman arches, massive buttresses and blind
+doorway, framed by two primitive capitals with a wreath-shaped astragal,
+are apparently vestiges of constructions of an earlier date than those
+of Abbot Thierry.
+
+The semi-cylindrical abutments are among the oldest of mediæval
+buttresses. They are crowned with cones or capitals, the greater part of
+which are devoid of decoration.
+
+
+=The West Front of St. Remi Church=
+
+[Illustration (St. Remi Church)]
+
+Between its two towers, this gabled façade, the recesses and blind
+arcading of which form almost its sole decoration, is in strong contrast
+with the principal façade of the Cathedral. At once elegant and severe,
+like most of the monastic buildings of the 12th century, it lacks unity.
+All that part situated above the five windows of the first storey,
+including the rose-window, has been rebuilt in modern times. The very
+simple rose-window, between two lines of superimposed arcading, is
+protected, in the Champagne style, by a relieving-arch. The northern
+tower (_on the left_) was almost entirely rebuilt in the 19th century,
+on the lines of the old one. The simpler southern tower (_on the
+right_), with its arched windows and loopholes, is Roman of the 11th or
+12th century. The pointed part of the façade is late 12th century, and
+dates from the time of the restorations by Pierre de Celle.
+
+Three doors open on the nave. The central one is flanked by two columns
+with statues of St. Peter and St. Remi. The marble and granite columns
+came, no doubt, from some neighbouring Gallo-Roman building. These
+statues, with arms pressed close to their sides in the ancient stiff
+manner, are probably from the original basilicas.
+
+
+=The Inner Side of the Western Doorway=
+
+Here, the architecture is peculiar. Pierced columns form a gallery
+connecting the upper courses. The galleries of the first storey are
+supported by two great columnar shafts, each formed of two portions
+joined by a stone ring and surmounted by bell-shaped marble capitals.
+The columns and capitals are Gallo-Roman.
+
+
+=The Nave=
+
+[Illustration: THE NAVE (_seen from the Choir_) (_Cliché LL._)]
+
+Alterations were made at different times to the nave which, in the 11th
+century, had a timber-work roof. Pierre de Celle lengthened it by two
+bays, the pointed arches of which contrast with the circular ones of the
+lower bays, and also increased its height. _Note the ogives above the
+round arches._ The visible timber-work was replaced with vaulting on
+diagonal ribs sustained by clusters of small Gothic columns backing up
+against the Roman piers, the latter being still visible. These heavy
+piers (composed of fourteen small columns) which surround the central
+nave, and whose capitals (_photo, p. 108_), with Barbaric wreathed
+astragals and foliage, recall the Carolingian period, contrast
+strikingly with the lightness of the apse. They are undoubtedly 11th
+century. All the stone vaulting of the nave, as far as the transept,
+was replaced after 1839 with wood and plaster, which collapsed under the
+bombardments of 1918, when the roof was burnt.
+
+[Illustration: ROMAN CAPITAL IN THE NAVE]
+
+[Illustration: THE NAVE AND CHOIR IN 1914 (_Cliché LL._)]
+
+The pulpit, with its Benedictine monogram, is late 17th century. It is
+ornamented with three bas-reliefs: _St. Remi receiving the Sacred
+Ampulla_, _St. Benedict imploring the Holy Spirit_, and _St. Benedict
+giving the Injunction to his monks_. As far as the pulpit, on both sides
+of the nave, the granite columns resting on the piers date from the
+Gallo-Roman period.
+
+[Illustration: TRIFORIUM OF ST. REMI CHURCH (_seen from entrance_)]
+
+The side-aisles of the nave are surmounted with a triforium (_photo
+above_) with semi-circular vaulting at right-angles to the nave. The
+south aisle is almost entirely in ruins (_photo, p. 107_).
+
+[Illustration: THE NAVE AND CHOIR IN 1919]
+
+
+=The Tapestries=
+
+The priceless tapestries which, before the war, decorated the tribunals
+of the side-aisles, were saved.
+
+[Illustration: THE TENTH TAPESTRY OF ST. REMI, DAMAGED BY
+SHELL-SPLINTERS ON SEPT. 4, 1914
+(_See description, pp. 110, 111._)]
+
+Those given by Robert de Lenoncourt and restored by _Les Gobelins_, are
+rich in composition and decorative effect. In an architectural frame of
+the Renaissance period, they represent the following legendary scenes
+from the life of St. Remi, the costumes belonging to the period of
+François I.:--
+
+1. The blind hermit Montanus visits the new-born Remi, who, touching him
+with his fingers wet with milk, restores his sight.
+
+2. The hermit St. Remi, called by the people to the bishopric, receives
+the mitre.
+
+3. Four miracles are performed by the saint: he extinguishes a fire
+lighted by demons in the city; he restores life to a girl; he is served
+at table by angels; when wine ran short at the table of his cousin
+Celsa, he blessed an empty cask, which was immediately filled.
+
+4. The Battle of Tolbiac; Clovis instructed and baptized by Remi; the
+miraculous dove and an angel bring from heaven the Sacred Ampulla and
+the fleur-de-lys scutcheon.
+
+5. Remi gives Clovis a cask of wine, telling him that he will always be
+victorious so long as the cask remains full; a miller who refused to
+give his mill to the Church, sees his wheel turn the wrong way and his
+mill fall down; St. Génebaud, Bishop of Soissons, punished by Remi for
+his sins, is afterwards delivered from his fetters by the saint.
+
+6. The miracle of Hydrissen: Remi raises a man from the dead, who
+confirms his wish to leave a portion of his wealth to the Church, to the
+confusion of his son-in-law who contested the will.
+
+7. Remi contemplating a heap of corn which he had collected to provide
+against famine, and which some drunkards had burnt. At a Council, Remi
+paralyses the tongue of a heretic priest, and then restores speech to
+him after repentance.
+
+8. Remi, singing Matins in the chapel of the Virgin, is assisted by St.
+Peter and St. Paul and blessed by Mary. Remi, blind, dictates his will
+in the presence of St. Génebaud and St. Médard. Remi recovers his sight,
+celebrates mass and gives the Communion to his clergy. Remi dies and
+four angels carry away his soul.
+
+9. Remi's funeral; the procession goes towards the church of St.
+Timothy, where it is proposed to bury the saint, but in front of St.
+Christopher's, on the site of the present basilica, the saint, by making
+it impossible to lift his coffin, manifests his desire to be interred in
+this chapel. The saint's winding-sheet, carried in procession, dispels
+the plague that had been ravaging the city.
+
+10. Angels transfer the relics of the saint to his mausoleum. A soldier
+who had tried to break in the door of the church, cannot withdraw his
+foot. Remi punishes the Bishop of Mayence, guilty of theft. Remi reveals
+himself with the Virgin and St. John. The Archbishop of Rheims, Robert
+de Lenoncourt, kneeling, presents the ten pieces of tapestry to the
+saint.
+
+The latter tapestry was riddled with splinters (_photo, p. 110_) during
+the bombardment of September 4, 1914.
+
+
+=The Treasure=
+
+This was kept in the sacristy, the 15th century carved wood doors of
+which have Flamboyant style frames.
+
+Formerly the richest of all the church treasures of France, it was
+impoverished in the course of the centuries, through wars and
+revolutions.
+
+The =enamels= by Landin of Limoges (1633), dedicated to the lives of St.
+Timothy and St. Remi, a 12th century abbot's =crozier=, =reliquaries=
+and =sacerdotal ornaments= are noteworthy.
+
+The treasure was removed, together with the doors of the sacristy, by
+the Historical Monuments Department.
+
+
+=The North Transept=
+
+Three small white marble Gallo-Roman or Carolingian capitals crown the
+colonnettes of the triforium.
+
+Formerly, the church contained several tombs. Let into the wall of the
+north transept is a Latin epitaph, praising the virtues of a woman named
+Guiberge, who seems to have combined in her person the perfections of
+six women, _i.e._ the beauty of Rachel, the fidelity of Rebecca, the
+modesty of Susanna, the piety of Tabitha, the warm affections of Ruth,
+and the high morals of Anna.
+
+[Illustration: THE RUINED TRANSEPT
+_In the foreground: Renaissance Balustrade round the Choir (see p. 115),
+at the intersection of the Northern Transept. At the back: Inner side of
+the South Transept Door._]
+
+
+=The South Transept=
+
+The first chapel on the right of the apse, against the transept, is the
+chapel of St. Eloi.
+
+In 1846, forty-eight storied flag-stones, taken from the flooring of the
+sanctuary of the church of St. Nicaise and collected by the architect
+Brunette, were placed there.
+
+These 14th century lozenge-shaped stones are engraved in black, the
+hollowed-out portions being filled with lead. Each stone has a pretty
+border with a square medallion, in the middle of which two or three
+figures represent a scene from the Old Testament, from Noah to Daniel in
+the lions' den.
+
+This chapel also contained two very expressive mediæval statues of
+painted wood and a 14th century Christ, all of which came from the old
+church of St. Balsamic.
+
+The second chapel on the eastern side of the south transept contained an
+Entombment dating from 1531. In this group, which belonged to the old
+church of the Commandery of the Temple of Rheims, Joseph of Arimathea
+and Nicodemus hold the winding-sheet. Salome, and Mary the mother of St.
+James, stand near the tomb, while the Virgin, overcome with grief, is
+supported by St. John.
+
+[Illustration: THE SIXTEENTH CENTURY ENTOMBMENT, FORMERLY IN ONE OF THE
+CHAPELS OF THE SOUTHERN TRANSEPT (_Cliché LL._)]
+
+Facing this Burial Scene was the Altar-screen of the Three Baptisms, the
+work of Nicolas Jacques and the gift of Jean Lespagnol in 1610. This
+screen, which formed the background of the baptismal fonts, represented
+in three bas-reliefs: The baptism of Clovis (_on the right_), the
+baptism of Jesus by John the Baptist (_in the centre_), and the baptism
+of Constantine (_on the left_).
+
+The railing round the baptismal fonts belongs to the second half of the
+18th century, and was taken from the church of St. Pierre-le-Vieil.
+
+
+=The Choir of St. Remi Church=
+
+[Illustration: SCULPTURED CONSOLES OF COLONNETTES IN THE CHOIR]
+
+The Choir was rebuilt by Pierre de Celle. The plan is very like that of
+the choir of the Cathedral, of which it is the prototype.
+
+As in the Cathedral, it intrudes upon the nave, of which it occupies the
+three last bays. In the latter, the columns placed against the six piers
+were removed. The groups of small columns which support the ribs of the
+vaulting rest upon a corbel-table carried by three consoles (_photo
+above_), which in turn rest on colonnettes with crocketed capitals. The
+central consoles are ornamented with figures of angels and symbolic
+animals, while under the lateral consoles are statuettes of prophets
+holding scrolls, on which their names are inscribed in painted letters.
+
+Five circular radiating chapels open out on the vast ambulatory. The
+plan of the latter, like that of Nôtre-Dame-de-Châlons, evokes all that
+is most original in the Gothic architecture of Champagne. The bays with
+their alternations of square-ogival and triangular vaulting do not
+correspond with the breadth of the radiating chapels, which are
+connected to one another by three arcades resting on light columns. In
+the lower nave, from the curiously large number of points of support, it
+would seem that the builders had doubts as to the strength of the
+pointed style and, by way of precaution, greatly increased the number of
+points of support inside the church and of the exterior buttresses. The
+tribunes rising above the arcades are surmounted with a triforium
+lighted by high windows, which still retain their beautiful early 18th
+century stained-glass. The somewhat stiff figures stand out on a
+uniformly blue ground. In the upper part, apostles, evangelists, and the
+sixteen greater prophets are grouped around a stately Virgin. In the
+lower part, the principal archbishops of Rheims on thrones are seated
+round St. Remi who occupies the place of honour below the Virgin. In the
+two last windows are effigies of Archbishops Samson (_deceased in 1161_)
+and Henry of France, during whose episcopate Pierre de Celle caused the
+apse to be built.
+
+[Illustration: FRAGMENT OF PASCHAL CHANDELIER DESTROYED BY THE
+BOMBARDMENTS OF 1914]
+
+The choir is surrounded by a Renaissance railing which is out of harmony
+with the general scheme. It was erected between 1656 and 1669, at the
+joint expense of the widow of the famous barrister Omer Talon, the Town
+Council, the Duke of Longueville, and the Grand Prior of St. Remi. The
+sculptor François Jacques seems to have co-operated therewith.
+
+The great _crown of light_ hanging at the entrance to the choir was an
+imitation of the original crown, destroyed in 1793, and which was
+garnished with ninety-six candles, symbolizing the ninety-six years of
+St. Remi's life (_see p. 108_).
+
+The 18th century high-altar of red marble which, like the cross and the
+six chandeliers, came from the church of the Minims, was crushed beneath
+the falling vaulting.
+
+At the time of the Revolution (1792) the chandelier (masterpiece of the
+old Rheims metal-founders), which adorned the centre of the Sanctuary,
+was broken and melted down, with the exception of a portion of one of
+the feet. This fragment (_photo above_), preserved in the Archæological
+Museum, was destroyed by the bombardment of 1914.
+
+
+=The Tomb and Reliquary of St. Remi=
+
+[Illustration: TOMB AND RELIQUARY OF ST. REMI]
+
+The present tomb, erected in 1847, is only a memorial of the sumptuous
+mausoleum, profusely decorated with gold medals, diamonds and sapphires,
+which was destroyed at the time of the Revolution.
+
+It is a Renaissance chapel, ornamented with the statues of the original
+tomb, which form by far the most interesting part of the monument. The
+twelve Peers are represented in their coronation robes: the Archbishop,
+Duke of Rheims, carries the Cross; the Archbishop, Duke of Laon, the
+sceptre; the Bishop, Count of Beauvais, the royal mantle; the Bishop,
+Count of Châlons, the ring; the Bishop, Count of Noyon, the girdle; the
+Duke of Burgundy, the crown; the Duke of Aquitaine, the standard; the
+Duke of Normandy, a second standard; the Count of Flanders, the sword;
+the Count of Toulouse, the spurs; the Count of Champagne, the military
+standard of the King.
+
+The Reliquary of St. Remi, which is in the mausoleum, dates from 1896.
+It was bought by national subscription and presented to the church on
+the occasion of the centenary of the baptism of Clovis. In the niches of
+the lower part of the reliquary are statuettes of the twelve apostles.
+Higher up, in the recesses of the long sides, enamels illustrating
+episodes in the life of St. Remi are imbedded. On the two ends, two
+enamels represent the Battle of Tolbiac and the Baptism of Clovis.
+
+_Leave the Church of St. Remi by the western doorway, which faces the
+Place de l'Hôpital civil, cross the square, then turn to the right into
+the Rue Simon. The entrance to the_ Hôtel-Dieu Hospital _is on the
+right_.
+
+
+=The Hôtel-Dieu=
+
+This hospital is installed in the buildings of the ancient Abbey of the
+Benedictine monks of St. Remi who, for centuries, were the guardians of
+the relics of the famous Bishop of Rheims.
+
+During the invasion, at the time of the Revolution, the Abbey was
+transformed into a military hospital, but it was only in 1827 that it
+became officially the _Hôtel-Dieu,_ in place of the old Municipal
+Hospital (_see "Palais de Justice" p. 93_). The furnishings of the
+latter were then transferred to the Abbey buildings, disaffected since
+the Restoration.
+
+Of the ancient abbey, where _Charles-le-Simple_ and the _Duc Robert_
+were proclaimed king, and where several archbishops were elected, only a
+few vestiges remain. Damaged by the fires of 1098, 1481, and 1751, it
+was completely destroyed by the great conflagration of January 15, 1774.
+The present abbey, rebuilt by Duroche, the King's architect, was
+scarcely finished when the Revolution broke out.
+
+Incendiary bombs dropped by German aeroplanes in August, 1916, destroyed
+most of the buildings.
+
+The monumental façade which faces the Court of Honour is Louis XVI. in
+style.
+
+The second court, that behind the main buildings, is bordered by a
+cloister built by the Rheims architect, Nicolas Bonhomme, in the first
+part of the 18th century, in place of the 13th and 14th century cloister
+destroyed in 1707. The buttresses of the side which abuts on the church
+of St. Remi, and those of the opposite side, are 12th century.
+
+The marble fountain with bronze furnishings, in the centre of the court,
+was formerly in the Place St. Nicaise. It was erected in 1750 from
+designs by _Coustou_.
+
+[Illustration: THE CLOISTER AND FOUNTAIN OF THE HÔTEL-DIEU]
+
+[Illustration: THE GRAND STAIRCASE OF THE HÔTEL-DIEU
+_Through the windows is seen the North Front of St. Remi._]
+
+_At the back of the court, on the left_, is an exceedingly fine Louis
+XVI. staircase with wrought-iron handrail (_photo above_).
+
+The =Lapidary Museum=, which was formerly in the crypt of the
+archi-episcopal chapel (_see p. 65_), was installed under one of the
+galleries of the cloister in 1896. Of the tombstones, storied
+floor-tiles, and various carvings which it contains, the most remarkable
+is the =Tomb of Jovinus=.
+
+Consul in 367, Jovinus commanded the armies in Gaul, under the Emperor
+Julian, and successfully resisted three attempts at invasion by the
+Alemanni. As a Christian, he founded a basilica at Rheims.
+
+The white marble tomb with carvings is apparently Græco-Roman of the 3rd
+century, and dates back before the time of Jovinus, who died in 370. It
+is possible that Jovinus had the first occupant of the tomb ejected, or
+that he bought an old sarcophagus and had his own portrait affixed to
+it.
+
+The chapel installed in the old library of the abbey contained some fine
+Louis XVI. wood carvings (_see photo below of the ruins of the chapel_).
+
+[Illustration: CHAPEL OF THE HÔTEL-DIEU IN 1919]
+
+[Illustration: THE OLD CHAPTER-HOUSE OF THE ABBEY]
+
+The =chapter-house= of the abbey, which served as a refectory, was
+rebuilt about the end of the 12th century. With its pointed arches, it
+belonged to the early period of Gothic architecture. The most remarkable
+portion was the vestibule facing the cloister. The decoration of the
+lateral arcades of the vestibule included Roman capitals, nearly all of
+which are intact (_photo below_), and which are of great value from the
+standpoint of the history of art and costumes. In the refectory were the
+_Godard_ tables made out of a single branch of a gigantic oak-tree from
+the forest of St. Basle. They were given to the old _Hôtel-Dieu_ by
+Canon Godard, whose name is incrusted in lead in the wood, as a rebus:
+_Go_, followed by the figure of a dart (French: _dard_).
+
+Near the chapter-house, a round-arched chamber was all that remained of
+the early portion of the abbey.
+
+[Illustration: ROMAN CAPITALS IN THE VESTIBULE OF THE CHAPTER-HOUSE]
+
+[Illustration: THE GRAND STAIRCASE OF THE HÔPITAL GÉNÉRAL]
+
+_After visiting the Hôtel-Dieu, follow the Rue Simon, which skirts the
+Ecole de Médecine, then turn to the right into the Rue St. Remi. At the
+end of same, take the Rue Gambetta on the left, and follow it as far as
+the_ =Hôpital Général= _on the right._
+
+
+=The Hôpital Général=
+
+This is the old Order-House of the Jesuits, built at the beginning of
+the 17th century. The =refectory= is ornamented with rich woodwork and
+paintings, by the Rheims artist Hélart. Of greater interest is the
+_library_, situated under the gables, and which is reached by a fine
+staircase. The room is adorned with a profusion of wood-carvings and
+mouldings. Exceedingly fine consoles carry the ceiling, whose carved
+panels are profusely ornamented with crowns, polygons, florets and heads
+of angels. The oaken pilasters which separate the bookshelves are
+decorated with a variety of leaves and flowers. In spite of this wealth
+of ornament, the general effect is harmonious. The recesses in the
+woodwork, opposite the dummy dormer-windows, were for reading.
+
+Ancient vines cover the walls of the chapel, near the entrance to the
+_hôpital_.
+
+_At the side of the Hôpital Général stands the_ =Church of St. Maurice=.
+
+This church was entirely rebuilt by the Jesuits after the destruction of
+the ancient edifice, which was one of the oldest in Rheims. Here may be
+seen the _Eagle Reading-Desk_, a fine piece of 17th century
+wood-carving; two _Louis XIV. portable iron desks_ and the _paschal
+chandelier_ of carved wood; the _17th century confessionals_ of the
+lateral chapels, and in the sacristy remarkable _Louis XIII.,
+hand-embroidered guipures_ of open-work designs, after the style of the
+models by the Rheims artist, Georges Baussonnet.
+
+_Return to the Place du Parvis, in front of the Cathedral, via the Rue
+Gambetta and its continuation, the Rue Chanzy._
+
+
+
+
+A VISIT TO THE BATTLEFIELDS AROUND RHEIMS
+
+
+[Illustration (Map)]
+
+A thorough visit can be made in two days.
+
+The Itinerary for each day is divided into two parts, to allow tourists
+to return to Rheims for lunch.
+
+    =First Day=  { Morning    pp. 122-133.
+                 { Afternoon  pp. 134-159.
+
+    =Second Day= { Morning    pp. 160-165.
+                 { Afternoon  pp. 166-174.
+
+
+
+
+FIRST DAY
+
+MORNING
+
+=THE MOUNTAIN OF RHEIMS=
+
+(_See the complete Itineraries on p. 121, and the summary of the war
+operations on p. 131._)
+
+[Illustration (Map)]
+
+This part of the Itinerary will take the tourist to the most important
+points of the last German offensive of 1918, which aimed at the capture
+of Rheims.
+
+_Starting from the Place du Parvis Nôtre-Dame, take the Rue Libergier,
+opposite the Cathedral, turn to the right into the Rue Chanzy, follow
+same as far as the Rue de Vesle, take the latter on the left, and follow
+it to the end._
+
+_After the_ =Porte de Paris= _(see p. 68) the Rue de Vesle becomes the
+Avenue de Paris. Take same, but after passing under the railway bridge,
+turn to the left into the Avenue d'Epernay (R. N. 51, see plan, p.
+121)._
+
+_Take the second street on the right (Rue de Bezannes), which passes in
+front of the_ =Western Cemetery=, devastated by the bombardments.
+
+The road crosses numerous lines of trenches and boyaux, which defended
+the immediate approaches to Rheims.
+
+_Before reaching Bezannes village, leave on the right, two roads which
+skirt a large estate enclosed with railings, go straight on to the
+ruined railway-station of Bezannes, then turn to the right._
+
+
+=Bezannes=
+
+(_See Itinerary, p. 122._)
+
+_Cross the first group of half-ruined houses, then, on reaching a second
+group, which forms the main part of the village, turn to the left into
+the first street encountered, where the_ partially destroyed church
+_stands_.
+
+The round-vaulted apse, tower, nave and aisles all belong to the
+Romanesque period. The Gothic doorway is 13th, and the spire of the
+belfry 15th century.
+
+The square tower greatly resembles the old belfry on the doorway of St.
+Remi Church in Rheims, and, like the latter, dates apparently from the
+middle of the 11th century.
+
+The Gothic doorway of the west front is set up against a Romanesque
+wall. The gable has been rebuilt in modern times. Vestiges of an ancient
+portal are to be found on each side of the doorway. The key-stones of
+the arch above the tympanum, like those of the upper arching, are
+numbered in Roman figures, a peculiarity rarely to be found.
+
+Facing the doorway of the church, on the left of the great entrance-door
+to a court, is a niche containing a 16th century stone =statue=
+representing a bishop wearing a chasuble.
+
+In the court of the same house, over the door of the main structure, on
+the right, in an arched Renaissance niche, hollowed out and ornamented
+with marble incrustations, is the =statue= of a canon with folded hands
+kneeling at the foot of a crucifixion.
+
+A shell-splinter took off the head of the bishop's statue, but the other
+group is intact.
+
+Those interested in things pre-historic, may visit the =Pistat
+Collection= at Bezannes, which contains a great number of interesting
+specimens belonging to the stone and neolithic ages, and to the Gallic
+and Roman periods of the region.
+
+Of the old castles of Bezannes, nothing of interest remains.
+
+On September 11, 1914, during the Battle of the Marne, the German Staff
+took up their quarters in the house of M. Poullot. On the 12th, the
+battle attained the vicinity of the village.
+
+_Skirt the church, and at the cross-roads at the end of the village,
+keep straight on, past the cemetery on the right._
+
+[Illustration: CHURCH OF BEZANNES IN 1914]
+
+_The road climbs a small hill lined with trenches, then descends to the
+village of_ =Les Mesneux=.
+
+_At the entrance to this village (which is of no particular interest)
+turn to the right, and at the fork about fifty yards farther on, to the
+left, leaving the unmetalled road on the right._
+
+_About half-a-mile from Les Mesneux and shortly before reaching the
+crossing with the road to Rheims (G. C. 6)_, there is a small wood at
+the place called =Le Champ Clairon=. It was from here that German
+batteries under Colonel von Roeder fired on Rheims on September 4, 1914,
+in spite of the protestations of the Mayor of Les Mesneux, who assured
+the German commander that the French troops had completely evacuated the
+town.
+
+_At the crossing with G. C. 6, keep straight on to Ormes_, whose church,
+at the entrance to the village, was almost entirely destroyed.
+
+
+=Ormes=
+
+(_See Itinerary, p. 122._)
+
+This village, in addition to numerous subterranean passages and
+chambers, possesses the interesting 12th century =Church St. Remi=
+(_photo below_).
+
+Its circular apse with cornice resting on corbels is barrel-vaulted.
+Colonnettes in the great bays of the steeple (in ruins) carry carved
+12th century capitals.
+
+The pointed vaulting of the southern transept is 12th century, and the
+ogival groining rests on Norman capitals. The doorway of the western
+façade dates from the second half of the 12th century, and although its
+porch was destroyed in 1853 it is still remarkable.
+
+[Illustration: THE CHURCH OF ORMES]
+
+[Illustration: THE INSIDE OF ORMES CHURCH]
+
+It comprises three tierce-pointed arcades surmounted by a line of
+billet-moulding. The lateral arcades are blind, while the higher central
+arcading around the door is surmounted with three receding _tori_
+resting on crocketed foliate capitals. The lateral arcades have similar
+capitals but only one _torus_.
+
+Inside the church are interesting =16th century statues=: _St. Barbara_
+in stone and _St. Catharine_, painted and decorated, face the altar;
+_St. Remi_ in stone, remarkable for its costume and decoration, stands
+above the altar of the northern chapel; a wooden _Virgin_ surmounts the
+inner doorway.
+
+[Illustration: ALTAR-SCREEN OF THE CHOIR]
+
+[Illustration: THE ROAD FROM RHEIMS TO JOUY, NEAR THE LATTER VILLAGE
+_Note the camouflaging._]
+
+_Return by the same road to the crossing with the road to Rheims (G. C.
+6), where, opposite the_ =Café du Joyeux Laboureur=, _turn to the
+right._
+
+The road rises towards the Mountain of Rheims. Of the _camouflaging_
+seen in above photograph, only traces remain.
+
+_Shortly after, the tourist passes between the villages of_ =Jouy= _and_
+=Pargny=, _whose houses border the road._ Jouy (_on the left_) and
+Pargny (_on the right_) were bombarded by the Germans in June, 1915.
+
+The =Church of Jouy=, visible from the road to Rheims, was almost
+entirely destroyed.
+
+_To visit the church of Pargny, turn to the right opposite the grocery
+stores, No. 262, then take the second street on the left_ (near a fine
+mansion partly in ruins).
+
+_About 100 yards farther on is_ the church, the belfry of which was
+destroyed. _Return to the crossing with the main road to Rheims, where
+turn to the right._
+
+The road continues to climb the northern slopes of the Mountain of
+Rheims. On a hill to the left, the =Chapel of St. Lié= dominates the
+surrounding plain. There is a very fine view of Rheims from here.
+
+_The top of the rise is reached soon afterwards. Descend the southern
+slopes, passing between the sidings of an_ important material and
+ammunition depot situated on the reverse side of the mountain out of
+sight of the enemy's observation-posts. _On reaching the crossing
+half-way down the hill, leave on the left the two roads leading
+respectively to_ =Ville Dommange= _and_ =Courmas=.
+
+_A short distance further on, after passing the road to Onrézy (on the
+left), take the following narrow road on the left_, which passes between
+clumps of trees that were cut to pieces by shell-fire.
+
+_A little further on, on the right, is a_ cemetery containing the graves
+of some two hundred French, British and Italian soldiers.
+
+_Turn to the right after the cemetery._ The road crosses a fine avenue
+bordered with shell-torn poplar trees, leading to the =Castle of
+Commetreuil= _on the left_. _The village of_ =Bouilly= is reached soon
+afterwards.
+
+
+[Illustration: THE END OF BOUILLY VILLAGE
+(_going towards St. Euphraise_).]
+
+
+=Bouilly--St. Euphraise--Clairizet=
+
+(_See pp. 131-132, and Itinerary, p. 122._)
+
+Bouilly was burnt by the Germans on September 12, 1914, under the
+pretext that the inhabitants had caused the death of two _Uhlans_ killed
+the day before by French _Chasseurs_.
+
+_Turn to the right opposite the Church of Bouilly._ There is a small
+cemetery on the right, just outside the village, containing several
+German graves.
+
+_On reaching G.C. 6, leading to Rheims, turn to the right. Take the
+first road on the left_, which passes through a small devastated wood,
+where batteries of guns were posted. _Cross a small stream, and
+immediately afterwards the railway, then turn to the left into the
+village of_ =St. Euphraise=.
+
+_Turn to the right in the village, opposite the church._ The road rises
+steeply to the hamlet of =Clairizet=, which was almost entirely
+destroyed. _Pass by a_ "Calvary," composed of four large trees
+surrounding a cross, _then turn to the left into a small narrow street_.
+
+[Illustration: RUINED CHURCH OF ST. EUPHRAISE]
+
+[Illustration: COULOMMES VILLAGE SEEN FROM THE CHURCH]
+
+
+=Coulommes-la-Montagne--Vrigny=
+
+(_See Itinerary, p. 122._)
+
+_The road rises, then descends to_ =Coulommes-la-Montagne=. _Turn to the
+right at the entrance to the village._ The church, in ruins, is on the
+left.
+
+_At the cross-roads just outside the village take G.C. 26 on the left.
+At first, the road dips rather abruptly, then rises to_ =Vrigny=.
+
+The Church of Vrigny, entirely in ruins, is on the right at the entrance
+to the village. _Pass the Town Hall, leaving a public washing-place on
+the left, then turn to the right._
+
+_On leaving the village, take G.C. 26 on the left to the village of_
+=Gueux=.
+
+[Illustration: RUINS OF THE CHURCH AT VRIGNY]
+
+[Illustration: RUINS OF THE CHURCH OF GUEUX IN 1918]
+
+
+=Gueux=
+
+(_See pp. 131-132 and Itinerary, p. 122._)
+
+Gueux is a small old-world village, with ancient houses, castle and
+church.
+
+At the entrance to the village, a large square with trees, cut to pieces
+and devastated by the bombardment.
+
+_From the square, go to the_ =Church= _on the right_, now a heap of
+ruins. Seen through the trees from the square it forms a pitiful sight.
+
+In the chapel, on the left of the main entrance, there was a fine piece
+of Renaissance carving.
+
+[Illustration: GUEUX CHURCH IN 1917
+_Cardinal Luçon coming out of the Church (see above.)_]
+
+It was to Gueux that the Archbishop of Rheims, Mgr. Luçon, betook
+himself after the bombardments of April, 1917. The village cemetery
+contains many soldiers' graves. The Cardinal-Archbishop of Rheims
+presided at a pathetic ceremony held during the War in honour of the
+dead.
+
+[Illustration: THE ANCIENT CASTLE OF GUEUX]
+
+_To visit the_ =Castle=, _cross the square and take a small street on
+the left, which leads to the road to Rosnay (G.C. 27)_.
+
+_Turn to the left, and fifty yards further on take on foot the narrow
+street on the left, which leads to the old castle._
+
+This ancient castle, where the Kings of France, on their way to Rheims
+to be consecrated, used to dine, suffered severely from the
+bombardments. Outwardly it has, however, retained its general appearance
+(_photo above_).
+
+_Return to the car, and go straight on to the fork in the roads to
+Rosnay and Prémecy. Facing the fork is the entrance_ to the park and
+=modern Castle of Gueux=, belonging to the Roederer family, which was
+completely destroyed (_photo below_).
+
+_Turn the car round at the above-mentioned fork and continue straight
+along G.C. 27._
+
+_Beyond the village of Gueux_ the road crosses numerous lines of
+trenches. Many shelters and ammunition depots can still be seen along
+the road. _The National Road from Rheims to Soissons (N. 31) is reached
+soon afterwards. Near the cross-ways are the_ ruins of an inn.
+
+_At this crossing, leave the National Road on the left and take the
+narrow road on the right which leads to_ =Thillois=.
+
+[Illustration: THE MODERN CASTLE OF GUEUX]
+
+[Illustration: CROSSING OF THE THILLOIS AND RHEIMS ROADS]
+
+
+=Thillois=
+
+(_See Itinerary, p. 122._)
+
+The =Church of Thillois= (late 12th century), now a heap of ruins, stood
+at the entrance to the village.
+
+In 1914 it was still intact in all its vital parts. Its vaulting was
+pointed, with groining resting on columns, whose capitals were either
+Romanesque or Gothic. The nave had a timber roof.
+
+The high-altar screen was a fine piece of sculptured stone-work of late
+16th or early 17th century. In a niche above the altar, the Virgin,
+sitting on an X-shaped seat, was holding Jesus, clothed in a tunic and
+standing on her knee.
+
+_Leaving the church behind on the right, turn to the left, to reach the
+National Road. On the right is a_ small 18th century castle, behind a
+clump of fine stately trees, known as the _Bosquet de Thillois_. It was
+destroyed by shells.
+
+_Return to the National Road, turn to the right at the cross-roads,
+leaving on the left the road to Champigny, then return direct to Rheims,
+entering the city by the Avenue and Porte de Paris._
+
+
+=The Mountain of Rheims Battles=
+
+(_See p. 14 and p. 122._)
+
+The fighting known as the _Battles of the Mountain of Rheims_ took place
+in 1918 over the whole of the area described above, _i.e._ from Bouilly
+to Thillois, _via_ St. Euphraise, Coulommes, Vrigny and Gueux (_see the
+Michelin Illustrated Guide: The Second Battle of the Marne_).
+
+The Mountain of Rheims prolongs the region of Tardenois to the east. It
+is an important military position between the Vesle and the Marne, as it
+dominates the plain of Champagne. The higher part of it is finely
+wooded, while on the lower slopes and eastern and southern edges are the
+famous Champagne vineyards (_see Verzenay, pp. 171-172_).
+
+[Illustration (Map)]
+
+During the year 1918 the Germans made tremendous efforts to carry this
+position, the loss of which would have meant the fall of Rheims, leaving
+Epernay and Châlons-sur-Marne unprotected.
+
+Although held to the east of Mountain, they obtained important successes
+on the west, where they reached the Marne, while in May they occupied
+the Woods of Courton and Le Roi. In July they crossed the Marne and
+advanced as far as Montvoisin, on the road to Epernay. Very fierce
+fighting took place, especially to the north-west of the Mountain at
+=Bouilly=, =Bligny=, =St. Euphraise= and =Vrigny=. These positions, and
+Hill 240 to the west of Vrigny, were several times lost and recaptured
+by the Allied troops under General Berthelot, French, Italian and
+British, who fought there side by side.
+
+Vrigny was taken by the Germans on May 30, but retaken by the Allies on
+June 1 at the point of the bayonet. The same evening, four German
+regiments, after progressing slightly in the direction of Hill 240, were
+first checked, then driven back after bitter hand-to-hand fighting.
+
+On June 9, the Germans were repulsed around Vrigny, after having
+sustained severe losses. On the 23rd, they rushed Bligny Hill, held by
+Italian troops, reaching the summit, but were shortly afterwards driven
+back. On the 29th, they sustained a like check at the same place.
+
+In July they advanced their lines slightly towards Marfaux, Pourcy and
+Cuchery, but were unable to hold the captured ground. On the 18th, the
+Italians advanced in the region of Bouilly. On the 19th, Franco-British
+troops progressed towards St. Euphraise. On the 21st, the Allies carried
+Bouilly and St. Euphraise. On the 24th and 25th, in spite of desperate
+repeated efforts, the Germans were unable to hold Hill 240 which they
+had temporarily captured. On August 1 further enemy efforts to carry
+the Bligny uplands failed.
+
+The region of Gueux--Thillois--Champigny was terribly ravaged by the
+war.
+
+On September 11th, 1914, the French 5th Division, under General Mangin,
+drove the enemy from these positions, which remained in the French lines
+until May 30, 1918. Occupied by the Germans on May 31, after fierce
+fighting, they were completely devastated by artillery fire. Retaken by
+the French, then lost again in July, Thillois was finally recaptured on
+August 2, at the same time as Gueux.
+
+On August 4, after having reached the Vesle at several points east of
+Fismes, French troops engaged a vigorous battle between Muizon and
+Champigny, and some of them succeeded in crossing the river the same
+day.
+
+
+=Champagne Wine=
+
+Wine-growing has always been a favourite industry in this part of
+France. The vineyards extend over the Rheims hills and along the valley
+of the Marne. In the hilly country around Rheims there are two distinct
+growths of wine: the _Montagne_ proper, with its famous _Verzy_,
+_Verzenay_, _Mailly_, _Ludes_, _Rilly_ and _Villers_ "crus," and the
+_Petite Montagne_ with its secondary "crus" of the _Tardenois Valley_,
+_Hermonville Hills_, _St. Thierry_, _Nogent l'Abbesse_ and
+_Cernay-les-Reims_. The _Montagne_ produces more especially black grapes
+for white wines.
+
+Champagne wines were famous as far back as the 16th and 17th centuries.
+Henri IV. had a marked preference for the wines of _Ay_. The magnitude
+of the cellars still to be seen in the 16th and 17th century houses
+testifies to the importance of a trade, whose main outlets were Paris,
+Flanders, Belgium and Germany.
+
+The Champagne wines of that period were red, and rivals of the famous
+Burgundy wines.
+
+The vogue of Champagne wines as understood to-day dates back to the end
+of the 17th century. It was Dom Pérignon, cellarer of the Abbey of
+Hautevillers, near Epernay, who, if not actually the inventor of
+sparkling wines, first undertook to perfect them by blending the "crus"
+and preparing them with greater care.
+
+In the last years of the reign of Louis XIV., and still more so under
+the Regency, the use of Champagne at Court gained ground, especially at
+the tables of the _Duc de Vendôme_ and the _Marquis de Sillery_.
+
+At that time Champagne was merely a "creamy" wine, _i.e._
+semi-sparkling. The low breaking strain of the glass of those days would
+not have allowed of the higher pressure (six atmospheres) of the
+present-day wine. The discovery of the chemist François, who in 1836 at
+Châlons invented a special "densimeter," made it possible to calculate
+the amount of carbonic acid gas contained in the must, and to proportion
+the expansive force of the wine to the strength of the bottles, thus
+reducing losses by breakage, which for long had been very serious.
+
+From the 19th century onwards, the production of Champagne wine has
+grown unceasingly. The number of bottles of sparkling Champagne placed
+on the market for sale in France and abroad rose from 19,145,481 (of
+which 16,705,719 went abroad) between April, 1875, and April, 1876, to
+33,171,395 (of which 23,056,847 went abroad) between April, 1906 and
+April, 1907. During the first ten months of 1915, the exports of
+Champagne and sparkling wines were 630,140 wine-quarts, as against
+1,092,660 wine quarts in 1914.
+
+
+
+
+FIRST DAY
+
+AFTERNOON
+
+=ST. THIERRY HEIGHTS--LE GODAT--THE GLASS-WORKS OF LOIVRE--BRIMONT--THE
+"CAVALIERS DE COURCY"=
+
+(_See complete Itineraries, p. 121, and summary of the military
+operations, pp. 147 and 154._)
+
+[Illustration (Map)]
+
+
+_Starting from the Place du Parvis-Nôtre-Dame, follow the morning's
+Itinerary (p. 122) as far as the railway bridge, then continue straight
+along the Avenue de Paris (N. 31). Before leaving Rheims the tourist
+can, if desired, visit_ =Haubette Park=. _In this case, turn to the
+left, opposite No. 10, Avenue de Paris, into the Rue Flin des Oliviers.
+The entrance to_ Haubette Park (an annex of the Calmette Dispensary)
+_stands at the beginning of this street, on the right_.
+
+Napoleon I. bivouacked in this park while his troops attacked Rheims in
+1814. A monument and a small museum commemorate the event. At the end of
+1914 Haubette Park was a favourite recreation ground and refuge for the
+inhabitants of the city during the bombardments.
+
+_Return to the junction of N. 31 (which leads to Fismes) with G. C. 6
+(the road to Ville-en-Tardenois). Take N. 31 on the right. About 1 km.
+from the fork take the first road on the right._
+
+_On reaching_ =Tinqueux= _turn to the left at the entrance to the
+village, and follow the main road_.
+
+
+=Tinqueux--Mont St. Pierre=
+
+The church of Tinqueux (St. Peter's) was entirely destroyed. It
+contained, on the left side of the nave, a remarkable 16th century
+painting on wood, representing the _Adoration of the Shepherds_, with a
+frame of the same period.
+
+_Near the church, between the Vesle and the main street of the village_,
+stood an old baronial mansion, in front of which was a building with
+turreted façade known as the =Maison de la Salle=. Inside the buildings
+which, in later years, served as a farm, there was a curious old wooden
+staircase with railed balustrade. The whole was destroyed by the shells.
+
+In September, 1914, at the beginning of the bombardment of Rheims, many
+of the people took refuge at Tinqueux.
+
+[Illustration: THE MAIN STREET OF TINQUEUX VILLAGE]
+
+_At the end of the main street of the village, opposite a kind of
+observation-post with ladder in a tree, turn to the right. The road
+passes at the foot of_ =Mont St. Pierre=, whose village and church
+entirely disappeared in the 17th century. It was to replace the church
+of Mont St. Pierre that the church of St. Pierre de Tinqueux was built
+at the end of the 17th century.
+
+_The road turns abruptly and nears the Vesle. Turn to the right and
+cross the river to reach_ =St. Brice=.
+
+
+=St. Brice--Champigny--Merfy=
+
+(_Itinerary, p. 134._)
+
+_Turn to the right at the entrance to the village and take the first
+street on the right, which leads to the church._
+
+[Illustration: THE RUINED CHURCH OF CHAMPIGNY]
+
+The Church of St. Brice was almost entirely destroyed. In style, it is
+Romanesque, with Renaissance doorway and aisles. The door of the west
+front contains interesting carvings--unhappily much mutilated.
+
+_Return by the same way to the cross-roads in front of the bridge over
+the Vesle, turn to the right, then, about 150 yards further on, to the
+left. Continue straight ahead, cross the railway (l.c.) and follow the
+railway on the left._
+
+_About half a mile further on an avenue on the right leads to the_
+=Château de la Malle=. Both the castle and grounds were badly damaged by
+the bombardment.
+
+Standing in the park with magnificent avenues of beech-trees, the castle
+is one of the most ancient manors in the vicinity of Rheims. It was
+rebuilt in one storey at the beginning of the 14th century on the old
+foundations. The decoration of the interior (Louis XVI.) is interesting.
+The drawing-room has retained its old wainscoting and paintings. A
+carved shield bearing the arms of the Cauchon family, a member of
+which, the Bishop of Beauvais, sided with the English and the Duke of
+Burgundy against the Dauphin of France and Joan of Arc during the
+Hundred Years' War, is still to be seen over a door of one of the
+out-buildings.
+
+_Return by the same road to the Vesle. Cross the river and follow it (as
+per Itinerary, p. 134), to the village of Champigny._
+
+_Cross straight through the village by the main street, at the end of
+which stands the church in a narrow by-street near the entrance to a
+park (photo, p. 136)._
+
+The little church of St. Theodule is 12th century, except the wooden
+belfry, which was modern. The belfry and roof were destroyed.
+
+[Illustration: MERFY CASTLE, CONVERTED BY THE GERMANS INTO A BLOCKHOUSE
+_General Foch had his Headquarters there in 1914._]
+
+_On leaving the village, go straight ahead. The road (G.C. 75) follows
+the railway on the left. Cross the railway (l.c.). The road passes along
+the marshy valley of the Vesle, then rises towards the_ St. Thierry
+Heights.
+
+_At the cross-roads of_ the hamlet of Mâco, _keep straight on along G.C.
+26_. The road runs between two fairly high embankments containing
+numerous shelters. Slightly before entering the village of =Merfy= is a
+cemetery containing graves of French, British and German soldiers.
+
+_At the entrance to the same village, on the right, stands_ a castle,
+severely damaged, which, early in September, 1914, served as
+headquarters to General Foch (_photo above_).
+
+_A little farther_ is the church, almost entirely destroyed.
+
+_At the church, turn to the right and follow the main street_, which is
+lined with houses in ruins.
+
+_On leaving Merfy, cross the railway (l.c.). The village of_ =St.
+Thierry= _is reached shortly afterwards._
+
+[Illustration: ENTRANCE TO ST. THIERRY VILLAGE
+_The sign and camouflaging are German._]
+
+[Illustration: ST. THIERRY CHÂTEAU IN 1914]
+
+[Illustration: ST. THIERRY CHÂTEAU IN 1919]
+
+[Illustration: ST. THIERRY CHURCH
+_See other photos, p. 140._]
+
+
+=St. Thierry=
+
+(_See Itinerary, p. 134, summary of the Military Operations, p. 147._)
+
+This village was frequently bombarded by the Germans from 1914 to 1918.
+_It is crossed by a narrow, winding street containing several sharp
+turnings. Shortly before the end of the village, the street widens
+abruptly. About a hundred yards further on is the church, while on the
+right a monumental door gives access_ to the =Château of St. Thierry=
+(_photos, p. 138_).
+
+This castle was built in 1777 by Mgr. de Talleyrand-Périgord, Archbishop
+of Rheims. It replaced the ancient abbey founded in the 6th century by
+St. Thierry, a disciple of St. Remi. Remains of the 12th century
+chapter-house ogives, colonnettes and capitals, as well as an old
+chimney-piece, have been rebuilt into the kitchens. The spacious Louis
+XVI. drawing-room and the dining-room were likewise remarkable.
+
+The church (_see photos above and on p. 140_) possessed certain
+remarkable features, _e.g._ the porch, nave and organ-loft. The 12th
+century porch had a 17th century pent-house roof.
+
+Inside the church were Gothic stalls, and a 16th century bas-relief
+depicting _The Martyrdom of St. Quentin_.
+
+The church is now in ruins.
+
+_Opposite the castle gate turn to the left into G.C. 26._
+
+In the embankments along the road are numerous shelters, posts of
+commandment, ammunition depots, etc.
+
+[Illustration: ST. THIERRY CHURCH
+(_see p. 139_)]
+
+[Illustration: RUINED PORTAL OF ST. THIERRY CHURCH]
+
+[Illustration: RUINS OF CHOIR, ST. THIERRY CHURCH]
+
+[Illustration: RUINS OF THIL CHURCH]
+
+
+=Thil--Villers-Franqueux=
+
+(_See Itinerary, p. 134._)
+
+_On reaching Thil, turn to the left at the entrance to the village. Go
+straight through._
+
+The church, entirely in ruins, _stands at the end of the village, on a
+small eminence to the right_.
+
+_Half-way through the village, on the left, is a road which leads to the
+St. Thierry Fort, via the village of Pouillon._
+
+The road from Thil to Cormicy was the starting-point of the
+communicating trenches which led to the first lines along the National
+Road No. =44= and along the canal from the Aisne to the Marne, during
+the long stabilisation period of the Berry-au-Bac--Rheims front. All
+along the road can still be seen, practically intact, the military works
+which were in the immediate rear of the front lines, viz., posts of
+commandment, depots, shelters, etc. At the present time, close to the
+destroyed villages, these shelters are being used by the people as
+habitations.
+
+_Beyond Thil, the road passes between two embankments._
+=Villers-Franqueux= _is soon reached_. The ruined village and church
+_are somewhat to the right_.
+
+[Illustration: RUINS OF VILLERS-FRANQUEUX]
+
+[Illustration: RUINED CHURCH OF HERMONVILLE]
+
+
+=Hermonville=
+
+_Follow the rails, straight ahead, to_ Hermonville.
+
+_Turn to the left, at the entrance to the village, into the large
+square, on the opposite side of which stands the_ =Town Hall=, partially
+destroyed. The =Church= _is on the right_.
+
+This remarkable church is 12th century. The pointed vaulting of the nave
+was raised in 1870, but this had been provided for in the original
+plans. At the intersection of the transept the pointed vaulting is
+lower. The capitals with their finely carved palm-leaves appear to be
+rather more recent than those of the nave, and extend frieze-like round
+the pillars. The bays of the transept-arms and of the two square eastern
+chapels are round-arched and surmounted with a quatrefoil--an
+arrangement frequently met with in the vicinity of Rheims.
+
+The outer porch, like that of Cauroy-les-Hermonville and St. Thierry, is
+a 12th century addition. The depressed arch of the entrance is 17th
+century.
+
+The square tower at the corner of the nave and south transept has cubic
+capitals in the twin bays of the second storey.
+
+The ancient =cemetery=, which used to surround the church, is bordered
+by old houses. Entrance was gained by a little gate facing the porch, in
+which are incrusted fragments of a 15th century altar-screen
+representing a horseman and a group of persons.
+
+The village was frequently bombarded by the Germans after the Battle of
+the Marne. In 1916 several inhabitants were killed by shells.
+
+_Leave the church on the right, and follow the Rue Sébastopol, at the
+end of which is an abrupt turning to the left. The road skirts a large
+house and garden surrounded by a wall. At the end of the latter, turn to
+the right into the Rue de Sommerville. On leaving the village, turn to
+the left, then go straight on to_ =Cauroy-les-Hermonville=.
+
+[Illustration: CAUROY CHURCH IN 1914]
+
+
+=Cauroy-les-Hermonville=
+
+_Turn to the right at the entrance to the village, then into the first
+street on the left, where stands the_ half-destroyed =Church of
+Nôtre-Dame=.
+
+This Church (_historical monument_) has an original 12th century porch,
+which was mutilated by the bombardments.
+
+Romanesque in style, it stands out from the remainder of the building
+and extends over the whole breadth of the west front. Its tile-covered
+roof rests on a timber-work frame, whose beams appear to be 16th
+century. Two round-arched openings in the ends of the porch serve as
+entrances. The front is pierced with a number of round arcades. The
+central door giving access to the church is of a later date (16th or
+17th century). The capitals of the arcadings are 12th century. Their
+curious decoration represents figures of men, animals, birds, scrolls,
+etc.
+
+The ruined tower and nave were likewise 12th century. The side-chapels,
+transept-crossing and choir were rebuilt in the 16th century.
+
+[Illustration: CAUROY CHURCH IN 1918]
+
+[Illustration: STREET IN CAUROY VILLAGE
+(_Seen from the Porch of the Church. To go from Cauroy to Cormicy, take
+this street opposite the Church._)]
+
+In the interior of the church, the wooden altar-screen over the
+high-altar dated from 1616. The painting which decorated its central
+panel, and the side woodwork of the choir were removed in 1888. The
+altar-screen (1547) of the southern side-chapel was composed of an
+assemblage of stone statues representing _The Virgin carrying Jesus, St.
+Roch, a pilgrim_, and _St. Stephen, a deacon, with the donor kneeling at
+his feet_.
+
+Under several of the houses in the village are subterranean passages,
+the most noteworthy being that under the old presbytery on the left of
+the church, to which access is gained by a stair of fifty-one steps.
+
+_Leave the village of Cauroy by the street (photo, p. 145) which opens
+up opposite the church._
+
+_The road passes through clumps of_ devastated trees. _On the left side
+of the road is_ a cemetery, containing numerous well-organised shelters.
+_The village of_ =Cormicy= _is next reached._
+
+
+=Cormicy=
+
+(_See Itinerary, p. 134._)
+
+_Turn to the right at the entrance to the village. On either side are_
+tree-lined boulevards, which were made on the ancient ramparts. The
+trees have been cut to pieces by the shells.
+
+Cormicy was formerly a small fortified town with turret, gates, ramparts
+and moats, all of which have disappeared except one gate. The site was
+planted with trees, which surround practically the whole town. The town
+was destroyed in the time of Charles VI., during the Hundred Years' War.
+
+The present village suffered severely during the German bombardments,
+most of the houses being damaged. In June, 1916, only eighty-three
+inhabitants remained in their homes.
+
+[Illustration: CORMICY CHURCH IN 1914]
+
+The ancient =Church= was likewise badly damaged (_photos above and
+below_). While the tower, west front, and the two first bays of the nave
+are late 15th or early 16th century, the greater part of the nave is
+11th or 12th century. The chevet and the transept-crossing are early
+13th century, while the transept ends probably date from the middle of
+12th century.
+
+[Illustration: CORMICY CHURCH IN 1918]
+
+The portal comprises twin doors surmounted with a broad flamboyant
+recess. The doors have been partially mutilated. Above the window runs
+a balcony, the Gothic balustrade of which, known as the _Gloria
+Gallery_, was modern. This balustrade was destroyed by the bombardments,
+which also brought down the steeple.
+
+[Illustration: G.C. 32 ROAD ON LEAVING CORMICY
+(_See Itinerary, p. 134._)]
+
+The west front has two Gothic doors with 16th century iron-work, at the
+extremity of the aisles. The tympana of these doors, formerly lighted,
+have been bricked up. The lintels have three consoles ornamented with
+fantastic animals and banderoles. The three statues which carried the
+consoles have long since disappeared.
+
+In the south transept, on the left, behind the altar, is an interesting
+small door surmounted with a square lintel of the 11th or 12th century.
+Two figures of winged monsters with heads of a man and a woman and fish
+tails, stand out in high relief, framed and separated by a belt, on
+which are carved _florets_ mingled with fantastic figures.
+
+The three remarkable 18th century marble altars of the choir and
+transept chapels come from the Church of the Nuns of Longueau, the abbey
+of which, in the Rue du Jard at Rheims, was sold in 1790. The high-altar
+occupies nearly the whole of the chancel. Over the tomb, six columns of
+grey Dinant marble, crowned with Corinthian capitals, support an oval
+marble cornice with richly carved and gilt consoles of wood. The very
+large, white and gilt tabernacle is a fine example of 17th or 18th
+century woodwork. Its door, decorated with symbolic attributes, is
+surrounded by statuettes depicting, _in the lower part_, St. John the
+Evangelist and a holy woman wearing crowns; _above each of these
+figures_, an angel; _at the top_, The Resurrection of Christ.
+
+The sixteen carved oak stalls of the choir, as well as the wrought-iron
+reading-desk on a marble pedestal, also came from the former Abbey of
+Longueau.
+
+Near the choir, on a pillar of the nave, is an inscription to the effect
+that the chronicler _Flodoard_, who died in 966, was _Curé_ of Cormicy.
+
+The modern =Town Hall=, built by the Rheims architect, Gosset the elder,
+which faced the church, was entirely destroyed.
+
+[Illustration (Map)]
+
+All the places visited since leaving Merfy, _i.e._ St. Thierry, Thil,
+Villers-Franqueux, Hermonville and Cormicy, border the St. Thierry
+Heights. The latter are commanded by the fort of the same name and the
+Chenay Redoubt, with altitudes of about 670 and 620 feet respectively.
+They were recaptured from the Germans after the Battle of the Marne on
+September 11, 1914, by the French 3rd Corps.
+
+After the loss of the Chemin-des-Dames and the Aisne Canal on May 27,
+1918, this position, which with its guns commands the road and railway
+from Rheims to Soissons and the road from Rheims to Laon, remained the
+sole protection of Rheims to the north-west.
+
+It was defended by the French 45th Infantry Division (General Naulin),
+composed of Algerian Sharp-shooters, Zouaves and African Light Infantry,
+who held their ground on May 27-28, after which they were reinforced by
+battalions of Singalese and Marines drawn from the sector east of
+Rheims.
+
+The struggle was a fierce one, and hand-to-hand fighting frequent.
+Finally the constant inflow of German reserves forced back the French
+who, on May 29, had to abandon the position, to which the enemy
+afterwards clung for four months. On October 1 the Germans, beaten on
+the previous evening by the French 5th Army on the high ground between
+the Aisne and Rheims, was forced to retreat. The French regained
+possession of Merfy and St. Thierry, and advanced as far as the
+outskirts of the Fort of St. Thierry, which, with Thil and
+Villers-Franqueux, Hermonville, Courcy and Cormicy, fell into their
+hands in the course of the next few days (_see map above_).
+
+[Illustration: DESTROYED BRIDGE OVER THE CANAL, NEAR LE GODAT]
+
+
+=From Cormicy to Godat Farm=
+
+(_See Itinerary, p. 134._)
+
+_Pass straight through Cormicy, leaving the church on the left. Take
+G.C. 32 to the Rheims-Laon road (N. 44), where turn to the right. Rather
+less than a mile further on, near the_ Maison Blanche, _is a road
+leading to_ =Godat Farm=. _Cars can only go as far as the canal_, the
+destroyed bridge (_photo above_) not having yet been rebuilt. The
+lock-keeper's house _seen in the photograph below_ was completely
+destroyed.
+
+[Illustration: THE LOCK-KEEPER'S HOUSE AT LE GODAT
+(_Now destroyed._)]
+
+_Cross the canal on foot to reach Godat Farm, situated about 300 yards
+further on._
+
+=Le Godat=, formerly a small fief with a castle and chapel (destroyed
+during the Revolution in 1793), was merely a farm and a plain country
+house when the war broke out. By reason of its position, north of the
+Aisne Canal, this bridgehead was, throughout the war, one of the most
+fiercely disputed points in the sector north-west of Rheims, even during
+the period of trench-warfare. At the time of the French offensive of
+April, 1917, the 44th Infantry Regiment advanced beyond Le Godat, where
+the French held their ground until the powerful German push of May 27,
+1918.
+
+[Illustration: RUINS OF LE GODAT FARM]
+
+The farm is now a mere heap of ruins. Shelters still exist in the
+basements.
+
+_Return to the National Road, and turn to the left._
+
+_The road crosses_ numerous boyaux which provided access to the
+front-line trenches down the hill on the right.
+
+_Follow the National Road to_ =Chauffour Farm= (in ruins), _where take
+the road on the left to_ =Loivre=.
+
+[Illustration: EMPLACEMENT OF GERMAN HEAVY GUN AT LOIVRE]
+
+_On nearing the canal_, the ruins of the village of Loivre (entirely
+destroyed) _become visible_.
+
+[Illustration: RUINS OF THE CHURCH AT LOIVRE]
+
+
+=From Loivre to Brimont=
+
+=Loivre.=--_Visit the village on foot. The canal can only be crossed
+near the lock south-east of the village._ The destroyed bridge has been
+replaced by a temporary footway across the bed of the canal, which
+necessitates climbing down and up the banks by steep paths.
+
+_After crossing the canal the tourist passes by the_ ruins of the Loivre
+Glass-Works, founded in 1864 by the descendants of the noble house of
+Bigault de Grandrupt, glass manufacturers of Argonne.
+
+[Illustration: GENERAL VIEW OF THE RUINS AT LOIVRE IN 1919]
+
+Loivre and its glass-works were occupied in September, 1914, by the
+Germans, who deported the inhabitants to the Ardennes. The village and
+works were re-captured during the offensive of April 16, 1917, by the
+French 23rd and 133rd Infantry Regiments, surnamed _Les Braves_ and _Les
+Lions_ respectively. Whilst other battalions outflanked the village and
+crossed the canal, the third battalion of _Lions_ attacked it in front.
+The position, powerfully organised, was stoutly defended. The attacking
+troops were obliged to come to a halt in front of the cemetery (a
+veritable bastion with concrete casemates), and before the ruins of the
+mill, both of which bristled with machine-guns. Withdrawing slightly to
+allow of a barrage of 75's, they rushed forward again under the
+protection of the latter. The site of the mill and the cemetery were
+captured, together with numerous prisoners (122 were taken in one
+machine-gun shelter). The ruined village was next carried in a bayonet
+charge, to the sound of the bugles. The captures were considerable, one
+battalion of 500 men alone taking 825 prisoners.
+
+[Illustration: SEPULCHRE IN THE CEMETERY AT LOIVRE, USED BY THE GERMANS
+AS A PHOTOGRAPHIC DARK-ROOM]
+
+In March and May, 1918, two violent attacks were made on Loivre by the
+Germans, but without success. They took it on May 27, only to be driven
+out on October 4.
+
+_Before the war, a road_, which has since completely disappeared, _led
+direct from Loivre to Brimont. To reach the latter it is now necessary
+to go farther north, via Berméricourt and Orainville, returning
+southwards by the Neufchâtel to Rheims road (see Itinerary, p. 134)._
+
+=Berméricourt.=--This hamlet, of Gallo-Frankish origin, was formerly
+more populous. The bombardments have literally wiped it out.
+
+_From Berméricourt the tourist reaches_ =Orainville= _by G.C. 30, which
+becomes I.C. 2 after crossing the boundary line between the
+"departments" of the Marne and the Ardennes. At the entrance to the
+ruined village, near the church, turn to the right into I.C. 12, which,
+1 kilometre further on, joins the road from Neufchâtel to Rheims (G.C.
+9), where turn to the right._
+
+_Follow this road for four and a half kilometres to the ruins of_
+=Landau Farm=, _turn to the right, then, about 200 yards further on,
+take the road on the left to the_ village of Brimont, entirely
+destroyed.
+
+[Illustration: ALL THAT REMAINS OF BERMÉRICOURT VILLAGE]
+
+
+=Brimont Fort and Château=
+
+(_See Itinerary, p. 134, and summary of the Military Operations, p.
+154._)
+
+Situated to the west of the road from Rheims to Neufchâtel (formerly a
+Roman causeway which crossed the hill at _Cran de Brimont_) Brimont was
+already important in Roman times. It was fortified in the Middle Ages,
+and traces of its ancient fortifications are still to be found on the
+hill. The discovery of a Roman tomb in 1790 caused considerable
+excitement in archæological circles, as it was believed to be the
+burial-place of the Frankish Chief _Pharamond_ who, according to one
+chronicler, had been buried on a hillock near Rheims.
+
+In 1339, during the siege of Rheims by the English, the Duke of
+Lancaster had his camp at Brimont.
+
+[Illustration: RUINS OF BRIMONT VILLAGE
+_In the foreground, on the left: Road to Brimont Fort. On the right:
+Beginning of the road to the Château (entirely destroyed)._]
+
+[Illustration: RUINS OF THE CHURCH OF BRIMONT]
+
+On several occasions, since September, 1914, the Germans deported the
+inhabitants of Brimont and Coucy to the Ardennes. The village is now
+destroyed and its church a heap of ruins.
+
+The church was built at the beginning of the 15th century.
+
+The four last bays of the nave, which was partly Romanesque, were
+altered in the middle of the 16th century.
+
+The sacristy occupied the lower storey of the square, pointed-arch
+tower.
+
+Several ancient statues were placed at the entrance to the Choir: _St
+Remi_, with a woman in late 15th century dress kneeling at his feet; a
+_Virgin_ offering grapes to the Infant Jesus in her arms (late 15th
+century) and a large _Christ Crucified_, dated from the middle of the
+16th century. A beautiful 18th century _lectern_ of carved wood,
+representing an eagle standing on a massive three-sided pedestal of red
+and white marble, stood in front of the Choir.
+
+[Illustration: BRIMONT FORT]
+
+_To visit the_ =Fort of Brimont=, _skirt the church on the side of the
+portal staircase, then take the road seen on the photograph on p. 152.
+The Fort is about 400 yards further on._
+
+
+=The Defences North of Rheims and the Fighting in that Sector=
+
+The =Fort of Brimont=, completed by the =Battery of the Cran de Brimont=
+about a mile to the east, and on the west by the =Loivre Battery=,
+mentioned on page 151, sweeps the whole country north of Rheims as far
+as the banks of the Aisne, Suippe, Retourne and the Aisne-Marne canal,
+the Rheims-Neufchâtel, Rheims-Vouziers, Rheims-Rethel and Rheims-Laon
+roads, and the Rheims-Laon and Rheims-Charleville railways. About five
+miles east of Brimont and four miles east of Rheims is the position of
+=Berru= (_see p. 165_), extending along a front of about six miles,
+_via_ the hills of Berru and Nogent l'Abbesse. Intended by those who
+planned it to guard the valley of the Suippe, the Rheims-Rethe and
+Rheims-Vouziers roads, as well as the Rheims-Charleville and
+Rheims-Châlons-sur-Marne railways, it comprises the =Fort of Witry=
+(about 150 feet in altitude), the batteries of =La Vigie de Berru= (870
+feet), and the =fort and batteries of Nogent-l'Abbesse= (670 feet).
+
+[Illustration: _The roads shown on the above map are those followed by
+the Third Itinerary (see p. 160)._]
+
+Brimont and Berru are further covered and linked up by the =Fort of
+Fresne= (360 feet), situated four miles north-east of Rheims.
+
+These defensive works, conceived and executed after the war of 1870,
+had, in consequence of the evolution of strategical and tactical
+doctrines, been abandoned or disarmed before the war of 1914. After
+evacuating Rheims on September 12, 1914, the Germans grasped the
+importance of these works, to which they clung tenaciously, after
+hurriedly organising them. It was against these naturally strong
+positions, further strengthened by trenches, that the French 5th Army,
+in pursuit of the enemy, found themselves brought to a standstill on the
+evening of September 12. From September 13 to 18, the French tried in
+vain to capture them. The 5th Division, under General Mangin, did
+succeed in capturing the =Château de Brimont=, in the plain, but were
+unable to hold it.
+
+Later, the Germans converted these hills into one of the most formidable
+positions organised by them in France. Brimont, Berru, Fresne and Nogent
+l'Abbesse, whose guns slowly destroyed Rheims, were, so to speak, her
+jailers for four years.
+
+In April, 1917, during the French offensive of the Aisne, one division,
+known as the "Division of aces" (because its four regiments have the
+fourragère decoration), penetrated into Berméricourt and advanced to the
+outskirts of Brimont, but was unable to hold its ground against the
+furious counter-attacks of the Germans. It was only in October, 1918,
+that the French 5th Army, in conjunction with the victorious attacks of
+the 4th Army in Champagne, after forcing the Germans back to the Aisne
+and the canal, and after crossing the Aisne canal on October 4 in front
+of Loivre and near Berméricourt, forced the enemy, whose communications
+were now threatened, to abandon one of the most valuable portions of his
+1914 positions. On October 5, the French re-entered Brimont and Nogent
+l'Abbesse, progressed beyond Bourgogne, Cernay-les-Rheims, Beine, Caurel
+and Pomacle, and, in spite of desperate enemy resistance, drove back the
+Germans to the Suippe.
+
+_After visiting the fort return to the village of Brimont._
+
+From here the =Château de Brimont= may be visited, but this will have to
+be done on foot as the road has been destroyed, traces only of it being
+left in places (_the lower photograph on p. 152 shows the beginning of
+the road in the village_).
+
+The =Château de l'Ermitage=, also known as the Château de Brimont, _is
+situated about 500 yards south of the village, at the entrance to a_
+large park, completely devastated. It was the scene of desperate
+fighting (_see p. 152_).
+
+_Return to Brimont, cross the village (skirting the church) and continue
+straight on to the_ =Cran de Brimont Redoubt= _on the road to Rheims._
+Numerous German trenches, etc., are to be seen here.
+
+_Turn to the right into G.C. 9, which dips down to the_ Plain of Rheims.
+The region hereabouts bristle with barbed-wire entanglements and is
+crossed with numerous trenches. It was ranged to an incredible degree by
+the bombardments.
+
+_At the bottom of the hill which starts at the Cran de Brimont, cross
+Soulains Wood, of which only_ a few torn tree-stumps remain.
+
+_Several hundred yards after leaving the wood, take on foot the broken
+road to the_ "=Cavaliers de Courcy=," situated _on the right, about 500
+yards further on._
+
+[Illustration: THE AISNE CANAL AT THE "CAVALIERS DE COURCY"]
+
+
+=The "Cavaliers de Courcy"=
+
+To the north of La Neuvillette, the Aisne-Marne Canal is flanked on both
+sides by enormous artificial embankments planted with fir-trees and
+known as the "=Cavaliers de Courcy=." After their retreat in September,
+1914, the Germans entrenched themselves there and clung to the east bank
+until April, 1917.
+
+On April 16, 1917, the French 410th Regiment of the Line attacked the
+enemy's formidable positions there. This Brittany regiment set out from
+positions to which they had given names taken from the history of their
+country (_Quimper Bastion_, _Auray_, _Redon Bastion_, etc.). On the
+first day they carried three successive lines of defences, and advanced
+about a mile. On the 17th and 18th they left their zone of action, to
+ensure the _liaison_ on their right, and to help a brigade in
+difficulties on their left. For eight days they held their positions
+against powerful enemy counter-attacks, after having progressed to a
+depth of two miles and captured more than 400 prisoners, 11
+bomb-throwers, and an immense amount of stores.
+
+These positions, like the neighbouring villages, were re-taken by the
+Germans in May and June, 1918, and finally by the Allies in October,
+1918.
+
+_Return to the road and follow it towards Rheims. Leave on the left_ the
+devastated =Aviation-ground of Champagne=--now in a state of complete
+upheaval, due to the terrific shelling it received--_then cross the_
+=Plain of Bétheny= (_photo, p. 157_).
+
+The Plain of Bétheny was the scene of two important historical events:
+in 1901 the Tsar Nicolas II. reviewed a part of the French Army there;
+in August, 1909, the Great Aviation Week was inaugurated there, in the
+presence of an immense crowd of spectators.
+
+[Illustration: GERMAN FIRST-LINE POSITIONS BÉTHENY PLAIN (_see
+sketch-map below_)
+_Photographed at 7,000 ft. from aeroplane, August 6, 1916, at 10 a.m._]
+
+[Illustration: THE GERMAN FIRST-LINE DEFENCES IN THE PLAIN OF BÉTHENY
+_The tourist passes through this region on returning to Rheims, shortly
+before coming to the bridge under the railway. The sketch map explains
+the photograph above._]
+
+_Pass under the Rheims-Laon railway by a very sharp double turning._
+=Pierquin Farm=, entirely destroyed, _stood on the right a short
+distance further on_. The only remaining trace is the torn shapeless
+carcass of a large iron shed.
+
+The railway embankment south of Pierquin Farm was fiercely disputed from
+September 18, 1914, onwards. Several enemy attacks against it broke down
+before the French 75's. During the offensive of May, 1918, the whole of
+this region was the scene of desperate fighting. La Neuvillette was
+taken on May 30, and Pierquin Farm on the 31st. On August 4, the French,
+after crossing the Aisne Canal, advanced to La Neuvillette, where the
+enemy made a desperate stand. At the beginning of October they advanced
+to the north of La Neuvillette, which the enemy was eventually compelled
+to abandon. The last inhabitants had left the locality on July 12, 1916.
+
+_The tourist enters Rheims by the Rue de Neufchâtel and the Avenue de
+Laon._
+
+
+=La Neuvillette=
+
+_On reaching the Avenue de Laon, the tourist, instead of entering
+Rheims, may turn to the right and go northwards as far as the_ village
+and cemetery of La Neuvillette.
+
+The cemetery of La Neuvillette _is on the right of the road, between the
+last houses of Rheims and the village_. It was completely cut up by a
+network of first-line trenches (_photos, p. 159_).
+
+The village of La Neuvillette, now in ruins, was the scene of desperate
+fighting during the German offensive of May, 1918.
+
+Nothing remains of the 12th century church of John-the-Baptist.
+
+The glass-works north-west of the village, by the side of the canal, are
+now a heap of ruins (_photo, p. 159_).
+
+_Return to Rheims by the same road._
+
+[Illustration: THE ROAD TO RHEIMS AT NEUVILLETTE]
+
+[Illustration: THE GLASS-WORKS AT NEUVILLETTE]
+
+[Illustration: DRESSING-STATION AT NEUVILLETTE]
+
+[Illustration: THE CEMETERY AT NEUVILLETTE]
+
+
+
+
+SECOND DAY
+
+MORNING
+
+=FRESNES FORT--WITRY-LES-REIMS--BERRU--NOGENT L'ABBESSE--BEINE=
+
+(_See complete Itineraries, p. 121, and map on p. 154._)
+
+
+[Illustration (Map)]
+
+_This Itinerary will lead the tourist through the region of the_ Forts
+to the north-east of Rheims, which formed the rear of the German lines
+during the stabilisation period of 1914-1918.
+
+It was this line of forts that, in the German hands, held the French in
+check after the first Battle of the Marne. Practically the whole of
+these works were but little damaged by the relatively light
+bombardments, and have retained traces of the German organisation.
+
+_Leave Rheims by the Avenue de Laon_ (_which begins at_ Les Pomenades,
+_opposite Mars Gate_), _and the Rue de Neufchâtel (second street on the
+right), Sortie No. IX. of the Michelin Tourist Guide (see coloured plan,
+pp. 32-33)._
+
+[Illustration: RUINS OF THE CHURCH AT BOURGOGNE]
+
+_Follow in the contrary direction the route described in the preceding
+Itinerary (p. 134 to p. 159) as far as the crossing in the
+Berméricourt-Bourgogne road, where stood_ Landau Farm, now entirely in
+ruins. _At this crossing take G.C. 30 on the right._ German camouflaging
+is still visible on the right-hand side of the road.
+
+
+=Bourgogne--Fresnes=
+
+_The village of_ Bourgogne, entirely in ruins, _is soon reached_.
+
+The village is of very ancient origin. Formerly it was protected by a
+belt of moats, now partly filled in, and by earthen ramparts, almost
+everywhere levelled. The lines of these moats, planted with rows of
+elm-trees, are clearly distinguishable. There is a very extensive view
+from this original site.
+
+A portion of the village was burnt by the Germans who, in 1916,
+destroyed the belfry of the church with dynamite.
+
+This church (dedicated to St. Peter and St. Paul), with its fine
+Romanesque tower, was remarkable.
+
+The greater part of it dated from the 12th and 13th centuries. It is now
+in ruins (_photo above_).
+
+_Cross straight through the village._ Numerous German signs _are still
+to be seen. At the cross-roads just outside the village, follow the
+railway, then cross it near the destroyed railway station of Fresnes.
+The village of_ Fresnes _is reached shortly afterwards._
+
+_Turn to the right at the first crossing met with._ The church _stands
+about 100 yards away, on the left._
+
+Norman in style, the Church of Fresnes comprises a central nave with
+aisles and a tower without transept. It dates back to the 12th century,
+but was several times extensively altered and restored both in the 18th
+century and in recent times.
+
+A small porch of limestone added to the northern aisle, is reached by a
+round Norman bay of stone. In the corner of the porch, to the left on
+entering, is incrusted a fragment of a small funerary monument of the
+16th century.
+
+[Illustration: RUINED CHURCH OF WITRY-LES-REIMS]
+
+This church was almost entirely destroyed.
+
+_After turning to the right at the crossing mentioned above, keep
+straight on._
+
+About 2 kilometres from Fresnes the road from that village to
+Witry-les-Reims crosses an old Roman causeway, at the side of which,
+slightly to the south of Hill 118, the Fort of Fresnes was built in
+1878. This fort was blown up by the Germans during their retreat in
+1918. Its ruins are impressive. In the moats of the fort are German
+trenches and shelters extending right up to the walls of the fort.
+
+_The village of Witry-les-Reims is next reached._ It suffered severely
+from the numerous bombardments, which its situation near the first lines
+rendered inevitable.
+
+
+=Witry-les-Reims=
+
+_After crossing the railway (l.c.) at the entrance to the village, keep
+straight on._ The ruined church _is on the left, near the entrance to
+the village_.
+
+Except for one tower, which dates from the 12th century, the church is
+modern. The spire was destroyed by the Germans. The belfry, used by the
+enemy as an observation-post, was struck by French shells.
+
+Like many of the villages around Rheims, Witry-les-Reims is of
+Gallo-Roman origin. More than two hundred Gallic sepulchres and cinerary
+urns have been brought to light. The objects thus discovered, including
+a large number of vases, now form the _Bourin_ pre-historic collection.
+
+_After visiting the church keep straight on. At the Mairie_, of which
+only the front remains standing, _turn to the right into the Rue
+Boucton-Fayréaux. Follow this street to the Place Gambetta (about 200
+yards distant), where turn to the left._ The entrance to "Pommern
+Tunnel," which connected up the German rear and front lines (_photo, p.
+163_), is in this square.
+
+The German inscriptions in the tunnel have been taken down, and the
+entrance blocked up, on account of the roof and walls giving way.
+
+[Illustration: ENTRANCE TO "POMMERN TUNNEL" AT WITRY-LES-REIMS]
+
+_Leaving the Place Gambetta, take the Rheims-Rethel road (N. 51) on the
+left, then the first street on the right to the_ =Fort of Witry=.
+
+_Just outside the village the road crosses_ the old Roman causeway from
+Rheims to Trèves, _and a little further on passes to the left of the_
+=Fort of Witry=.
+
+The =Fort of Witry= suffered but little from the bombardments.
+
+_The road climbs the northern slopes of the_ Berru Hill, across numerous
+German trenches. _At the bottom of a short run-down, opposite the
+village of Berru, is a crossing of four ways. The road leading to the
+fort is the one straight ahead._
+
+_On the right, among the_ numerous defences, is a German cemetery
+containing a monument to the dead, ornamented with somewhat rudimentary
+carving and bearing an epitaph dedicated to the memory of the German
+soldiers who fell in the battles around Rheims.
+
+_The road continues up the slopes of Berru Hill, to the right of the way
+leading to the_ auxiliary battery of the fort of =Vigie de Berru=. _The
+top of the hill is soon reached_, on which the fort, known as the "Vigie
+de Berru," stands. This fort was little bombarded, and is practically
+intact.
+
+=Berru Hill=, on account of its height, its sulphurous and ferruginous
+waters, flint quarries, and fertile soil, was inhabited in pre-historic
+times. At the summit, a _campignien_ workshop, and farther down, above
+the springs which supply the village with water, a neolithic station
+have been discovered. Thousands of knives, arrow-heads, scrapers, saws,
+and other primitive tools have been unearthed. In the Gallo-Roman times
+the village must have been fairly important, judging by the vestiges of
+the ancient buildings discovered at the foot of the hill. It was near
+Berru that the _Gaulish helmet_, now in the National Museum of St.
+Germain, was found. Towards the end of the 16th century (about 1575),
+during the Leaguers' struggles around Rheims, the village was fortified,
+to protect it from pillaging by the soldiers. The moats and glacis which
+surrounded it are still visible to the south, where, covered with trees,
+they adjoin the gardens. Subterranean places of refuge, the entrance to
+which is no longer known, formerly existed underneath the village.
+
+_From the fort, the road, winds down the opposite slopes of the hill. At
+the bottom of the latter, leave on the right the road to the_ =Fort of
+Nogent l'Abbesse,= _seen on the high ground to the right._
+
+[Illustration: ENTRANCE TO BEINE VILLAGE BY THE ROAD TO NOGENT
+L'ABBESSE]
+
+
+=Nogent l'Abbesse--Beine--Berru=
+
+(_See Itinerary, p. 160, and summary of the Military Operations, p
+154._)
+
+_The village of_ =Nogent l'Abbesse= _is next reached, at the entrance to
+which the road divides into three branches. Take the middle one (G.C.
+64), which leads to the_ ruined village of =Beine=. _During the run-down
+to the village, there is a_ fine view of the Champagne Hills in front
+(Mont Cornillet and Mont Haut).
+
+The village of =Beine= was one of the oldest demesnes belonging to the
+Abbey of St. Remi-de-Reims. It was made into a _commune_ at the end of
+the 12th century.
+
+The church of St. Laurent, situated in the centre of the village, was an
+excellent specimen of the transition style of the 12th century (_photo
+below_).
+
+[Illustration: RUINS OF THE CHURCH AT BEINE]
+
+_A road leading to Sillery leaves Beine in a south-westerly direction,
+but owing to its bad condition it is impossible to use it for returning
+to Rheims._ The trenches and shell holes have barely been filled in,
+and the temporary bridges over the wider trenches would probably break
+down under a fairly heavy car. On the other hand, the huge craters made
+by the Germans in the course of their retreat, have only been summarily
+repaired and are not practicable for motor-cars. _Tourists should
+therefore return to Nogent l'Abbesse by the road they came by._
+
+[Illustration: BERRU CHURCH]
+
+_Enter the village by the main street, which follow as far as_ the
+church, whose belfry has been destroyed.
+
+_After the church, take the first street on the right, then the second
+road on the left (G.C. 64), which leads to_ =Berru=. _In front of the
+village, turn to the left and cross straight through._ The 12th century
+Church of St. Martin, which suffered only slightly from the
+bombardments, _is in the middle of the village, on the left (photo
+above)_.
+
+_On leaving Berru, the tourist comes again to the crossing mentioned on
+p. 163. Turn to the right and return to Witry-les-Reims by the road
+previously followed._
+
+_At Witry-les-Reims, take N. 51 on the left, passing by the_ ruined
+works of Linguet (_photo below_).
+
+_Rheims is reached by the Faubourg Cérès. Keep straight on to the Place
+Royale, via the Rue du Faubourg Cérès and the Rue Cérès._
+
+[Illustration: RUINS OF THE LINGUET WORKS]
+
+
+
+
+SECOND DAY
+
+AFTERNOON
+
+=LA POMPELLE FORT-SILLERY=
+
+(_See complete Itinerary, p. 121._)
+
+
+[Illustration (Map)]
+
+_This Itinerary will take the tourist through two regions of entirely
+different characters._
+
+_The first part is devoted to visiting the battlefield south-east of
+Rheims_, which was the scene of much desperate fighting throughout the
+war, but especially in 1918. This region formed the pivot of the French
+right wing, and remained firm despite the repeated powerful attacks of
+the enemy.
+
+_The second part of the Itinerary leaves the battlefield proper, and
+conducts the tourist across_ the most reputed vine-growing centres of
+Champagne (Verzenay, Mailly-Champagne and Ludes), through lovely,
+picturesque country, which, although it has somewhat suffered from the
+bombardments, has nevertheless retained its pre-war aspect.
+
+_Leave Rheims by the Avenue de Châlons, continued by N. 44 (see the plan
+of Rheims between pp. 32 and 33, F. 6 and H. 7)._
+
+The Avenue de Châlons was well within the first-line defences.
+
+Two communicating trenches run along the footpaths on either side of the
+Avenue.
+
+_Skirt_ Pommery Park, _on the left_, completely ravaged by the
+bombardment and the network of trenches which cross it.
+
+_As soon as the last houses of the town have been left behind, the
+tourist finds himself_ in the midst of the battlefield.
+
+The sector, known as "=La Butte-de-Tir=," situated on the left, below
+Cernay and beyond the railway, was the scene of furious fighting
+throughout the German occupation of 1914 to 1918 (_photo below_).
+
+[Illustration: THE "BUTTE-DE-TIR" SECTOR
+_Listening-post in front of Cernay village._]
+
+[Illustration: COMMUNICATING TRENCH AT JOUISSANCE FARM (1915)]
+
+_The road crosses the Châlons Railway (l.c.), and goes thence direct to
+the_ =Fort of La Pompelle=, passing through an inextricable network of
+trenches and barbed wire entanglements. The country hereabouts was
+completely ravaged by the terrific bombardments, and recalls the
+devastated regions around Verdun, near Vaux and Douaumont (_see the
+Michelin Illustrated Guide: Verdun, and the Battles for its
+Possession_).
+
+=La Jouissance Farm= is next passed. Nothing remains either of it or of
+the road, _which started from this point towards Cernay, on the left_.
+
+[Illustration: LA POMPELLE FORT (1918)]
+
+[Illustration: THE MOATS OF LA POMPELLE FORT (1918)]
+
+The =Fort of La Pompelle=, _which is next reached_, is now a mere heap
+of ruins. The road which led to the fort no longer exists. _To visit the
+ruins of the fort, tourists will have to follow on foot the narrow-gauge
+railway which starts from the road (photo above)_.
+
+Tradition has it that St. Timothy came from Asia to convert Rheims,
+suffered martyrdom, together with St. Apollinaris and several
+companions, on the hill known as _La Pompelle_, so-called perhaps from
+the procession (_pompa_ or _pompella_) which, in the Middle Ages, used
+to visit the place of martyrdom of the saints.
+
+This hill, which rises close to the crossing of the
+Rheims-St.-Hilaire-le-Grand and Rheims-Châlons Roads, was fortified
+after 1870, to flank the position of Berru on the south.
+
+The road from Rheims to Saint-Hilaire-le-Grand (_G.C. 7_), which used to
+start from the "Alger Inn," at the cross-roads mentioned above, no
+longer exists. Like the inn, it was obliterated by the shelling. A huge
+crater now occupies the site of the Alger Inn (_photo below_).
+
+[Illustration: CRATER, WHERE USED TO STAND THE "ALGER INN"]
+
+[Illustration: THE IMMEDIATE VICINITY OF WHAT WAS THE "ALGER INN"
+(1918)]
+
+_Continue along N. 44. About 1 kilometre from the fort, at a bend in the
+road_, the shattered remnants of trees of an avenue are visible on the
+left. Under the first fir-tree of this avenue, about 20 yards from the
+national road, is an armoured machine-gun shelter, almost intact.
+
+_Cross the railway (l.c.) near the entirely destroyed station of
+Petit-Sillery. After passing a ruined château on the left, cross the
+bridge over the Vesle. At the fork beyond the bridge, leave N. 44 and
+take G.C. 8 on the right to_ =Sillery=.
+
+This village, renowned for its dry wine, is pleasantly situated on the
+banks of the Vesle. Throughout the war, it was quite close to the
+trenches and was frequently bombarded. In May, 1916, only some fifty of
+its inhabitants remained in the village, which subsequently suffered
+very severely, especially in 1918.
+
+_Take a turn in the village, then follow N. 44 towards Châlons (see
+Itinerary, p. 166)._
+
+[Illustration: THE "PLACE DE LA MAIRIE" AT SILLERY (1918)]
+
+The region of =Sillery-Pompelle= was the scene of much fierce fighting
+throughout the war. After the capture of =La Pompelle= and the "=Alger
+Inn=" by the French 10th Corps on the night of September 17-18, 1914,
+the Germans increased the number of their attacks, with a view to
+regaining these important positions.
+
+One of these attacks (that of December 30, 1914) was preceded by the
+explosion of a mine at the "Alger Inn," which made a hole 130 feet in
+diameter by 55 feet deep (_see photo, p. 169_). After a hand-to-hand
+fight, the French drove back the enemy and remained masters of the
+crater.
+
+In 1918, during their offensives against Rheims, the Germans attacked
+several times in this region. On June 1, between =Pommery Park= (in the
+south-eastern outskirts of Rheims) and the north-east of Sillery, they
+attacked with eight or nine battalions and fifteen tanks. The garrison
+of Fort Pompelle, momentarily encircled, held out until a furious
+counter-attack by the French Colonial Infantry relieved it and drove
+back the assailants. The German tanks were either captured or destroyed.
+On the 18th, after an hour's intense bombardment, the Germans made a
+fresh attack and secured a footing in the Northern Cemetery of Rheims
+and in the north-eastern outskirts of Sillery, but French
+counter-attacks drove them out almost immediately. From July 15 to 17
+their attacks on Sillery were likewise repulsed.
+
+_Continue along N. 44 to the_ destroyed Espérance Farm _(about 2
+kilometres distant), then turn to the right_. Numerous military works
+were made by the French in the embankments of the Aisne-Marne canal
+along the left side of the road.
+
+_The road rises towards the "Mountain of Rheims."_ A white tower,
+dominating the whole plain, _is seen on the left (photo below)_.
+
+=Verzenay= _is next reached by the Rue de Sillery._
+
+[Illustration: VERZENAY, SEEN FROM THE VERZENAY--MAILLY--CHAMPAGNE
+ROAD]
+
+[Illustration: THE OLD MILL AT VERZENAY]
+
+It was at =Verzenay= that, on the evening of September 3, 1914, the
+German aeroplane, which had dropped bombs on Rheims the same morning,
+was brought down. It has suffered relatively little from the
+bombardments.
+
+_To visit the church_, which contains the tomb of Saint-Basle (_chapel
+on the right_), _take the Rue Gambetta, then the Rue Thiers_.
+
+_After visiting the church, return to the Rue Thiers, at the end of
+which is the Rue de Mailly (G.C. 26)._
+
+_Take the latter, which, on leaving Verzenay, rises fairly stiffly._
+
+_At the top of the hill, on the right, begins the road leading to_
+=Verzenay Mill=, which crowns Hill 227 (_see Itinerary, p. 166, and
+photo above_).
+
+This mill, whence there is a fine panorama of the plain as far as the
+hills of Berru and Moronvilliers, was a military observation-post of the
+first order during the siege warfare.
+
+_It belongs to the champagne-wine firm of Heidsieck Monopole, which
+allows tourists to visit it, as also their vineyards in the surrounding
+country._
+
+_The road dips down to_ Mailly-Champagne, _at the entrance to which
+village turn to the right into the Rue Gambetta, then to the left into
+the Rue de Ludes (G.C. 26)_. The road, cut out of the hillside, is very
+picturesque as far as Ludes. In the forest, on the left of the road, are
+numerous "_cendrières_," or quarries, from which volcanic sulphurous
+cinders, used for improving the vines, are extracted. Heaps of these
+valuable cinders (grey, white and black) are frequently encountered at
+the side of the road.
+
+=Ludes= _is next reached by the Avenue de la Gare_.
+
+The region just passed through, including the villages of Verzenay,
+Mailly-Champagne and Ludes, as well as Verzy (_to the east_), and
+Rilly-la-Montagne and Villers-Allerand (_to the west_), are the
+wine-growing centres of the "Mountain of Rheims" properly so-called, the
+black grapes from which produce the best brands of Champagne. The
+villages are picturesquely situated at the edge of the forests which
+crown the hills, while the vineyards which cover the slopes of the
+latter descend to the chalky plain. These vineyards, divided into tiny
+plots, the ground of which before the ravages of the phylloxera cost as
+much as 93,000 francs per hectare (about 2-1/2 acres), constitute the
+principal wealth of the country. Here and there they have suffered from
+the war, but this has not prevented the vine-dressers from cultivating
+them (often with the help of the soldiers) or from gathering the grapes,
+under the continual menace of the German guns.
+
+[Illustration: PUISIEULX. THE CHURCH AND ROAD TO SILLERY]
+
+At =Ludes=, in the _Avenue de la Gare, turn to the right into the Rue de
+Cormontreuil, and again to the right, into the Rue de Puisieulx (G.C.
+33)_.
+
+_At the crossing, 1 kilometre beyond Ludes, go straight on. After
+passing on the right an avenue bordered with trees leading to the_
+=Château of Romont, Puisieulx= _is reached_.
+
+_At the first crossing, on entering the village, keep straight on, then
+turn to the right as far as the_ ruined church, with its curious
+loop-holed chevet. _Leave the church on the right and, at the end of the
+village, turn to the left._ There are a few graves _on the right of the
+road_. _After skirting a large estate, the trees of which were destroyed
+by shell-fire, the tourist reaches_ =Sillery=.
+
+[Illustration: RUINED CHURCH OF TAISSY]
+
+_Turn to the left into G.C. 8, at the entrance to the village. On the
+right are vestiges_ of a small wood, known as "Zouaves Wood," which was
+the scene of many sanguinary fights after its capture by the French in
+1914.
+
+_The tourist next reaches_ =Taissy=, whose ruined church _is on the
+right, by the side of the Vesle (photo, p. 173)_.
+
+This interesting church is largely Romanesque in style (tower, chevet
+and nave). The tabernacle, with altar-piece of carved wood, is Louis
+XIII. A fine wrought-iron railing encloses the sanctuary (_photo
+below_). The small, sonorous bell of the belfry is, strange to say, 13th
+or 14th century.
+
+_Pass straight through Taissy, then follow the tram-lines._
+=Cormontreuil= _is entered by the Rue Victor-Hugo._
+
+_From Cormontreuil, the tourist may return to Rheims either by turning
+to the right in the village, beyond the tram station (in this case he
+will enter Rheims by the Rue de Cormontreuil which leads to the Place
+Dieu-Lumière) or by continuing straight ahead. In the latter case he
+will cross the Faubourg Fléchambault by the Rue Ledru-Rollin. At the end
+of the latter, turn to the right into the Rue Fléchambault which, after
+crossing the Vesle and the canal, leads to the Church of St. Remi._
+
+[Illustration: THE CHOIR OF TAISSY CHURCH]
+
+
+
+
+CONTENTS
+
+
+[Illustration: THE RUE DE LA GRUE, SEEN FROM THE RUE CÉRÈS]
+
+                                                            PAGES
+      Political History of Rheims                             3-7
+      Military History of Rheims                          8 and 9
+      The Battles for Rheims, 1914-1918                      9-15
+      The Destruction of Rheims by the bombardments         16-21
+      Life in the bombarded City                            21-26
+
+
+        I.--A VISIT TO THE CITY                            27-120
+
+    THE CATHEDRAL (description of)                          28-60
+      History of the Cathedral                              28-30
+      The Cathedral during the War                      31 and 32
+      Coloured Plan of Rheims                   between 32 and 33
+      Plan of the Cathedral and Archi-episcopal Palace         33
+      Exterior of the Cathedral                             34-49
+      Interior of the Cathedral                             50-60
+
+    FIRST ITINERARY--THE CITY                               61-94
+      The Place du Parvis                                      62
+      The Archi-episcopal Palace                            63-66
+      The Place Drouet d'Erlon and The Promenades       70 and 71
+      The Hôtel-de-Ville                                       72
+      The Place des Marchés                                    74
+      The Place Royale                                         78
+      The Musicians' House                                     80
+      The Mars Gate                                            82
+      The Rue de Cérès                                         87
+
+    SECOND ITINERARY--THE CITY (_continued_)               95-120
+      The Rue Chanzy                                        95-97
+      The Lycée                                         97 and 98
+      The Abbey of Saint Pierre-les-Dames                      98
+      The Pommery Wine-Cellars                                101
+      The Church of St. Remi                              103-116
+      The Hôtel-Dieu (Hospital)                               117
+
+
+        II.--A VISIT TO THE BATTLEFIELD.
+
+    FIRST ITINERARY (Morning)                             122-133
+      Ormes                                                   124
+      St. Euphraise                                           127
+      Coulommes-la-Montagne                                   128
+      Gueux                                                   129
+      Thillois                                                131
+
+    SECOND ITINERARY (Afternoon)                          134-159
+      Tinqueux                                                135
+      Merfy                                                   137
+      St. Thierry                                             138
+      Villers-Franqueux                                       141
+      Cormicy                                                 144
+      Le Godat                                                148
+      Loivre                                                  150
+      Brimont                                                 152
+      The "Cavaliers de Courcy"                               156
+      La Neuvillette                                          158
+
+    THIRD ITINERARY (Morning)                             160-165
+      Bourgogne--Fresnes                                      161
+      Witry-les-Reims                                         162
+      Nogent l'Abbesse--Beine--Berru                          164
+
+    FOURTH ITINERARY (Afternoon)                          166-174
+      The Butte-de-Tir                                        167
+      The Fort de la Pompelle                                 168
+      Alger Inn                                               169
+      Verzenay                                                172
+
+[Illustration: HERMONVILLE PORCH]
+
+
+PRINTED IN GREAT BRITAIN BY WILLIAM CLOWES AND SONS, LIMITED, LONDON
+
+XII--2,116-8-19-25
+
+
+
+
+BEAUTIFUL FRANCE
+
+       *       *       *       *       *
+
+NORMANDY.
+
+
+Land of rich pastures and fashionable watering-places, Normandy may
+truly be said to have been "favoured by the gods." Her fertile soil,
+famous breeds of horses and cattle, picturesque sites, and renowned
+sea-bathing coast have made Normandy one of France's most flourishing
+provinces. Numerous splendid monuments evoke in the tourist's mind
+reminiscences of a glorious past.
+
+No region has been more lavishly adorned by Nature. Its mountain
+landscapes have caused it to be surnamed "La Petite Suisse." Among the
+more interesting places may be mentioned =Bagnoles-de-l'Orne=, with its
+famous mineral-water springs; =Rouen=, with its celebrated cathedral,
+churches of St. Ouen and St. Maclou, Palais-de-Justice, and port (which
+the war has transformed into one of the most important in Europe);
+=Caen=--"Norman Athens"--with its Romanesque churches, Renaissance
+mansions, and ancient houses; the great cathedrals of =Sées=, =Evreux=,
+=Bayeux=, and =Coutances=; the feudal ruins of =Arques=,
+=Château-Gaillard= and =Falaise=; the Abbeys of =Jumièges= and =St.
+Wandrille=; the mediaeval narrow winding streets of =Lisieux=.
+
+Numerous sea-side resorts: =Dieppe=, =St. Valéry=, =Fécamp=, =Entretat=,
+=Le Hâvre=, and =St. Adresse=, =Honfleur=, =Trouville=, =Deauville=,
+=Villers=, =Houlgate=, =Cabourg=, =Cherbourg= and =Grandville= are too
+widely known to call for special mention.
+
+Lastly =St. Michael's Mount= (surnamed the "Marvel of the West"), with
+its extraordinary pyramid of superimposed Gothic monastery and Churches,
+built on a rock in the middle of a deep bay.
+
+       *       *       *       *       *
+
+_All enquiries with regard to travelling should be addressed to the
+"Touring Club de France," 65, Avenue de la Grande Armée 65, Paris._
+
+
+
+
+MICHELIN TOURING OFFICES
+
+       *       *       *       *       *
+
+    =MICHELIN TYRE Co., Ltd., LONDON=
+    Touring Office :: 81, Fulham Road, S. W.
+
+    =MICHELIN & Cie, CLERMONT-FERRAND=
+    Touring Office :: 99, Bd. Péreire, PARIS
+
+[Illustration (Ad)]
+
+_Why ask the Way, when...._
+
+[Illustration (Ad)]
+
+_... Michelin will tell you free of charge?_
+
+       *       *       *       *       *
+
+Drop a line, ring us up, or call at one of our Touring Offices and you
+will receive a carefully worked out description of the route to follow.
+
+
+    |----------------------------------------------------------------|
+    |               Hotels and Motor-Agents                          |
+    |                       at RHEIMS                                |
+    |                                                                |
+    |   Information extracted from the MICHELIN GUIDE (1919)*        |
+    |================================================================|
+    |               Key to Arbitrary Signs                           |
+    |                                                                |
+    |   [...] Comfortable hotels with modern                         |
+    |           or modernised installation.                          |
+    |  [=CC=] Central Heating.                                       |
+    |   [=L=] Electric Light.                                        |
+    |   [=B=] Bath-room.                                             |
+    |  [=W=C] Modern W.C.'s.                                         |
+    |   [=T=] 104 Telephone number.                                  |
+    |    Gar. [=2=] {Accommodation for auto-                         |
+    |    Shed [=3=] {mobiles, and the number                         |
+    | Shelter [=4=] {which can be put up.                            |
+    |    adj. Adjoining the hotel.                                   |
+    | =Compressed Air= {Depôt for "bouteille                         |
+    |                  {d'air Michelin" for                          |
+    |                  {inflation of tyres.                          |
+    |   [...] Repair shop.                                           |
+    | _Agt for_ Manufacturer's agent.                                |
+    |   [=3=] Garage and number of cars it will hold.                |
+    |     =U= Inspection pit.                                        |
+    |   [=E=] Petrol (gasoline) can be obtained here.                |
+    | [=E""=] Accumulators can be recharged here.                    |
+    | [=A-A=] Agt. for the "British Automobile Association."         |
+    |                                                                |
+    |----------------------  =HOTELS=  ----------------------------  |
+    |                                                                |
+    | Grand Hotel (Temporary Annex), _50, rue Clovis_, [=L=][=WC=].  |
+    | Hôtel du Nord, _73 and 75, Place d'Erlon_,                     |
+    |     [=L=][=WC=] adj. Shed [=3=] [=T=] =6-14=.                  |
+    | Hôtel Continental,_93, Place d'Erlon_,                         |
+    |     [=L=][=WC=] Gar.[=2=] [=U=] Shelter [=4=][=T=] =147=.      |
+    |                                                                |
+    |------------------  =REPAIR MECHANICS=  ----------------------  |
+    |                                                                |
+    | -- STOCK MICHELIN (Compressed Air),                            |
+    |        =Vve. A. Mathieu=, _26, rue Buirette_.                  |
+    |        _Agt for_: de Dion, Renault,                            |
+    |        [=60=] [=U=] [=E=] [=E"=] [=T=] =5-06=.                 |
+    | -- STOCK MICHELIN (Compressed Air),                            |
+    |        =E. Devraine=, _Pl. Colin and 220, rue de               |
+    |        Vesle_, [=50=] [=U=] [=E=] [=E"=] [=A-A=] [=T=] =6-16=. |
+    | -- STOCK MICHELIN, =Auto-Electro-Mécanique Lemaire=, _10, rue  |
+    |        Hincmer, near the Cathedral_,                           |
+    |        [=20=] [=U=] [=E=] [=E"=] [=T=] =2-77=.                 |
+    | -- Garage Central, L. Jeannon, _57, rue des Capucins_,         |
+    |        [=40=] [=U=] [=E=] [=E"=].                              |
+    | -- Jacques d'Anglemont de Tassigny, _181, rue de Vesle_,       |
+    |        [=10]= [=U=] [=E=].                                     |
+    | -- Auto-Palace (de Balliencourt), _35, rue de Bétheny_,        |
+    |        [=10=] [=U=] [=E=] [=E"=].                              |
+    | -- Gaston Etienne, _11, rue Chanzy_, [=10=] [=U=] [=E=].       |
+    | -- M. Triquenot & Cie, _9, rue des Moissons_, [=3=] [=E=].     |
+    | -- E. Caënen, _8, rue Heidsieck_, [=3=] [=E=].                 |
+    | -- Brouard & Colmart, _20, rue de Savoye_, [=4=] [=E=].        |
+    | -- Dieudonné, Cycles, _53, rue de Mars_.                       |
+    | -- Doyen Fréres, Cycles, _52, rue de Céres_.                   |
+    | -- Guérard, Cycles, _81, rue de Neuchâtel_.                    |
+    | -- Boissel, Cycles, _122, bis rue de Gambetta_.                |
+    | -- Siron, Cycles, _80, Avenue de Laon_.                        |
+    |                                                                |
+    |  --------------  =CAR MANUFACTURERS=  -----------------------  |
+    |                                                                |
+    | -- Panhard-Levassor Works, _83, rue Ernest-Renan_.             |
+    | -- Société des Automobiles Brasier Works, _2, rue de Sillery_. |
+    |                                                                |
+    |----------------------------------------------------------------|
+    |                                                                |
+    |* _The above information dates from June 1st, 1919, and may no  |
+    |longer be exact when it meets the reader's eye. Tourists are    |
+    |therefore recommended to consult the latest edition of the      |
+    |"Michelin Guide to France" (English or French), before setting  |
+    |out on the tour described in this volume._                      |
+    |                                                                |
+    |----------------------------------------------------------------|
+    |                                                                |
+    |    THE MICHELIN TOURING OFFICE                                 |
+    |    at 81, Fulham Road, Chelsea, LONDON,                        |
+    |    S.W. 3, will be pleased to furnish                          |
+    |    motorists with advice and information                       |
+    |    free of charge.                                             |
+    |                                                                |
+    |    _Special itineraries free, on request._                     |
+    |                                                                |
+    |----------------------------------------------------------------|
+
+[Illustration: (two ads)]
+
+
+       *       *       *       *       *
+
+
+    Transcriber's notes
+
+Errors of punctuation and diacritics have been repaired.
+
+Notations: =bold face text=, _italic text_.
+
+Hyphens removed: "day[-]break" (page 32), "master[-]piece" (page 50),
+"net[-]work" (page 167), "wood[-]work" (pages 72, 144, 146).
+
+Hyphens added: "key-stones" (page 132), "pre[-]historic" (page 18),
+"timber[-]work" (page 85).
+
+The following words appear once each with and without hyphens and have
+not been changed: "day[-]break", "hand[-]rail", "iron[-]work",
+"stone[-]work".
+
+Page 9: "Witry-les-Rheims" changed to "Witry-les-Reims".
+
+Page 13: "seperate" changed to "separate" (On three separate occasions).
+
+Page 23: "helmet" changed to "helmets" (They were supplied with helmets).
+
+Page 55: "railling" changed to "railing" (wrought-iron railing).
+
+Page 79 (caption): "of" added (supposed to be likenesses of).
+
+Page 136: "roads" changed to "road" (The road turns abruptly).
+
+Page 147: "Villers-Farnqueux" changed to "Villers-Franqueux".
+
+Page 156: "Germas" changed to "Germans" (re-taken by the Germans).
+
+Page 157 (caption of photo): "BÉTHANY" changed to "BÉTHENY".
+
+Page 161: "earthern" changed to "earthen" (earthen ramparts).
+
+Page 164 (title), page 176 (TOC): "l'Abesse" changed to "l'Abbesse".
+
+Page 167: "per-war" changed to "pre-war" (retained its pre-war aspect).
+
+Page 172: "Heidsick" changed to "Heidsieck" (champagne-wine firm of
+Heidsieck).
+
+Note: All the above errors except for those on pages 9, 161, 172 were
+corrected in the 1920 edition of the book.
+
+
+
+
+
+End of the Project Gutenberg EBook of Rheims and the Battles for its
+Possession, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK RHEIMS ***
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+
+Project Gutenberg's Rheims and the Battles for its Possession, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Rheims and the Battles for its Possession
+       Illustrated Michelin Guides to the Battle-Fields (1914-1918)
+
+Author: Various
+
+Release Date: July 29, 2011 [EBook #36885]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RHEIMS ***
+
+
+
+
+Produced by Moti Ben-Ari and the Online Distributed
+Proofreading Team at http://www.pgdp.net. (This file was
+produced from images generously made available by The
+Internet Archive.)
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 448px;">
+<img src="images/i001.jpg" width="448" height="700" alt="" title="" />
+</div>
+
+
+<h2>ILLUSTRATED MICHELIN GUIDES<br />
+TO THE BATTLE-FIELDS (1914-1918)</h2>
+
+<h1>RHEIMS</h1>
+
+<h2>AND THE BATTLES FOR ITS POSSESSION.</h2>
+
+<div class="center">MICHELIN &amp; C<sup>ie</sup>&mdash;CLERMONT=FERRAND.<br />
+MICHELIN TYRE C<sup>o</sup>. Ltd., 81, Fulham Road, LONDON, S.W.<br />
+MICHELIN TIRE C<sup>o</sup>., MILLTOWN, N.J., U.S.A.
+</div>
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 411px;">
+<img src="images/i002.jpg" width="411" height="700" alt="" title="" />
+</div>
+
+<div class="center">
+You don't know<br />
+what a<br />
+<b>Good Road Map</b><br />
+is if you haven't used the<br />
+<b>Michelin Map</b><br /><br />
+(<i>Scale - 1:200,000</i>)<br />
+(3.15 miles to the inch).<br />
+<br />
+On sale<br />
+at Michelin<br />
+stockists<br />
+and<br />
+booksellers.<br />
+</div>
+
+<p>The tourist finds his way about easily <b>in town</b>, if he has a
+plan giving the names of the streets.</p>
+
+<p>He gets about with the same ease and certainty <b>on the road</b>,
+if he has a <b>Michelin map</b>, because it gives all the road
+numbers on the milestones and road-signs.</p>
+
+
+<hr style="width: 65%;" />
+
+<div class="center">THE BEST &amp; CHEAPEST
+DETACHABLE WHEEL</div>
+
+<div class="figcenter" style="width: 376px;">
+<img src="images/i003a.png" width="376" height="297" alt="The Michelin Wheel is practical and strong" title="" />
+<span class="caption"><i>The Michelin Wheel is practical and strong</i></span>
+</div>
+
+<div class="figcenter" style="width: 369px;">
+<img src="images/i003b.png" width="369" height="292" alt="The Michelin Wheel is simple and smart" title="" />
+<span class="caption"><i>The Michelin Wheel is simple and smart</i></span>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>THE "TOURING CLUB DE FRANCE."</h2>
+
+<p>If you are not a Member</p>
+<div class="center">of the Touring Club de France</div>
+<p>join to-day. By doing so, you will help France and, at
+the same time, yourself. (Intending Members should
+be introduced by two actual Members, or furnish
+references.)</p>
+
+<p>If you are already a Member</p>
+<div class="center">of the Touring Club de France</div>
+<p>Introduce new Members. It will only cost you a
+little good will, and you will have the satisfaction of
+knowing that you have helped to augment the
+Association's beneficent influence.</p>
+
+<div class="center"><span class="smcap">Subscriptions</span>:</div>
+
+<p>The yearly subscription is:</p>
+
+<p>6 francs for new Members of French nationality.</p>
+
+<p>10 francs for new Members of other nationality,
+wherever their residence may be.</p>
+
+<p>New subscriptions paid from October 1 are
+valid for the following calendar year.</p>
+
+<p>Life subscriptions may be effected in one payment
+of 120 francs for persons of French nationality, or
+200 francs if of other nationality.</p>
+
+<p>The title of "Membre-Fondateur" may be acquired
+by the payment of 300 francs.</p>
+
+<p>A minimum payment of 500 francs confers the
+title of "Membre-Bienfaiteur."</p>
+
+<hr style="width: 45%;" />
+
+<div class="center">THE TOURING CLUB DE FRANCE,<br />
+65, AVENUE DE LA GRANDE ARMÉE, PARIS (16).</div>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p>
+
+<div class="bboxsmall">
+<div class="center">
+IN MEMORY<br />
+OF THE MICHELIN EMPLOYEES<br />
+AND WORKMEN WHO DIED GLORIOUSLY<br />
+FOR THEIR COUNTRY.
+</div>
+</div>
+
+<h1>RHEIMS</h1>
+<h2>AND THE BATTLES FOR ITS POSSESSION.</h2>
+
+<div class="center">
+Published by<br />
+MICHELIN &amp; <span class="smcap">Cie</span><br />
+Clermont-Ferrand, France.<br />
+<br />
+Copyright by Michelin &amp; Cie. 1919.<br />
+<br />
+<i>All rights of translation, adaptation, or reproduction (in part or whole) reserved<br />
+in all countries.</i>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p>
+
+<div class="bbox">
+<p><i>On July 6th, 1919, the President of the French
+Republic conferred the</i> <b>Croix de la Légion d'Honneur</b>
+<i>on Rheims (fastening it personally on the City
+Arms), with the following</i> "<b>citation</b>":&mdash;</p>
+
+<p>"<i>Martyred city, destroyed by an infuriated
+enemy, powerless to hold it.</i></p>
+
+<p>"<i>Sublime population who, like the Municipal
+Authorities&mdash;models of devotion to duty and
+despising all danger&mdash;gave proof of magnificent
+courage, by remaining more than three years under
+the constant menace of the enemy's attacks, and
+by leaving their homes only when ordered to do so.</i></p>
+
+<p>"<i>Inspired by the example of the heroic French
+maid of venerated memory, whose statue stands
+in the heart of the city, showed unshakeable faith
+in the future of France (Croix de Guerre).</i></p>
+</div>
+
+<div class="figcenter" style="width: 600px;"><br />
+<img src="images/i006.jpg" width="600" height="370" alt="RHEIMS, AS SEEN FROM THE GERMAN LINES
+(Photograph found on a German prisoner)" title="" />
+<span class="caption">RHEIMS, AS SEEN FROM THE GERMAN LINES<br />
+(<i>Photograph found on a German prisoner</i>)</span>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p>
+<h2>RHEIMS</h2>
+
+<h3>POLITICAL HISTORY</h3>
+
+
+<p>Rheims is one of the oldest towns in France, so old that legendary accounts,
+in an endeavour to outdo one another, carry back its foundation sometimes
+to 1440 <span class="smcap">B.C.</span> after the Flood, sometimes to the siege of Troy. Lying at the
+intersection of the natural routes between Belgium and Burgundy, and between
+the Parisian basin and Lorraine, <i>i.e.</i> between political districts that long
+remained different in character, and regions having different commercial
+resources, it was at one and the same time the "<i>oppidum</i>" and <i>market-town</i>.
+Its military and commercial position destined it early to be a great city.</p>
+
+<p>It probably takes its name from the tribe of the <i>Remi</i>, who occupied
+almost the whole territory now forming the "<i>départements</i>" of the Marne
+and the Ardennes, and who were clients of the <i>Suessiones</i> (Soissons) before
+the Roman conquest. It was already a prosperous town, under the name of
+"<i>Durocortorum</i>," when Cæsar conquered Gaul. It freed itself from the
+yoke of the Suessiones by accepting the Roman domination. When the
+Belgians revolted in 57 <span class="smcap">B.C.</span>, the <i>Remi</i> remained faithful to Cæsar and received
+the title of "<i>friends of the Roman people</i>." Neither did they take any part
+in the general revolt of Gaul in 52 <span class="smcap">B.C.</span> Under the Empire, Rheims was,
+with Trèves, one of the great centres of Latin culture in "<i>Gallia Belgica</i>."
+On becoming a federated city, it retained its institutions and senate. A
+favourite residence of the Roman Governors, Rheims was embellished with
+sumptuous villas and magnificent monuments, and soon became one of the
+most prosperous towns in Gaul. At the beginning of the Germanic invasions
+Rheims drew in its borders and became a military town. Under <i>Diocletian</i>
+it was the capital of <i>Belgica Secunda</i>.</p>
+
+<p>According to tradition, Christianity was first preached in Rheims by
+St. Sixtus and St. Sinirus, the first bishops of the city. However that may be,
+Christianity was firmly established there as early as the 3rd century. A
+bishop of Rheims was present at the Council of Arles in 314. The conversion
+of several great Roman personages (amongst others, the <i>Consul Jovinus</i>&mdash;see
+p. <a href="#Page_118">118</a>) favoured the progress of the Christian religion.</p>
+
+<p>In the 5th century, when Rome, otherwise occupied, was unable to hold
+back the barbarians, invasions interfered with the development of the city.
+The Frankish conquest marked the beginning of a new period of prosperity.
+In 486, after the victory of Soissons, <i>Clovis</i> entered into negotiations with
+St. Remi, who, at the age of 22, had been elected Bishop of Rheims in 459,
+and whose long episcopate of seventy-four years is probably unique in history.
+On Christmas Day, <span class="smcap">A.D.</span> 496, St. Remi, who had arranged the marriage of Clovis
+with the Christian princess Clotilde, baptized the Frankish king with his
+own hands in the Cathedral. This important event took place undoubtedly
+at Rheims and not at Tours, as a learned German, <i>Krusch</i>, has attempted
+to prove.</p>
+
+<p>Under the Merovingians and Carolingians, the history of Rheims became
+merged in that of the French monarchy. The possession of the city was
+disputed as fiercely as that of the throne. The city was mixed up in quarrels
+from which it suffered, without, however, losing its religious prestige. Pépin-le-Bref
+and Pope Stephen III., Charlemagne and Pope Leo III. had famous
+interviews there. When the Carolingians restored the religious hierarchy
+Rheims became one of the twenty-two chief cities of the Empire. From the
+time of Charlemagne, the Archbishop of Rheims ruled over twelve bishoprics,
+comprising the cities of the ancient Roman province of <i>Belgica Secunda</i>.</p>
+
+<p>From<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> the 9th to the 11th century the history of Rheims is that of its
+church. The Counts of Vermandois, the Lords of Coucy and the archbishops
+first disputed, then divided its temporal possession, the latter falling eventually
+to the archbishops in the 11th century. After becoming Counts, with
+the right to coin money, and, from 940, powerful temporal princes, the
+archbishops played a great political part in the struggles between the
+Carolingian princes. Under <i>Charles-le-Chauve</i>, Archbishop Hincmar became
+the protector of the enfeebled monarchy. In 858 he prevented <i>Louis-le-Germanique</i>
+from deposing his nephew and becoming King of France. In
+987, Archbishop Adalbéron, at the Meeting of Senlis, drove the legitimate
+heir, <i>Charles de Lorraine</i>, from the throne, and favoured the election of
+Hughes Capet. Although, under the Capetians, Paris became the political
+capital of France, Rheims became the religious metropolis of the kingdom.
+From the time when <i>Louis-le-Pieux</i> had himself consecrated emperor in the
+Cathedral, by Pope Stephen IV., it was understood that every new king
+must be consecrated by the successor of St. Remi.</p>
+
+
+<h4>The Consecration of the Kings of France</h4>
+
+<p>In the 12th century, Popes and Kings formally acknowledged the right
+of the Archbishop of Rheims to consecrate and crown the kings of France.
+As a matter of fact, until the Revolution, all the kings, except Louis IV.
+and Henri IV., were consecrated at Rheims.</p>
+
+<p>The ceremony of consecration filled the Cathedral with a great crowd of
+people. Apart from the peers, numerous prelates, dignitaries of the Kingdom,
+the Court, the Chapter of the Cathedral and the populace crowded in. Staging
+was erected for the public in the transept ends and along the choir. Before
+the consecration took place, the archbishop, at the head of a procession,
+went to receive the <i>Sacred Ampulla</i> at the threshold of the Cathedral, brought
+on horseback by the Abbot of St. Remi. Returning to the altar, the prelate
+received the King's oath and then consecrated him, anointing him with the
+holy oil on his head and breast, between and on his shoulders, on the joints
+of his arms and in the palms of his hands, each motion being accompanied
+with a special prayer. Then the Peers handed the insignia of royalty to the
+archbishop, who, surrounded by all the Peers, placed the crown of Charlemagne
+on the head of the King, <i>while the people shouted</i> "<i>Long live the King</i>."</p>
+
+<p>The King was then led to a throne prepared for him at the entrance to
+the Choir, and mass was celebrated with great pomp. The King and Queen
+communicated in both kinds, and the royal party then went in procession
+to the archbishop's palace, where the <i>Feast of Consecration</i> was held.</p>
+
+<p>In 1162, the Archbishopric of Rheims, until then a county, became a
+Duchy and the highest peerage in France, which explains why it was given
+to great personages, such as Henri-de-France and Guillaume-de-Champagne,
+brother and brother-in-law of Louis VII.</p>
+
+<p>In the 12th century the archbishops, freed from the feudal rivalries,
+were confronted by a new power, the <i>bourgeoisie</i> or middle classes, born of
+the progress of industry and commerce, and whose importance was demonstrated
+by the great Champagne Fairs held sometimes at Rheims and sometimes
+at Troyes. The first <i>Company of Burgesses</i>, founded in 1138, soon
+became a "<i>Commune</i>." In 1147, the suburb of St. Remi, which the archbishop
+refused to allow to become attached to the "<i>Commune</i>" rose in revolt
+and was only appeased by the intervention of St. Bernard and Suger.</p>
+
+<p>In 1160, Archbishop Henri-de-France, with the help of the Count of
+Flanders, who was occupying Rheims with a thousand horsemen, suppressed
+the "<i>Commune</i>" whose independence was alarming him. In 1182 a royal
+charter, granting to the inhabitants the right to elect for a year twelve<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
+"<i>échevins</i>" (aldermen), re-established the <i>Commune</i> in fact, if not in name,
+but the struggle between the <i>Commune</i> and the archbishop still went on.
+In 1211, Philippe-Auguste compelled the aldermen to hand over the keys of
+the city gates to the archbishop.</p>
+
+<div class="figcenter" style="width: 573px;">
+<img src="images/i009.jpg" width="573" height="800" alt="THE CONSECRATION CEREMONY OF THE KINGS OF FRANCE IN THE
+CATHEDRAL OF RHEIMS (see p. 4)" title="" />
+<span class="caption">THE CONSECRATION CEREMONY OF THE KINGS OF FRANCE IN THE
+CATHEDRAL OF RHEIMS (<i>see p. <a href="#Page_4">4</a></i>)</span>
+</div>
+
+<p>In 1228, Archbishop Henri-de-Braine, not feeling himself safe in the city,
+built the fortified castle of Mars-Gate (or old castle of the archbishops)
+outside the walls, but looking towards the city (<i>photo, p. <a href="#Page_6">6</a></i>). During the
+serious riots of 1235, the burgesses besieged the archbishop's castle, for which<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
+act they were excommunicated by Pope Gregory IX., and rebuked by
+St. Louis. In 1257, St. Louis intervened once more, to put an end to the
+fighting between the free Companies of the Burghers and the soldiers of
+the archbishop.</p>
+
+<p>In the 14th century the two adversaries frequently came to blows, until
+the king, in 1362, put an end to their quarrels by taking into his own
+hands the care and military government of Rheims.</p>
+
+<p>In spite of these local struggles the city developed in the course of the
+Middle Ages. With Chartres it had a well-attended episcopal school, long
+before Paris. Among the masters of this school were <i>Gerbert</i>, one of the
+most learned men of the Middle Ages, who became Pope under the name of
+Sylvester II., and <i>St. Bruno</i>, founder of the Carthusian Order. Among the
+pupils were <i>Fulbert</i> (afterwards Bishop of Chartres), the historian <i>Richer</i>,
+<i>Guillaume de Champeaux</i>, and <i>Abélard</i> (adversary of St. Bernard).</p>
+
+<p>During the Hundred Years' War (<i>see military section</i>) the Town Council
+of Rheims, which the Treaty of Troyes in 1420 had placed under the domination
+of the English, declared in favour of Charles VII., in spite of the Duke of
+Burgundy, who was residing at Laon, and notwithstanding the intrigues
+of the Bishop of Beauvais, Pierre Cauchon, who, profiting by the absence
+of the archbishop, went so far as to have a <i>Corpus Christi</i> procession in the
+city, to call down the blessing of Heaven upon the English. On July 17th,
+1429, Joan-of-Arc handed over the keys of the city to the king, and was
+present at the consecration, standing near the altar with her standard which,
+"after having been through much tribulation, was accounted worthy of a
+place of honour." Since the return of Charles VII. to Rheims, the city had
+never ceased to be French. After the departure of the king and Joan-of-Arc,
+a friend of Pierre Cauchon plotted to deliver the town into the hands
+of the Duke of Burgundy, to whom the English promised it, provided he could
+take it. The plot was discovered and failed.</p>
+
+<p>Under Louis XI. a serious revolt, known as the Micquemaque, broke out
+in the town. Louis, well received at the time of his consecration, had promised
+the people of Rheims (or so they believed) the abolition of the tax known as
+the "<i>taille.</i>" When, therefore, in the following year, the collectors demanded
+payment, the people rose in revolt and drove them out.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i010.jpg" width="400" height="344" alt="THE OLD CASTLE OF THE ARCHBISHOPS OF RHEIMS,
+RAZED TO THE GROUND BY HENRI IV.
+The Archbishops of Rheims were formerly powerful temporal
+lords (see page 4)." title="" />
+<span class="caption"><br />THE OLD CASTLE OF THE ARCHBISHOPS OF RHEIMS,
+RAZED TO THE GROUND BY HENRI IV.<br />
+<i>The Archbishops of Rheims were formerly powerful temporal
+lords (see page <a href="#Page_4">4</a>).</i></span>
+</div>
+
+<p>As usual,<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> the king had recourse to treachery. Disguised as peasants, his
+soldiers entered the city unperceived. Once inside, they arrested those who
+were most deeply compromised, and carried out violent reprisals. Houses
+were plundered, many of the inhabitants banished, and nine put to death.</p>
+
+<p>During the War of Religion, Rheims sided with the Catholics.</p>
+
+<p>Under the influence of the <i>Guises</i>, five of whom were archbishops of Rheims
+(notably Cardinal Charles de Lorraine, the protector of Rabelais and Ronsard,
+and founder of the University of Rheims in 1547), the town espoused the cause
+of the League and opened its gates to the Duc de Mayenne in 1585. It submitted
+to Henri IV. only after the battle of Ivry, when the Castle of Mars
+Gate (stronghold of the archbishops) was razed to the ground. Henceforth
+the archbishops played no political part, and Richelieu put an end to strife
+by turning the <i>Guises</i> out of the archi-episcopal see.</p>
+
+<p>In the 17th and 18th centuries the town lived in peace, with alternations
+of misery and suffering (caused by plague or famine) and commercial and
+industrial prosperity. It was at Rheims that the first French newspaper,
+the "Gazette de France," printed by Godard in 1694, appeared.</p>
+
+<p>During the Revolution, Rheims received the new ideas with enthusiasm.
+It furnished a great number of volunteers to withstand the invasion, and on
+August 14th, 1792, the Legislative Assembly proclaimed that the city "<i>had
+deserved well of the country</i>."</p>
+
+<p>Under the Restoration its industry developed. In August, 1830, the
+people, who were favourably to the Revolution of July, overturned the cross
+of the "<i>Calvaire de la Mission</i>," erected in 1821 by the ultra-Catholic party,
+and in its place set up a funeral urn with the inscription, "To the brave men
+who died for liberty on the 27th, 28th and 29th days of July, 1830." The
+population accepted the monarchy of July, but without enthusiasm.</p>
+
+<p>The Second Empire witnessed a remarkable development of business
+activity which, after the momentary stoppage caused by the War of 1870
+and the Prussian occupation (<i>see military section</i>), made of Rheims, at the end
+of the 19th century, one of the great commercial and industrial cities of
+France. The population increased from about 30,000 (in 1792) to 59,000 (in
+1865) and to more than 115,000 in 1912.</p>
+
+<p>When the War of 1914 broke out, the rich and ancient city was still as
+<i>La Fontaine</i> had described it:</p>
+
+<div class="poem">
+"<i>No town is dearer to me than Rheims,<br />
+The Honour and Glory of our France.</i>"<br /><br />
+</div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i011.jpg" width="700" height="353" alt="RHEIMS, FROM AN OLD ENGRAVING (1622)" title="" />
+<span class="caption">RHEIMS, FROM AN OLD ENGRAVING (1622)</span>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span></p>
+<h3>MILITARY HISTORY</h3>
+
+
+<p>If the military and commercial situation of Rheims destined it, from early
+times, to be a great city, it also exposed it to the greed of ambitious foreigners,
+and opened the road to invasion.</p>
+
+<p>During the Hundred Years' War the city was fiercely disputed. On
+December 4th, 1359, Edward III. of England besieged it. On January 11th,
+1360, a sortie of the troops and burghers, under Remi Grammaire, compelled
+him to raise the siege, in recognition of which feat of arms Charles V. permitted
+the "<i>fleur-de-lys</i>" (emblem of the Royal House of France) to be
+emblazoned on the City's coat of arms. Since then the Shield of Rheims
+has been: In chief France ancient, in base argent Two, laurel branches in
+Saltire vert. In 1420 the English were more successful and entered Rheims,
+whose gates were opened to them by Philippe-le-Bon, Duke of Burgundy.
+Nine years later (July 16th, 1429) the Dauphin of France and Joan-of-Arc
+entered the town, then finally delivered, by the Dieu-Lumière Gate (formerly
+the Gate of St. Nicaise).</p>
+
+<p>During the invasion of 1814, Marshal Marmont's troops retook Rheims
+on March 13th, after sharp street fighting, and Napoleon entered the city
+the same night.</p>
+
+<p>In 1870, after the investment of Metz, Rheims witnessed the departure
+of the army formed by MacMahon at Châlons-sur-Marne, for the relief of
+Marshal Bazaine. A few days later (September 4th) the Prussian troops
+entered the city at 3 o'clock in the afternoon by three different gates. On
+the 6th, the King of Prussia, accompanied by Bismarck and Von Moltke,
+made an imposing entry, and resided for some time at the archi-episcopal
+palace, in the apartments reserved for the Kings of France at the time of their
+consecration. Rheims was held to ransom, and a number of citizens shot
+for protesting against the German yoke, chief among whom was the Abbé
+Miroy, Curé of Cuchery, whose tomb (the work of the sculptor Saint Marceaux)
+is in the northern cemetery. Others were carried away prisoners to Germany.
+The Prussian troops evacuated the town on November 20th, 1872.</p>
+
+
+<h4>The Invasion of 1914</h4>
+
+<h6>(<i>See map, p. <a href="#Page_11">11</a>.</i>)</h6>
+
+<p>Forty-four years later to a day (September 4, 1914), German advance
+troops again entered Rheims, as General Joffre's plans had not provided for
+defending the city. However, the Army detachments placed under the command
+of General Foch on August 29, and wedged in between the 4th and
+5th Armies, stayed the German advance for a few days. On August 30 the
+42nd Division from the East, detrained at Rheims and took up positions at
+Sault-Saint-Rémy and Saint-Loup-en-Champagne on August 31, to the left
+of the 9th and 11th Corps.</p>
+
+<p>On September 1, General Foch resisted on the river Retourne but, in the
+evening, withdrew to the river Suippe, in conformity with the general orders.
+On the 2nd the town was still protected by the 10th Corps (elements of which
+occupied the Fort of St. Thierry), by the 42nd Division near Brimont and to
+the north of the Aviation ground, and by the 9th and 11th Corps to the
+east. On the 3rd, the French retreat towards the Marne became more rapid,
+and Rheims was abandoned. On September 5, Prince August Wilhelm
+of Prussia entered the town and took up his quarters at the Grand Hôtel.
+The Germans at once requisitioned 50 tons of meat, 20 tons of vegetables,
+100 tons of bread, 50 tons of oats, 15,000 gallons of petrol, besides straw
+and hay, and insisted on the immediate payment of a million francs as a
+guarantee that their requirements would be met.</p>
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
+<img src="images/i013.jpg" width="700" height="540" alt="THE TEMPORARY GERMAN OCCUPATION OF SEPT. 1914
+German troops in front of the Cathedral. The scaffolding of the latter was set on fire on Sept. 19." title="" />
+<span class="caption">THE TEMPORARY GERMAN OCCUPATION OF SEPT. 1914<br />
+<i>German troops in front of the Cathedral. The scaffolding of the latter was set on fire on Sept. 19.</i></span>
+</div>
+
+<p>This sum was paid in the course of the afternoon, under threats by the
+enemy. From the 6th onwards the German soldiers gave themselves up to
+plundering. The tobacco warehouse at 21 Rue Payen was ransacked,
+and more than 700,000 francs worth of cigars and tobacco stolen. On
+the following days pillaging, especially of the food-shops, continued. On
+the 9th, the Kommandantur requisitioned civilians to bury the dead in the
+Rethel, Epernay and Montmirail districts. On the 11th, the Crown Prince
+arrived and took up his quarters at the Grand Hôtel, where he was joined by
+Prince Henry of Prussia, brother of the Kaiser. On the morning of the 12th,
+the Germans, alarmed at the approach of the victorious French troops from
+the Marne, arrested the Mayor (Dr. Langlet), Mgr. Neveux, coadjutor of
+Rheims, and the Abbé Camus. They then drew up a list of a hundred hostages
+and threatened to hang them at the first attempt at disorder. They
+also threatened to burn the city, wholly or partially, and to hang the inhabitants,
+if any of them molested the German soldiers. All that day the Germans,
+instead of organising defences, left the town in haste, after first pillaging it.
+In the afternoon the Crown Prince left the Grand Hôtel with his suite. At
+5 p.m., after setting fire to the forage stores, the Kommandantur left Rheims
+by the Rethel road in drenching rain, followed by the hundred hostages,
+who were only released at the level-crossing at Witry-les-Reims. When
+the latter returned to Rheims, a patrol of French mounted Chasseurs had
+already entered the town by the suburb of St. Anne. The next morning,
+at about 6 o'clock, the French troops, with the 6th mounted Chasseurs at
+their head, entered Rheims by the Rue de Vesle. At 1 p.m. General Franchet
+d'Espérey, commanding the French 5th Army, entered the city.</p>
+
+
+<h4>The Battles for Rheims, 1914-1918</h4>
+
+<p>Although evacuated by the Germans, Rheims had yet to remain for
+nearly four years under enemy fire. With equal obstinacy the adversaries
+disputed the town, the French seeking to disengage it and the Germans
+to recapture it.<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p>
+
+<p>On September 12, on the approach of the victorious French Army from
+the Marne, the Germans entrenched themselves to the south-west of the town,
+and established a line of resistance passing through Thillois, Ormes, Bezannes
+and Villers-aux-Noeuds.</p>
+
+<p>In spite of the very unfavourable weather, the 3rd Corps (Gen.
+Hache) vigorously engaged the enemy at Thillois, and forced them to
+abandon the position in the evening. The 1st Corps (Gen. Deligny),
+on the right, had orders to push forward advance-guards into Rheims,
+but as a matter of fact they reached the suburb of Vesle. The 10th
+Corps (Gen. Defforges) attacked at Puisieulx and forced the enemy across
+the Vesle.</p>
+
+<p>On the 13th, the left of the 3rd Corps arrived in front of Courcy and Brimont,
+where the Germans were strongly entrenched. A desperate battle took
+place, with the result that Courcy was taken before noon. Loivre likewise
+fell into the hands of the French, but the passage of the Aisne Canal was
+fiercely disputed. The attack on Brimont failed, in spite of the great valour
+of the troops, who sustained heavy losses. Meanwhile, the 1st Corps crossed
+Rheims, with orders to debouch at Bétheny. Just outside the town
+they were met with violent artillery fire, which, however, did not completely
+check their advance. La Neuvillette, Pierquin Farm and Bétheny
+were occupied, and the 1st Corps linked up on its left with the 3rd Corps,
+on the outskirts of Soulain Woods. The advance continued during the
+night, and Modelin Farm was reached by advance-guards. General
+Deligny took up his headquarters in the suburb of Vesle. The 10th
+Corps crossed the Vesle, engaged the enemy at St. Léonard and reached
+the railway.</p>
+
+<p>On the 14th, the fighting greatly increased in violence. The 3rd
+Corps, in spite of repeated efforts, was unable to advance; on the left it
+failed to drive the enemy from the St. Marie Farm, while on the right
+it was held up before Brimont. The 1st Corps was likewise checked; the
+1st Division (Gen. Gallet) attempted unsuccessfully to support General
+Hache in his attack on Brimont. The 10th Corps, although strongly
+engaged towards the Fort of La Pompelle, made but little progress.
+Farther away, on the right, the battle extended along the front of the
+9th Army.</p>
+
+<p>On the 15th, at 5.30 a.m., the 5th Army resumed a general offensive.
+Fierce fighting took place at St. Marie Farm, to the left of the 3rd Corps,
+and also further north, near Hill 100. Despite heavy sacrifices, however,
+the enemy held their positions; but, on the right, the 36th Infantry Regiment
+captured the Château of Brimont at day-break. General Deligny, less
+fortunate, was driven out of Soulains Woods, but stood firm at the Champ-de-Courses
+and Bétheny. The 10th Corps continued to advance slowly,
+and at certain points reached the high-road to Suippes.</p>
+
+<p>On the 16th, the 3rd Corps attacked Brimont again, but failed. At the
+château the situation became more and more critical, by reason of the
+retreat of the 1st Corps on the previous day. This Corps had again to face
+a powerful enemy counter-offensive, which, however, failed to drive it from
+the Modelin Farm and the "Cavaliers de Courcy."</p>
+
+<p>On the 17th, the Germans counter-attacked all along the line. In the
+afternoon the 3rd Corps, which stood firm at Godat Farm and Loivre, was
+elsewhere compelled to cross to the west bank of the canal and fall back on
+Courcy.</p>
+
+<p>After a heroic defence the isolated garrison of Brimont Castle, weakened
+by heavy losses, surrendered during the night, after having spent all its
+ammunition. The 1st Corps, the greater part of which had left for the<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+region of Berry-au-Bac, held its positions with its last available units. The
+10th Corps extended its front westwards to Bétheny, while one of its regiments,
+the 2nd Infantry, occupied La Pompelle Fort.</p>
+
+<p>On the 18th, the enemy increased their efforts against the front held by
+the 3rd Corps and the reserve units further west. Loivre, which had so
+far resisted, fell. The French withdrew to the west of the road to Laon.
+The situation was considered critical at this point of the front. The 10th
+Corps, which had been withdrawn from the east of Rheims, in favour of
+another sector, was stopped on the way and sent for a few days in support
+of the 3rd Corps.</p>
+
+<p>On the 19th, one of its brigades counter-attacked Courcy Mill. On the
+other side, the Moroccan Division (Gen. Humbert), which had relieved the
+10th Corps, continued to hold La Pompelle Fort.</p>
+
+<p>Gradually the front became fixed. Desperate, indecisive fighting still
+took place, but finally the front stabilised on the line extending from the
+foot of the Berru and Nogent-l'Abbesse Hills, along the road from Rheims
+to Suippes, on the east, and along the western bank of the Aisne Canal on the
+north.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i015.png" width="700" height="726" alt="EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1914
+(See pp. 9-11.)" title="" />
+<span class="caption">EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1914<br />
+(See pp. <a href="#Page_9">9</a>-<a href="#Page_11">11</a>.)</span>
+</div>
+
+
+<h4>The French Offensive of April, 1917</h4>
+
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p>
+
+<p>The French offensive, planned by the then Commander-in-Chief, General
+Nivelle, and launched in April, between Soissons and Auberive, aimed at
+piercing the German front and disengaging Rheims.</p>
+
+<p>North-west of Rheims was the 5th Army (Gen. Mazel), of which the
+38th Corps (Gen. de Mondesir) held the immediate approaches to the town,
+followed by the 7th Corps (Gen. de Bazelaire), 32nd Corps (Gen. Passaga)
+astride the Aisne, and, extending beyond Craonne, the 5th Corps (Gen. de
+Boissoudy) and the 1st Corps (Gen. Muteau).</p>
+
+<p>East of Rheims the 4th Army (Gen. Anthoine) was engaged only during
+the second stage of the battle.</p>
+
+<p>At 6 a.m. on the 16th, in drenching rain, the 5th Army attacked all
+along the front, in conjunction on the left with the 6th Army (Gen. Mangin),
+which undertook to storm the Chemin-des-Dames. The enemy was expecting
+the attack, and had concentrated very large forces and powerful artillery.
+Despite their bravery, the French were unable to break through.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i016.png" width="700" height="342" alt="EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1917" title="" />
+<span class="caption">EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1917</span>
+</div>
+
+<p>In the Rheims sector, the 32nd Corps advanced three kilometers to the
+north of the Aisne. The 7th Corps crossed the canal at Loivre and captured
+Berméricourt in the morning, but was forced to give up part of the conquered
+ground in the afternoon, in consequence of a powerful German counter-attack.
+In front of Brimont a brigade of the 38th Corps failed to pierce the
+enemy's positions.</p>
+
+<p>On the 17th, while the army of General Mazel resisted a violent enemy
+counter-attack, General Anthoine attacked from the east of Rheims to Auberive
+with the 8th Corps (Gen. Hély d'Oissel), 17th Corps (Gen. J. B. Dumas),
+12th Corps (Gen. Nourrisson). At 4.45 a.m., despite violent squalls of rain
+and snow, the French infantry rushed forward and carried the first German
+lines along a front of eleven kilometers. The 34th Division (Gen. de Lobit)
+carried the Mont Cornillet and Mont Blond hills, which the enemy attempted
+in vain to recapture.</p>
+
+<p>On April 18 and 19, and May 4 and 5, the fighting was spasmodic and
+finally ceased. On the whole, the French offensive failed, and Rheims
+continued to remain under enemy gun-fire.</p>
+
+<p>On the morning of May 27, 1918, the Germans commenced a powerful
+offensive between Vauxaillon (on the Chemin-des-Dames) and the Fort of
+Brimont. At the beginning of the attack, the French line passed through
+Bétheny and along the Aisne-Marne Canal. In the evening, after the loss<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>
+of the Chemin-des-Dames and the Aisne Canal, Rheims was no longer protected
+on the north-west, except by the St. Thierry Heights, which were soon
+turned. The Germans crossed the Vesle at several points, principally at
+Bazoches and Fismes, and advanced as far as Muizon.</p>
+
+<p>On May 29, the French line passed through La Neuvillette, Châlons-sur-Vesle,
+Muizon and Rosnay. On the 30th, it extended from Perquin
+Farm to Méry-Premecy, via Champigny. On the 31st, Tinqueux and Vrigny
+fell.</p>
+
+<p>Further to the south the Germans advanced along the valley of the Ardre
+towards the Château-Thierry&mdash;Epernay&mdash;Châlons railway, threatening
+Epernay (<i>see the Michelin Guide: "The Second Battle of the Marne"</i>).</p>
+
+<p>However, Rheims still held out. On June 1, the Germans attacked
+simultaneously, without success, to the south-east of the town (between
+Pommery Park and La Pompelle Fort), and on the west and south-west
+(between La Haubette and Ormes), while the French recaptured Vrigny.
+On three separate occasions&mdash;in the evening of the 1st, and on June 9 and
+18, the enemy's powerful and costly efforts to recapture this important
+position broke down. On the 18th, they delivered a fresh general attack
+from Vrigny to La Pompelle, gaining a footing in the Northern Cemetery of
+Rheims and in the north-eastern outskirts of Sillery, but everywhere else
+they were repulsed. On the 23rd and 29th, they rushed Bligny Hill, held by
+the Italians, only to lose it again shortly afterwards. Once again, Rheims
+had eluded the enemy's grasp.</p>
+
+
+<h4>July 15 to August 9, 1918</h4>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i017.png" width="700" height="546" alt="EXPLANATORY MAP OF THE MILITARY OPERATIONS DESCRIBED ABOVE" title="" />
+<span class="caption">EXPLANATORY MAP OF THE MILITARY OPERATIONS DESCRIBED ABOVE</span>
+</div>
+
+<p>At dawn, on July 15, the Germans began a new offensive from Château-Thierry
+to La Main de Massiges. It was Ludendorf's much vaunted "Friedensturm"
+(peace-battle), and was expected by him to prove irresistible and<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
+decisive. Its purpose was to complete the encirclement of Rheims,
+carry the hills surrounding the town, crush the French 4th Army,
+and reach Châlons-sur-Marne (<i>see the Michelin Guide: "Champagne and
+Argonne"</i>). However, this time, there was no surprise, and the Allies held
+out victoriously.</p>
+
+<p>To the west, between Dormans and Rheims, Franco-Italian forces held
+their ground on the Châtillon-sur-Marne&mdash;Cuchery&mdash;Marfaux&mdash;Bouilly line.
+To the east, from La Pompelle to the Argonne, the army of General Gouraud,
+after voluntarily abandoning its first line previous to the enemy's attack,
+checked and decimated the armies of Von Einem and Von Mudra, on its
+second or battle-line. On July 16, 17 and 18, the enemy, now exhausted
+and incapable of resuming their general attack, attempted local attempts
+only, especially near Beaumont-sur-Vesle, to the north of Prosnes, and in the
+region of Trigny and Pourcy, to the west, all of which were repulsed. Once
+more Rheims escaped, and was destined from now on, to be gradually freed
+from the enemy's grasp. The French counter-offensive began on July 18,
+on the Aisne (<i>see the Michelin Guide: "The Second Battle of the Marne"</i>),
+extending shortly afterwards to the west of Rheims. On the 22nd, the army
+of General Berthelot captured St. Euphraise and Bouilly, and on the 23rd
+reached a point between Vrigny and the Ardre. A number of German
+counter-attacks on July 24, 25 and 30 and August 1 failed to check
+its advance. On August 2, Gueux and Thillois were recaptured. On
+the 4th, the Vesle was reached to the east of Fismes, and the latter occupied,
+while a small force crossed to the north bank of the river. On the 7th, after
+fierce fighting, in which the French and Americans advanced foot by foot,
+the Vesle was crossed to the east of Bazoches and Braine. On the 9th,
+Fismette was taken.</p>
+
+
+<h4>September 26 to November 11, 1918</h4>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i018.png" width="700" height="449" alt="" title="" />
+</div>
+
+<p>The disengaging of Rheims, which had begun slowly, was now rapidly
+accomplished. Two French offensives completely effected it in a few days&mdash;that<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+of September 26 (<i>see the Michelin Guide: "Champagne and Argonne"</i>),
+under General Gouraud, and that of September 30, first by General Berthelot
+and then by General Guillaumat. The first of these offensives, to the east,
+brought about the fall of the Moronvilliers Heights, after outflanking them;
+the second, to the west, captured the Saint-Thierry Heights, the French troops
+crossing the Aisne-Marne Canal from Le Godat to La Neuvillette. This double
+man&oelig;uvre forced the Germans, whose communications were threatened, to
+beat a hasty retreat on October 5 along a twenty-seven mile front. An
+important part of the old German front of 1914, and one of the most fiercely
+disputed, collapsed suddenly. The formidable forts of Brimont and Nogent-l'Abbesse,
+which had held Rheims under their guns for four years, fell.
+This time the deliverance of Rheims was complete and final.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i019.png" width="700" height="741" alt="THE DISENGAGING OF RHEIMS" title="" />
+<span class="caption">THE DISENGAGING OF RHEIMS</span>
+</div>
+
+<div class="blockquot">
+The dotted lines show the Allied advance at the date indicated in the middle of each zone
+conquered. The line of departure is that of July 18 (18/7). On the evening of Oct. 6 (6/10)&mdash;the
+upper thick dotted line&mdash;the town was completely disengaged. The Allied advance has
+the appearance of a fan spreading out west of Rheims until Oct. 5 (5/10), when the Germans
+were forced to make a deep retreat.
+</div>
+
+
+<h4>The Destruction of Rheims</h4>
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p>
+<p>Being unable to capture Rheims, the Germans reduced it to ruins
+by bombardment. For four years (September 4, 1914, to October 5,
+1918) they rained explosive and incendiary shells on it, almost without
+intermission.</p>
+
+<p>On September 3, 1914, at about 11 a.m., a German aeroplane dropped
+bombs on the town. A few of the inhabitants left, as the enemy approached,
+but the majority remained. A lady-teacher, sixty years of age, Mlle. Fouriaux
+(afterwards decorated with the Légion d'Honneur), who had charge of Hospital
+No. 101 (formerly a high-school for girls), transferred the wounded to Epernay
+and then returned on foot to Rheims.</p>
+
+<p>On September 4, at 9.30 a.m., when the enemy advance-guards were
+already in the town, and a German officer was making requisitions at the
+Town Hall, the bombardment began again. From 9.30 to 10.15 a.m., 176
+large shells fell into the town, three of which tore open the great gallery of
+modern paintings in the Museum. Forty-nine civilians were killed and 130
+wounded, several of them mortally.</p>
+
+<p>The Germans, hard pressed by the French, evacuated Rheims on September
+12. Two days later, at 9 a.m., they bombarded the town. Their fire was
+especially directed against the headquarters of General Franchet d'Espérey,
+near the Town Hall. On the following days, firing was resumed at the same
+hour. On the 17th, the first fires broke out. Many civilians were killed or
+wounded. The vicinity of the Cathedral, which was believed to be specially
+aimed at, was among the places that suffered most. To protect the Cathedral,
+which the Germans had fitted up on the 12th for the reception of their wounded,
+some seventy to eighty German wounded were accommodated on straw in
+the nave. The Red Cross flag was displayed on each tower, and notice given
+to the enemy.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i020.jpg" width="700" height="538" alt="GERMAN SHELLS BURSTING IN A STREET OF RHEIMS" title="" />
+<span class="caption">GERMAN SHELLS BURSTING IN A STREET OF RHEIMS</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><br />
+<img src="images/i021a.jpg" width="500" height="397" alt="THE MONT DE PIÉTÉ" title="" />
+<span class="caption">THE MONT DE PIÉTÉ</span>
+</div>
+
+<p>On the 18th, the bombardment began again at 8.15 a.m. In addition
+to the Sub-Prefecture, which was almost entirely destroyed, as were also
+many important factories, the Cathedral, in spite of the Red Cross flag,
+was struck by 8-in. shells, which damaged the outside sculptures of the
+lower windows of the main transept, smashing the 13th and 14th century
+stained-glass. Splinters of stone killed a French gendarme and two wounded
+Germans in the lower part of the south nave.</p>
+
+<p>On the 19th, the bombardment was intensified. The Town Hall, Museum,
+hospitals (including that of the Girls' High School), the south side of the
+Cathedral and the Archbishop's Palace were all hit. Towards noon, incendiary
+shells were rained on the centre of the town.</p>
+
+<p>At about 4 p.m., a shell fired the wooden scaffolding round the north-west
+tower which had been under repair since 1913. The fire spread quickly
+to the roof, the molten lead from which set fire to the straw in the nave.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i021b.jpg" width="500" height="417" alt="THE SAINT FRÈRES FACTORY IN RUINS (OCT. 1916)
+(15 Rue de l&#39;University)" title="" />
+<span class="caption">THE SAINT FRÈRES FACTORY IN RUINS (OCT. 1916)<br />
+(<i>15 Rue de l&#39;University</i>)</span>
+</div><p><span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i022a.jpg" width="500" height="471" alt="CENTRAL WOOL CONTROL OFFICE IN SEPT., 1915" title="" />
+<span class="caption">CENTRAL WOOL CONTROL OFFICE IN SEPT., 1915</span>
+</div>
+
+<p>In spite of a rescue party, who risked their lives in getting out the wounded,
+a dozen of the German wounded perished in the flames. The conflagration
+spread to the Archbishop's Palace, from which it was impossible to remove
+the tapestries or the pre-historic Roman and Gothic collections. The Protestant
+Church, the Offices of the Controller of silk and woollen cloths, and
+the Colbert barracks along the eastern boulevards were burnt. Everywhere
+new centres caught fire, and nearly thirty-five acres of buildings were
+destroyed. On the 20th, the bombardment continued with equal violence,
+then after a respite of two days began again. Of the Place Royale and the
+Rue Colbert nothing remained but a heap of ruins.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i022b.jpg" width="500" height="427" alt="THE PROTESTANT CHURCH IN AUGUST, 1917
+(Boulevard Lundy)" title="" />
+<span class="caption">THE PROTESTANT CHURCH IN AUGUST, 1917<br />
+(<i>Boulevard Lundy</i>)</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i023a.jpg" width="500" height="393" alt="KINDERGARTEN SCHOOL IN THE BOULEVARD LUNDY" title="" />
+<span class="caption">KINDERGARTEN SCHOOL IN THE BOULEVARD LUNDY</span>
+</div>
+
+<p>On November 1 the number of civilians killed by shell fire had increased
+to 282.</p>
+
+<p>From September 14, 1914, to the beginning of June, 1915, the town never
+remained more than four days without being shelled. Up to the end of
+November, 1914, the shells rarely went beyond the Cathedral and the theatre,
+falling mostly in the suburbs of Cérès and Laon. On November 22, the
+suburb of Paris was struck, and from that time onwards there was no security
+for the inhabitants in any quarter of the city.</p>
+
+<p>As it would take too long to recount all the bombardments, only the most
+terrible ones are here mentioned. On November 26, 1914, the German
+guns fired all day, one shell alone killing twenty-three patients in the
+Hospital for Incurables. On the night of February 21 and on February 22,
+1915, more than 1,500 shells fell in the town, killing twenty civilians, setting
+on fire a score of houses and piercing the vaulting of the Cathedral.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i023b.jpg" width="400" height="334" alt="RUE GAMBETTA
+The Cathedral is seen at the end of the street." title="" />
+<span class="caption">RUE GAMBETTA<br />
+<i>The Cathedral is seen at the end of the street.</i></span>
+</div>
+
+<p><span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span></p>
+
+<p>On March 8, terrifying fires broke out again. On April 29 and July 20
+more than 500 shells, many of them incendiary, were counted. In April, 1916,
+more than 1,200 projectiles struck the different quarters of the town in one
+day. On August 13, whilst the town was being bombarded, seven German
+aeroplanes dropped incendiary bombs, which burnt the Hôtel Dieu Hospital.
+On October 25, the Germans fired more than 600 shells into Rheims and
+more than 1,000 on the 27th.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i024.jpg" width="700" height="872" alt="THE BOMBARDMENT OF THE CATHEDRAL QUARTER
+Part of the striking-points of the shells which fell around the Cathedral, as noted by the
+architect of the latter (M. Sainsaulieu). The shells which struck the Cathedral were far too
+numerous to allow all of them to be shown on the above plan." title="" />
+<span class="caption">THE BOMBARDMENT OF THE CATHEDRAL QUARTER<br />
+<i>Part of the striking-points of the shells which fell around the Cathedral, as noted by the
+architect of the latter (M. Sainsaulieu). The shells which struck the Cathedral were far too
+numerous to allow all of them to be shown on the above plan.</i></span>
+</div>
+
+<p>On April 1, 1917, more than 2,800 shells fell in the town, and on the 4th,
+2,121. According to the Official Communiqué, on the night of the 5th and
+on Good Friday, the number of shells was 7,500. Easter-Day was likewise
+terrible. On April 15, 19 and 24 the town received large numbers of<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
+8-in., 12-in. and 15-in. shells. On May 3 the Town Hall and 108 houses were
+burnt. On the 4th the fires spread to fifteen neighbouring streets.</p>
+
+<p>From April 8 to the 15th the enemy rained incendiary shells on the
+town without respite, and completed their work of destruction, in the course
+of the afternoon of the 21st, by burning the centre of the town. Hardly anybody
+was left in the latter, except the firemen, who, despite their prodigious
+activity and valour, were unable to cope with the flames.</p>
+
+<p>Whole streets, often the finest, were burnt down, more than 700 houses
+being destroyed.</p>
+
+<p>When, on October 5, the Germans retreated, the havoc caused by this
+continual bombardment was incalculable. Of the town's 14,000 houses,
+only about sixty were immediately habitable when the people came back.</p>
+
+<p>In addition to the material losses, there were, unfortunately, numerous
+irreparable artistic and archæological losses.</p>
+
+
+<h4>Life in Bombarded Rheims</h4>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i025.jpg" width="600" height="449" alt="THE DESTRUCTIONS, PHOTOGRAPHED FROM AN AEROPLANE (Cliché Illustration)" title="" />
+<span class="caption">THE DESTRUCTIONS, PHOTOGRAPHED FROM AN AEROPLANE (<i>Cliché Illustration</i>)</span>
+</div>
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="right">ND.&mdash;</td><td align="left">The Cathedral.</td><td align="right">LO.&mdash;</td><td align="left">Hôtel du Lion d'Or.</td></tr>
+<tr><td align="right">PR.&mdash;</td><td align="left">Place Royale.</td><td align="right">PA.&mdash;</td><td align="left">Archi-episcopal Palace.</td></tr>
+<tr><td align="right">D.&mdash;</td><td align="left">Hôtel de la Douane.</td><td align="right">A.&mdash;</td><td align="left">The Cardinal's House.</td></tr>
+<tr><td align="right">SG.&mdash;</td><td align="left">Société Générale Bank.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="right">EP.&mdash;</td><td align="left">Professional School for Young Ladies.</td></tr>
+<tr><td align="right">P.&mdash;</td><td align="left">General Post Office.</td><td align="right">SP.&mdash;</td><td align="left">Sub-Prefecture.</td></tr>
+<tr><td align="right">J.&mdash;</td><td align="left">Palais de Justice.</td><td align="right">PG.&mdash;</td><td align="left">Place Godinot.</td></tr>
+<tr><td align="right">T.&mdash;</td><td align="left">Theatre.</td><td align="right">L.&mdash;</td><td align="left">Lycée.</td></tr>
+<tr><td align="right">M.&mdash;</td><td align="left">Museum.</td><td align="right">C.&mdash;</td><td align="left">Colbert Barracks.</td></tr>
+<tr><td align="right">GH.&mdash;</td><td align="left">Grand Hôtel.</td></tr>
+</table>
+</div>
+
+<p>Although there were short respites, it may be said that for four years
+Rheims led the life of a besieged town, under the fire of the German guns and
+howitzers. The enemy increased the calibre of their shells and varied their
+modes of bombardment, sometimes firing for a few hours, sometimes all day<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
+long at the rate of one shell every three
+minutes, or again at night. Sometimes 3-in.
+shells would be used, at others "Jack Johnsons"
+of 8-in., 12-in. and 15-in. calibre; sometimes
+all four at the same time. Both
+explosive and incendiary shells were used,
+while aeroplane bombs, darts and asphyxiating
+gas were resorted to occasionally.
+Public holidays were the occasion of the
+fiercest bombardments, in the hope of
+increasing the number of victims. For
+instance, the shelling was particularly murderous
+on All Saints' Day of 1914, when
+the eastern and southern cemeteries (generally
+crowded on this day) were especially
+aimed at. Easter Monday of 1916 and Good
+Friday of 1917 were similarly favoured.</p>
+
+<div class="figleft" style="width: 165px;">
+<img src="images/i026a.jpg" width="165" height="350" alt="THE FIRST AND SECOND STORIES
+OF A HOUSE IN THE RUE
+D&#39;ANJOU, AFTER THE BURSTING
+OF AN 8-IN. SHELL" title="" />
+<span class="caption">THE FIRST AND SECOND STORIES
+OF A HOUSE IN THE RUE
+D&#39;ANJOU, AFTER THE BURSTING
+OF AN 8-IN. SHELL</span>
+</div>
+
+<p>After each check&mdash;at Verdun, in Champagne,
+on the Somme or wherever it might
+be&mdash;the Germans revenged themselves on
+Rheims. In this way the Cathedral was
+fired by incendiary shells after the defeat on
+the Marne in 1914. The awful fires of
+February 22 and March 8, 1915, were
+the German reply to their set-backs in
+Champagne and Argonne. The Hôtel Dieu
+hospital was burnt down in August, 1916,
+the day after the Franco-British attack on
+the Somme. The Town Hall was reduced
+to ashes on May 3, 1917, after the
+French offensive on the Champagne
+hills. For the same reason the bombardments
+reached their maximum
+of intensity in April and May, 1918,
+<i>i.e.</i> after the enemy had lost all hope
+of crushing the Allies and taking
+Paris.</p>
+
+<p>At the beginning of the siege the
+population took refuge in the south-western
+districts, which were not as
+yet bombarded, but on and after
+November 22, 1914, when the
+German shells reached the suburb of
+Paris, a large number of the inhabitants
+left the town.</p>
+
+<div class="figleft" style="width: 220px;">
+<img src="images/i026b.jpg" width="220" height="350" alt="THE EFFECT OF AN 8-IN. SHELL IN THE
+PREMISES OF &quot;LA MUTUALITÉ,&quot; IN
+THE RUE DES ELUS (SEPT. 8, 1915)" title="" />
+<span class="caption">THE EFFECT OF AN 8-IN. SHELL IN THE
+PREMISES OF &quot;LA MUTUALITÉ,&quot; IN
+THE RUE DES ELUS (SEPT. 8, 1915)</span>
+</div>
+
+<p>In February, 1915, the exodus
+began again, but at the end of May
+in that year there were still some
+26,000 people in the town. In
+February, 1917, after twenty-eight
+months of bombardment, there
+remained 17,100 people, or 100,000
+fewer than in 1914. At the beginning
+of April in that year, the mayor
+and later the sub-prefect, requested
+all those who were not prevented
+by their duties to leave the town.<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p>
+
+<p>This invitation not having the desired effect, the military authorities, in
+view of the increased intensity of the bombardment and the imminence
+of the French offensive, announced that they could not guarantee food
+supplies for the town, and decided that the civil population must leave not
+later than April 10. The evacuation was effected by carts and motor-vehicles
+to Epernay, where trains awaited the people.</p>
+
+<p>A part of the inhabitants returned to Rheims after the French offensive
+of April-May, but for a few months only, as, in February, 1918, the
+coming German offensive compelled the civil population again to leave the
+town.</p>
+
+<p>During the thirty-one months, during which a considerable portion of the
+population persisted in staying in Rheims (September, 1914, to April, 1917),
+life and work went on in the bombarded city, the people adapting themselves
+courageously to their precarious existence and to the danger. They were
+supplied with helmets and gas masks, like the soldiers. Shell and bomb-proof
+shelters were organised, and the cellars, with which the city abounds, became
+the people's ordinary dwellings. The Town Council, with the exception of a few
+members who left on the approach of the enemy, remained at the Town Hall
+until it was destroyed, then installed themselves in a cellar, under the constant
+chairmanship of the Mayor, Dr. Langlet. The services rendered by the
+latter during these trying times were such that the French Premier decorated
+him personally in November, 1914, with the <i>Croix de la Légion d'Honneur</i>.
+The General Post Office had to change its quarters several times; but
+until the complete evacuation of the town the postmen went their rounds
+regularly.</p>
+
+<p>The Courts of Justice were set up in the cellars of the Palais-de-Justice.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/i027.jpg" width="300" height="434" alt="REMOVING THE WORKS OF ART
+IN JANUARY, 1918" title="" />
+<span class="caption">REMOVING THE WORKS OF ART
+IN JANUARY, 1918</span>
+</div>
+
+<p>The archbishop, Mgr. Luçon, was absent from Rheims in 1914, being
+retained in Rome by the Council. As soon as the latter was ended, he<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
+returned to Rheims and thereafter, like his coadjutor, Mgr. Neveux, and the
+unmobilized clergy, he remained at his post until the evacuation of April,
+1917. The Cathedral architect, M. Sainsaulieu, who, like Mgr. Luçon,
+has been made a Chevalier de la Légion d'Honneur, remained constantly
+at his post, repairing from day to day, as well as might be, the damage
+caused to the Cathedral, and saving the art treasures spared by the German
+shells.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i028.jpg" width="400" height="323" alt="SCHOOL CHILDREN WITH GAS-MASKS" title="" />
+<span class="caption">SCHOOL CHILDREN WITH GAS-MASKS</span>
+</div>
+
+<p>The firemen, reinforced in March, 1915, by thirty-two of their comrades
+from Paris, devoted themselves, at the risk of their lives, to fighting the
+flames caused by the bombardments. Unfortunately, their courage and
+devotion were often unequal to their task. For instance, twenty-two
+separate fires occurred on the night of February 22, 1915. Their task was
+rendered still more difficult by the fact that the Germans often fired
+on the burning buildings to drive off the men who were trying to save
+them.</p>
+
+<p>On July 6, 1917, the President of the French Republic fittingly acknowledged
+the magnificent bravery of the firemen by personally decorating
+their flag with the Croix de la Légion d'Honneur. At the same time he
+conferred this dignity on the city (<i>see p. <a href="#Page_2">2</a></i>).</p>
+
+<p>After remaining closed for several weeks, the schools re-opened. Until
+then, the children had been too much in the streets looking for aluminium
+fuses of shells, out of which they made rings, or for scraps of stained-glass
+from the broken windows of the Cathedral. The first school, called the
+"Maunoury" school, was installed on December 7, 1914, in a wine cellar
+of the firm Pommery, Boulevard Henri-Vasnier, near the Rond-Point St.
+Nicaise. On January 22, 1915, the "Joffre" school was opened in the
+cellars of Messrs. Mumm, 24 Rue du Champ-de-Mars. Then came the
+"Albert I." school, in the cellars of Messrs. Krug, 5 Rue Coquebert, and the
+"Dubail" school in those of Messrs. Champion, Place St. Nicaise. In
+addition to the underground schools, open-air classes were conducted. The
+underground schools, in which the teaching staff, exclusively voluntary, lived
+permanently, together with the school-children and their relatives, were
+situated in the most exposed and frequently bombarded districts. The
+"Dubail" school was struck three times: on March 6, 1915 (by an 8-in.
+shell), and on March 25 and October 25, 1916. Luckily there were no
+victims.</p>
+
+<p>The schools were quite close to the enemy lines, the distance varying from
+about two-thirds of a mile to a mile and a half.</p>
+
+<p>In 1915 and 1916,<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> the examinations for the "Elementary School Certificate"
+took place in July, as usual. In 1915, the ceremony of the Annual
+Prize Distribution, which had not taken place at Rheims for ten years,
+was restored, the book-prizes for the pupils coming from every corner of
+France.</p>
+
+<div class="figcenter" style="width: 530px;">
+<img src="images/i029.jpg" width="530" height="800" alt="CARDINAL LUÇON, ARCHBISHOP OF RHEIMS, COMING OUT OF THE CATHEDRAL" title="" />
+<span class="caption">CARDINAL LUÇON, ARCHBISHOP OF RHEIMS, COMING OUT OF THE CATHEDRAL</span>
+</div>
+
+<p>The victualling of the town, thanks to the co-operation between the<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
+Municipal and Military Authorities, was effected with regularity. There
+was never any shortage of bread. The butchers' and grocers' shops remained
+open. The milk-women and hawkers donned their helmets and continued
+to push their carts through the streets. The market-women remained at
+their stalls. The nuns of St. Vincent-de-Paul, whose convent had been largely
+destroyed, ensured the service of cheap meals, organised by the Municipality
+for the poor. The undaunted inhabitants had their daily paper ("<i>L'Eclaireur
+de l'Est</i>"), edited by M. Dramas, a courageous journalist, whose printing-house
+was early wrecked by shell-fire, but who continued almost single-handed
+to issue his paper.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i030a.jpg" width="400" height="344" alt="MILK-WOMAN, WITH HELMET, GOING
+HER ROUND" title="" />
+<span class="caption">MILK-WOMAN, WITH HELMET, GOING
+HER ROUND</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i030b.jpg" width="400" height="328" alt="WINE-CELLAR OF MESSRS. POMMERY USED
+AS A DWELLING" title="" />
+<span class="caption">WINE-CELLAR OF MESSRS. POMMERY USED
+AS A DWELLING</span>
+<br /><br />
+</div>
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>
+<img src="images/i031a.jpg" width="600" height="351" alt="PANORAMIC VIEW, SEEN FROM ST. NICAISE HILL (p. 102)" title="" />
+<span class="caption">PANORAMIC VIEW, SEEN FROM ST. NICAISE HILL (<i>p. <a href="#Page_102">102</a></i>)</span>
+</div>
+
+<h2>A VISIT TO RHEIMS</h2>
+
+<h6>(<i>pp. <a href="#Page_28">28</a> to <a href="#Page_120">120</a></i>)</h6>
+
+
+<h3>THE CATHEDRAL (<i>pp. <a href="#Page_28">28</a> to <a href="#Page_60">60</a></i>)</h3>
+
+<h3>FIRST ITINERARY (<i>pp. <a href="#Page_61">61</a> to <a href="#Page_94">94</a></i>)</h3>
+
+<p><b>The Archi-episcopal Palace, Museum, Church of St. Jacques, Promenades,
+Town Hall, Place Royale, Musicians' House, Mars Gate,
+Faubourg Cérès, Church of St. André, Palais-de-Justice, etc.</b></p>
+
+<h3>SECOND ITINERARY (<i>pp. <a href="#Page_95">95</a> to <a href="#Page_120">120</a></i>)</h3>
+
+<p><b>The Lycée, Abbey of St. Pierre-les-Dames, Rue Barbâtre, Church of
+St. Maurice, Church of St. Remi, Hôtel-Dieu Hospital, etc.</b></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i031b.jpg" width="400" height="341" alt="GERMAN PRISONERS CLEARING A STREET (OCT., 1918)" title="" />
+<span class="caption">GERMAN PRISONERS CLEARING A STREET (OCT., 1918)</span>
+</div>
+
+
+<h4>The Cathedral</h4>
+<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p>
+<p>The Cathedral of Rheims, which Charles VIII. declared to be "pre-eminent
+among all the churches of the kingdom," and which a local poet in
+the reign of Louis XIII. extolled above the seven wonders of the world, is
+one of the most beautiful Gothic churches extant.</p>
+
+<p>Few edifices combine such grandeur, simplicity and grace; still fewer, its
+characteristic unity and symmetry.</p>
+
+<p>The work of at least four architects, the building operations extended
+over two centuries, yet it has retained rare unity both of plan and style.
+The whole is so harmonious as to give the impression of being the effort of a
+single master-mind.</p>
+
+
+<h4>Historical Account</h4>
+
+<p>The Cathedral stands on the site of former churches, successively erected
+between the 5th and 13th centuries. On the night of May 6, 1210, a terrible
+fire destroyed the then existing edifice, together with a portion of the city.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i032.jpg" width="600" height="621" alt="THE CATHEDRAL BEFORE THE WAR" title="" />
+<span class="caption">THE CATHEDRAL BEFORE THE WAR</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p>
+
+<p>Exactly one year later, Archbishop Aubri de Humbert laid the first stone
+of a new edifice, which was destined to become the Cathedral of to-day.</p>
+
+<p>Begun in 1211, the building went on without pause for twenty years,
+after which, there was a slackening, followed by a vigorous resumption in
+1299. Another pause occurred during the Hundred Years' War. The
+Cathedral, less the tower spires provided for in the plans, was finished in 1428.
+The spires were not yet built when the great fire of July 24th, 1481, entirely
+destroyed the roof of the Cathedral, further deferring their construction,
+which was subsequently abandoned.</p>
+
+<p>The funds for this colossal work were furnished partly by the clergy and the
+people, partly by Papal Indulgences granted to donors, and by collections in
+Christian lands, especially in the ecclesiastical province of Rheims. The
+wonderful plans of the Cathedral were long believed to be the work of <i>Robert de
+Coucy</i>, whereas the original ones were in fact drawn by <i>Jean d'Orbais</i>, who
+began their execution between 1211 and 1231. His work was continued with
+wonderful fidelity by <i>Jean-le-Loup</i>, from 1231-1247; by <i>Gaucher of Rheims</i>
+in 1247-1255, <i>Bernard of Soissons</i> from 1255 to 1290, <i>Robert de Coucy</i> until
+1311, and afterwards by <i>Maître Colard</i>, <i>Gilles le Maçon</i>, <i>Jean de Dijon</i> and
+<i>Colard de Givry</i> in the course of the 14th and 15th centuries.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i033.jpg" width="600" height="627" alt="THE CATHEDRAL AFTER THE FIRE OF SEPT. 19, 1914" title="" />
+<span class="caption">THE CATHEDRAL AFTER THE FIRE OF SEPT. 19, 1914</span>
+</div><p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p>
+
+<p>In the 17th and 18th centuries only repairs rendered necessary by the
+wear of the stone were effected. In the 19th century, beginning in 1845,
+important restorations, principally by Viollet-le-Duc, were carried out with
+regularity.</p>
+
+<p>The Cathedral's approximate measurements are 480 feet long (it is the
+longest church in France), and 160 feet wide at the intersection of the transept.
+The vaulting, less lofty than that at Beauvais (156 feet) and Amiens (143 feet),
+is 123 feet in height. The towers are six in number (as in the cathedral at
+Laon), of which the four situated at the extremities of the transept have
+never had more than one storey. The principal towers are about 266 feet
+in height, or about 60 feet higher than those of Nôtre-Dame in Paris.</p>
+
+<p>The plan of the Cathedral is in shape a Latin cross, with radiating chapels.
+It is built entirely of stone from the neighbourhood of Rheims. Forty
+pillars support the vaults, which are further sustained by fifty buttresses.
+Three great doorways and eight secondary doors give access to the interior,
+which is lighted by a hundred windows and rose-windows; 2,303 figures of
+all sizes decorate the exterior and interior.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i034.jpg" width="400" height="657" alt="THE CATHEDRAL PHOTOGRAPHED FROM AEROPLANE IN 1916" title="" />
+<span class="caption">THE CATHEDRAL PHOTOGRAPHED FROM AEROPLANE IN 1916</span>
+</div>
+
+
+<h4>The Cathedral During the War</h4>
+<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p>
+<p>In revenging themselves on Rheims for their disappointments and failures,
+the Germans seem to have been particularly determined to destroy the building
+which is at once one of the most precious artistic treasures of France and one
+of the most ancient evidences of her history. In 1814 the then Allies bombarded
+Rheims but respected the Cathedral. It is true that there were
+Germans who found fault with this respectful forbearance. One of them,
+<i>Johann Joseph Goëres</i>, author of a voluminous work entitled "<i>Christian
+Mysticism</i>," dared to write in April, 1814: "<i>Destroy, reduce to ashes, this
+Rheims basilica, where Chlodoric was consecrated, and where was born that
+empire of the Franks, those turncoat brothers of the noble Germans; burn the
+Cathedral.</i>" In the course of the recent war the Germans followed the
+vindictive advice of Goëres, although, less frank than he, they did not dare,
+in face of the indignation of Christendom and of the whole world, boast of
+their vandalism.</p>
+
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i035.jpg" width="500" height="599" alt="THE PIERCED VAULTING AND TOWERS OF THE CATHEDRAL IN 1919" title="" />
+<span class="caption">THE PIERCED VAULTING AND TOWERS OF THE CATHEDRAL IN 1919</span>
+</div>
+
+<p>By way of excuse they alleged sometimes errors in firing, sometimes
+that the French had established a battery of artillery near the Cathedral
+and an observation-post in one of the towers (a projector was installed on<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+the Cathedral, on September 13, 1914, <i>i.e.</i> the day that the French re-entered
+Rheims, and it remained there only one night).</p>
+
+<p>On November 9, 1914, General Rouquerol declared to the French Government,
+who had demanded an enquiry, that the nearest battery to the Cathedral
+was at that time more than 1,200 yards away; that on the day (September
+19) the Cathedral was set on fire by the German shells, the nearest French
+batteries were still quite close to the spot occupied by the above-mentioned
+battery, whose position the French Premier verified personally. The
+General concluded that the German artillery could not have made an error
+of 1,200 yards in firing, but that they had deliberately aimed at the
+Cathedral.</p>
+
+<p>The Cathedral, though terribly shattered, is still standing. The description
+of the edifice (pp. <a href="#Page_33">33</a> to <a href="#Page_60">60</a>) gives particulars of the damage and destructions
+which occurred principally in September, 1914, April, 1917, and July, 1918.</p>
+
+<p>On September 19, 1914, incendiary shells set fire to various portions
+of the building. The roof was burnt, but the vaulting escaped injury. The
+tambours of the side doors and the statues on the latter were destroyed by
+the flames. The 18th century stalls, consecration carpet of Charles X.
+and archi-episcopal throne were likewise burnt. The great rose-window of
+the western façade, together with several other stained-glass windows, were
+destroyed, as were also the "Angel" steeple and its caryatids above the
+chevet. The northern tower was seriously injured by the burning of the
+scaffolding around it (<i>see photo, p. <a href="#Page_9">9</a></i>). The statues were eaten into by the
+flames and subsequently crumbled away, some of them being irrecoverably
+lost.</p>
+
+<p>In 1915 and 1916 the Cathedral was struck a hundred times, but it was
+during the bombardments of April 15, 19 and 24, 1917, that it suffered
+most. For seven consecutive hours, at the rate of twelve per hour, the Germans
+fired 12-in., 14-in. and 15-in. shells on the edifice, causing terrible havoc,
+especially to the south-western side.</p>
+
+<p>During the terrible bombardments of April, 1918, the Cathedral did not
+suffer&mdash;for once the Germans seemed to have decided to spare it; but,
+unfortunately, the truce did not last. In the following months the bombardment
+began again, and the ravages increased, especially in the two towers
+and the vaulting. However, both vaulting and towers, in spite of their
+injuries, have not been irreparably damaged in their vital parts, and are
+capable of restoration.</p>
+
+<p>That the damage is not more serious is due to the protective measures
+taken by the Cathedral architect and by the Department of Historical Monuments.
+As early as 1915, the doorways of the western façade were protected
+with beams and sand-bags (<i>see photo, p. <a href="#Page_25">25</a></i>), while the Treasure was removed
+and placed in safety, together with the paintings and tapestries.</p>
+
+<p>In 1916 and following years masonry protections were placed around
+some of the more valuable statues. The fallen fragments of carvings and
+sculpture were carefully collected, with a view to future restoration. In
+this way the débris of the head of the beautiful statue of the "Visitation"
+Group, known as the "Smile of Rheims," on the left-hand side of the central
+doorway of the western façade, were saved.</p>
+
+<p>At the beginning of 1918, it was found possible to save the remains of
+the stained-glass of the windows, and other glass-work still intact&mdash;amongst
+which was some of the finest in the nave. The salvage was difficult, for
+scaffolding would have furnished the Germans with an excuse for further
+bombardments. Recourse was had to a small body of Paris firemen and
+two glaziers who, in foggy weather, and before daybreak, climbed up to
+the iron framework of the windows and accomplished their work at great
+heights with remarkable courage and skill.</p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 800px;">
+<a href="images/i038-hi.jpg"><img src="images/i038.jpg" width="800" height="806" alt="REIMS" title="" /></a>
+</div>
+
+<h2>REIMS</h2>
+
+<div class="center">
+SCALE.<br />
+------------------------------<br />
+0&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; 500 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;       1,000 M.<br />
+<br /><br />
+</div>
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="right"></td><td align="left">PORTE DE MARS</td><td align="left">A.</td><td align="left">D-3-4</td></tr>
+<tr><td align="right"></td><td align="left">MUSICIANS' HOUSE</td><td align="left">B.</td><td align="left">D-4</td></tr>
+<tr><td align="right"></td><td align="left">BARRACKS</td><td align="left">C.</td></tr>
+<tr><td align="right">**</td><td align="left">CATHEDRAL</td><td align="left">D.</td><td align="left">D-4-5</td></tr>
+<tr><td align="right"></td><td align="left">ARCHI-EPISCOPAL PALACE&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">E.</td><td align="left">D-5</td></tr>
+<tr><td align="right"></td><td align="left">CHURCH OF ST. MAURICE</td><td align="left">F.</td><td align="left">E-5-6</td></tr>
+<tr><td align="right"></td><td align="left">POLICE STATION</td><td align="left">G.</td><td align="left">D-2</td></tr>
+<tr><td align="right"></td><td align="left">HOTEL DE VILLE</td><td align="left">H.</td><td align="left">D-4</td></tr>
+<tr><td align="right"></td><td align="left">LAW COURTS</td><td align="left">J.</td><td align="left">D-4</td></tr>
+<tr><td align="right">*</td><td align="left">HOTEL DIEU</td><td align="left">K.</td><td align="left">E-6</td></tr>
+<tr><td align="right">*</td><td align="left">CHURCH OF ST. REMY</td><td align="left">L.</td><td align="left">E-6</td></tr>
+<tr><td align="right"></td><td align="left">MUSEUM</td><td align="left">M.</td><td align="left">D-5</td></tr>
+<tr><td align="right"></td><td align="left">OCTROIS (Tolls)</td><td align="left">O.</td></tr>
+<tr><td align="right"></td><td align="left">SUB-PREFECTURE</td><td align="left">P.</td><td align="left">E-4-5</td></tr>
+<tr><td align="right"></td><td align="left">THEATRE</td><td align="left">T.</td><td align="left">D-4-5</td></tr>
+<tr><td></td></tr>
+<tr><td></td></tr>
+<tr><td align="right"></td><td align="left">POPULATION</td><td align="right">115,178</td><td align="left">H</td></tr>
+<tr><td align="right"></td><td align="left">ALTITUDE</td><td align="right">83</td><td align="left">M.</td></tr>
+</table>
+</div>
+
+<div class="center"><br /><br />PLACES.</div>
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="right">1.</td><td align="left">&mdash;Pl. Luton</td></tr>
+<tr><td align="right">2.</td><td align="left">&mdash;Pl. de la République</td></tr>
+<tr><td align="right">3.</td><td align="left">&mdash;Pl. du Boulingrin</td></tr>
+<tr><td align="right">4.</td><td align="left">&mdash;Pl. Bétheny.</td></tr>
+<tr><td align="right">5.</td><td align="left">&mdash;Square Colbert</td></tr>
+<tr><td align="right">6.</td><td align="left">&mdash;Pl. St. André</td></tr>
+<tr><td align="right">7.</td><td align="left">&mdash;Pl. des Marchés</td></tr>
+<tr><td align="right">8.</td><td align="left">&mdash;Pl. Colin.</td></tr>
+<tr><td align="right">9.</td><td align="left">&mdash;Pl. Royale</td></tr>
+<tr><td align="right">10.</td><td align="left">&mdash;Esplanade Cérès</td></tr>
+<tr><td align="right">11.</td><td align="left">&mdash;Place du Parvis</td></tr>
+<tr><td align="right">12.</td><td align="left">&mdash;Pl. Belle Tour</td></tr>
+<tr><td align="right">13.</td><td align="left">&mdash;Pl. de l'Hôpital Civil</td></tr>
+<tr><td align="right">14.</td><td align="left">&mdash;Pl. St. Remy</td></tr>
+<tr><td align="right">15.</td><td align="left">&mdash;Pl. St. Nicaise</td></tr>
+<tr><td align="right">16.</td><td align="left">&mdash;Rond point St. Nicaise</td></tr>
+<tr><td align="right">17.</td><td align="left">&mdash;Pl. Dieu Lumière</td></tr>
+</table>
+</div>
+
+<div class="center"><br />HOTELS.<br /></div>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align="left">Hotel Continental</td><td align="left">a</td><td align="left">C-4</td></tr>
+<tr><td align="left">Hotel du Nord</td><td align="left">b</td><td align="left">C-4</td></tr>
+<tr><td align="left">Temporary Annexe Grand Hotel</td><td align="left">c</td><td align="left">D-5</td></tr>
+</table>
+</div>
+
+<p>[.] Post Office &nbsp;&nbsp;&nbsp;&nbsp; Telegraph &nbsp;&nbsp;&nbsp;&nbsp; Telephone&nbsp;&nbsp;&nbsp;&nbsp;      f&nbsp; E-4<br />
+<br />
+=======  Roads and streets to be avoided by motor cars.<br />
+</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i039.jpg" width="500" height="644" alt="Enlarged Plan of Centre of Town." title="" />
+<div class="smcap"><span class="caption">Enlarged Plan of Centre of Town.</span></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p>
+<div class="figcenter" style="width: 522px;">
+<img src="images/i041.png" width="522" height="700" alt="CATHEDRAL OF RHEIMS" title="" />
+</div>
+
+<h2>CATHEDRAL OF RHEIMS</h2>
+
+<h4>Plan of Cathedral
+and
+Archi-episcopal Palace</h4>
+
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="right">1.</td><td align="left">Staircase of the Towers.</td><td align="right">9.</td><td align="left">The Treasure (p. <a href="#Page_58">58</a>).</td></tr>
+<tr><td align="right">2.</td><td align="left">Site of the Labyrinth (p. <a href="#Page_53">53</a>).</td><td align="right">10.</td><td align="left">Clock with Automatons (p. <a href="#Page_55">55</a>).</td></tr>
+<tr><td align="right">3.</td><td align="left">Main Pulpit (p. <a href="#Page_53">53</a>).</td><td align="right">11.</td><td align="left">Tombstone of Hughes Libergier (p. <a href="#Page_55">55</a>).</td></tr>
+<tr><td align="right">4.</td><td align="left">Site of "La Rouelle de Saint-Nicaise" (Flag-stone with memorial inscription) (p. <a href="#Page_53">53</a>).&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="right">12.</td><td align="left">Norman Door (p. <a href="#Page_45">45</a>).</td></tr>
+<tr><td align="right">5.</td><td align="left">Pillar supporting the "Vintage Scene" (p. <a href="#Page_52">52</a>).</td><td align="right">13.</td><td align="left">Great Organ (p. <a href="#Page_55">55</a>).</td></tr>
+<tr><td align="right">6.</td><td align="left">Altar of the Rear Choir (p. <a href="#Page_57">57</a>).</td><td align="right">14.</td><td align="left">Lady Chapel (p. <a href="#Page_55">55</a>).</td></tr>
+<tr><td align="right">7.</td><td align="left">14th century Tombstones (p. <a href="#Page_53">53</a>).</td><td align="right">15.</td><td align="left">Chapel of the Holy Sacrament (p. <a href="#Page_56">56</a>).</td></tr>
+<tr><td align="right">8.</td><td align="left">Tomb of Cardinal de Lorraine.</td><td align="right">16.</td><td align="left">Rosary Chapel (p. <a href="#Page_57">57</a>).</td></tr>
+<tr><td align="right">&nbsp;</td><td align="left">&nbsp;</td><td align="right">17.</td><td align="left">Roman Mosaic (p. <a href="#Page_57">57</a>).</td></tr>
+</table></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span></p>
+<h4>West Façade</h4>
+
+<h6>(<i>See full views on pp. <a href="#Page_28">28</a> and <a href="#Page_29">29</a></i>).</h6>
+
+<p>Better than any other, this part of the building reveals the desire for
+unity and harmony which guided the various builders of the Cathedral.
+The doorway, probably designed by Jean d'Orbais, was very likely not begun
+till about 1250, by Gaucher, of Rheims. Bernard of Soissons built the
+great rose-window and the façade as far as the Gallery of the Kings. The
+architects of the 14th century built the lateral parts forming the first storey
+of the towers, the Kings' Gallery and the gable. The upper storey of the
+towers was only finished in the 15th century. Except for slight modifications
+in detail, the original plan was respected. This façade, with its full open-work
+towers and immense rose-window, demonstrates that the architects knew
+how to obtain the maximum of resistance with wonderfully light construction.</p>
+
+<p>The <b>Western Doorway</b> (<i>photo below</i>) comprises three doors flanked by
+two full arcades, and surmounted by gables adorned with statues.</p>
+
+<p>Between the gables are pinnacles on small columns (the left-hand ones
+have been destroyed). At the foot of the pinnacles are statues of seated
+musicians, which recall those on the house in the Rue de Tambour (<i>see p.
+<a href="#Page_80">80</a></i>), but which have been partly destroyed.</p>
+
+<p>The splaying of the doors is adorned with great statues backed up against
+columns and separated by smaller columns, the capitals of which are connected
+to a foliate frieze of elegant design. The bases are ornamented with
+carved drapery. The tympana of the doors contain window-lights, while
+five rows of statues, separated by lines of flowers and foliage, fill up the archings,
+which suffered severely in the bombardment of September 19, 1914.
+About a dozen subjects were destroyed or spoilt. During the subsequent
+bombardments, shell splinters did further damage.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i042.jpg" width="600" height="482" alt="DOORWAY OF THE WEST FRONT BEFORE THE WAR" title="" />
+<span class="caption">DOORWAY OF THE WEST FRONT BEFORE THE WAR</span>
+</div>
+
+<p>Generally<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> the sculptural decoration on the ground-floor dates from the
+middle of the 13th century.</p>
+
+<p>In September, 1914, several of the great statues of the lateral splayings
+were completely destroyed and the others more or less seriously damaged.
+However, subsequent damage was slight, thanks to the protective measures
+taken in 1915.</p>
+
+
+<h4>Central Door</h4>
+
+<p>The lavish decoration of the central door suffered mutilations during the
+last three centuries. The inscription carved on the lintel dates from 1802 and
+replaced carving descriptive of the life of the Virgin, destroyed during the
+Revolution. The sculpture on the arches, especially that of the three upper
+lines, was partly restored in the 17th and 18th centuries.</p>
+
+<p>The beautiful statues in the splayings of the door represent: <i>to the right</i>
+(<i>photo, p. <a href="#Page_36">36</a></i>), the <b>Annunciation</b> and <b>Visitation</b> (the latter group is striking
+by reason of its inspiration from the antique); <i>to the left, the</i> <b>Purification</b>
+(<i>photo, p. <a href="#Page_36">36</a></i>).</p>
+
+<p>The Virgin of the Annunciation group was damaged by shell splinters
+on September 4, 1914.</p>
+
+<div class="figcenter" style="width: 387px;">
+<img src="images/i043.jpg" width="387" height="600" alt="CENTRAL DOOR OF THE WEST FRONT BEFORE
+THE WAR (Cliché LL.)" title="" />
+<span class="caption">CENTRAL DOOR OF THE WEST FRONT BEFORE
+THE WAR (Cliché LL.)</span>
+<br /><br />
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
+<img src="images/i044a.jpg" width="400" height="387" alt="The Annunciation.       The Visitation.
+RIGHT-HAND SPLAYING OF CENTRAL DOOR" title="" />
+<span class="caption">The Annunciation.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The Visitation.<br />
+RIGHT-HAND SPLAYING OF CENTRAL DOOR</span>
+</div>
+
+<p>In the gable, a pretty group representing the <b>Coronation of the Holy
+Virgin</b> was injured by the fires of 1914.</p>
+
+<p>Of the two fine statues on the top of the buttresses framing the Central
+door, only the right-hand one (<b>Solomon</b>) exists to-day; the other, representing
+the <b>Queen of Sheba</b>, was destroyed by a shell in September, 1914,
+except the head, which was saved.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i044b.jpg" width="700" height="572" alt="LEFT-HAND SPLAYING AND LINTEL OF THE CENTRAL DOOR (Cliché LL.)" title="" />
+<span class="caption">LEFT-HAND SPLAYING AND LINTEL OF THE CENTRAL DOOR (<i>Cliché LL.</i>)</span>
+</div>
+
+
+<h4>The Right-Hand Door</h4>
+<h6><i>See photograph on p. <a href="#Page_25">25</a>.</i></h6>
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p>
+
+<p>On the lintel, <b>Saint Paul</b>, blind, is being led to Ananias, who restores
+his sight and baptizes him.</p>
+
+<p>On the jambs are pretty little figures which have been variously interpreted.
+The majority represent vices and virtues, <i>e.g. on the inner portion</i>:
+<b>Courage</b>, in knightly raiment; <b>Cowardice</b> fleeing before a hare; <b>Charity</b>
+holding out a purse; <b>Avarice</b> with a cash-box; <i>on the outer portion</i>: <b>Pride</b>
+blasted and overthrown with his horse; <b>Sloth</b>, represented as a man seated
+with his head resting on his elbows, in a stall; <b>Wisdom</b> seated, holding a book
+and a lighted lamp. On the same jambs other figures are supposed to symbolise
+the seasons: <b>Autumn</b> sitting on a vine-trellis; <b>Winter</b> standing before a
+fire place; <b>Spring</b> in the midst of flowers; <b>Summer</b> with bared chest.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i045.jpg" width="400" height="440" alt="RIGHT-HAND SPLAYING OF THE RIGHT-HAND DOOR
+The two central figures have been decapitated." title="" />
+<span class="caption"><br />RIGHT-HAND SPLAYING OF THE RIGHT-HAND DOOR<br />
+<i>The two central figures have been decapitated.</i></span>
+</div>
+
+<p>The six statues in the splaying on the right (<i>photo above</i>) represent: the
+aged <b>Simeon</b> holding Christ in his arms; <b>John the Baptist</b>, <b>Isaiah</b>, <b>Moses</b>
+with the brazen serpent and the tables of the Law; <b>Abraham</b> about to sacrifice
+Isaac; <b>Samuel</b> carrying a lamb (which has been broken). They differ by
+their more archaic style from the other sculptures of the lower façade, and
+closely resemble those of the central door of the north transept of the Cathedral
+of Chartres. Like the latter, they date without doubt from the beginning
+of the 13th century. Possibly they belonged to an earlier doorway, or were
+prepared in advance for a purpose not realised, being finally utilised in the
+place where they now stand.</p>
+
+<p>The <b>Last Judgment</b>, in the gable, was severely damaged by shell splinters.</p>
+
+
+<h4>The Left-Hand Door</h4>
+<p><span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span></p>
+<p>This door, on account of the scaffolding which surrounded it, was seriously
+damaged by the fires of September, 1914 (<i>see p. <a href="#Page_17">17</a></i>).</p>
+
+<p>On the lintel is <b>Saint Paul</b>, thrown from his horse at the gates of Damascus.
+On the outside of the jambs, fourteen seated figures meditating, are supposed
+by some to be embodiments of the arts and sciences, but represent more
+probably prophets or teachers. Along the splayings are eleven statues,
+which have not definitely been identified.</p>
+
+<p>In the left-hand splaying is <b>Saint Nicaise</b> between two angels. The
+right-hand angel, generally known as the "<b>Smile of Rheims</b>," was decapitated
+on September 19, 1914. Fortunately, the fragments of the head of this
+fine statue were saved.</p>
+
+<p>The sculptures in the archings depict scenes from the Passion, while the
+group which adorns the gable represents <b>The Crucifixion</b>.</p>
+
+<p>These archings and gable were greatly damaged by the fires of September
+19, 1914, and the bombardments.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i046.jpg" width="700" height="728" alt="LEFT-HAND DOOR OF THE WEST FRONT
+The headless angel on the left against the door was known as the &quot;Smile of Rheims.&quot;" title="" />
+<span class="caption">LEFT-HAND DOOR OF THE WEST FRONT<br />
+<i>The headless angel on the left against the door was known as the &quot;Smile of Rheims.&quot;</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i047a.jpg" width="500" height="352" alt="LEFT-HAND SPLAYING OF THE LEFT-HAND DOOR, BEFORE THE WAR
+St. Nicaise (between two angels) and St. Clotilda. The angel on the right, known as the &quot;Smile
+of Rheims,&quot; was decapitated. (See photo, p. 38.) Cliché LL." title="" />
+<span class="caption"><br />LEFT-HAND SPLAYING OF THE LEFT-HAND DOOR, BEFORE THE WAR<br />
+<i>St. Nicaise (between two angels) and St. Clotilda. The angel on the right, known as the &quot;Smile
+of Rheims,&quot; was decapitated. (See photo, p. <a href="#Page_38">38</a>.) Cliché LL.</i></span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i047b.jpg" width="500" height="582" alt="GABLE OF THE LEFT-HAND DOOR, WITH CRUCIFIXION
+(Cliché LL.)" title="" />
+<span class="caption"><br />GABLE OF THE LEFT-HAND DOOR, WITH CRUCIFIXION<br />
+(<i>Cliché LL.</i>)</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i048.jpg" width="700" height="545" alt="FIRST STOREY OF THE WEST FRONT" title="" />
+<span class="caption">FIRST STOREY OF THE WEST FRONT</span>
+</div>
+
+
+<h4>The First Storey</h4>
+
+<p>In the centre is the great rose-window, best seen from the interior of the
+nave. The stained-glass is broken. On either side, against the arching
+which surmounts it, were two large statues. One of them, <i>David as a youth
+in shepherd's garb</i> (also known as the <i>Pilgrim</i>), was destroyed by the
+bombardments. The other very fine statue is variously said to be <i>Saul</i>,
+<i>Solomon</i> and <i>St. James</i>.</p>
+
+<p>The arching which begins above these statues was adorned with small
+groups of figures representing scenes from the life of Solomon. Most of them
+were destroyed at the same time as the Pilgrim statue.</p>
+
+<p>Above the arching, a gigantic statue (twice restored) represents <i>David
+challenging Goliath</i>. The bombardments of 1914 destroyed a similar
+statue on the left representing <i>David slaying Goliath with a stone from his
+sling</i>.</p>
+
+<p>The first storey of the towers flanking the rose-window is broken by lofty
+twin bays crowned with gables. The niches and pinnacles of the buttresses
+are identical with those of the nave, but the style of their decoration denotes
+a more recent period (early 14th century).</p>
+
+<p>The northern tower was badly damaged by the bombardment of September
+19, 1914, which fired the scaffolding around it (<i>see photo, p. <a href="#Page_9">9</a></i>).
+Two of the pinnacled niches surmounting the buttresses were decapitated,
+while the flames completely disfigured the statues, including that
+of Christ.</p>
+
+<p>A large calibre shell burst in the southern tower on April 19, 1917,
+causing very serious damage.</p>
+
+<div class="figcenter" style="width: 600px;">
+<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
+<img src="images/i049.jpg" width="500" height="522" alt="SECOND STOREY AND UPPER STOREY OF THE TOWERS" title="" />
+<span class="caption"><br />SECOND STOREY AND UPPER STOREY OF THE TOWERS</span>
+</div>
+
+
+<h4>The Second Storey</h4>
+
+<p>The second storey comprises a series of niches, surmounted by sharply
+pointed gables and adorned with gigantic statues, known as the <i>Kings'
+Gallery</i>.</p>
+
+<p>The central group, consisting of seven figures, commemorates the <i>Baptism
+of Clovis</i>. Clovis, standing in the baptismal font; between Saint Remi,
+receiving the Sacred Ampulla, and Clotilda.</p>
+
+<p>The balcony in front of the <i>Baptism of Clovis</i> was formerly called the
+<i>Gloria Gallery</i>, as it was the custom for the choir-boys to sing the <i>Gloria</i>
+there on Palm Sunday.</p>
+
+
+<h4>The Upper Portion of the Towers</h4>
+
+<p>The upper storey of the towers, built on an octagonal plan, is flanked
+with four open-work turrets, one of which contains stairs leading to the
+platforms.</p>
+
+<p>The northern tower, badly damaged by the fire of 1914, lost several of
+the fine colonnettes of its corner turrets in 1918.</p>
+
+<p>In the same year, the pierced staircase of the southern tower was almost
+entirely destroyed.</p>
+
+<p>At the time of the last restorations, the foundations of the spires provided
+for in the original plans, but which have never been built, were laid.</p>
+
+<p>In the belfry of the northern tower are two magnificent deep-toned bells.
+One of them is modern and was cast at Le Mans, and blessed in 1849 by
+Cardinal Gousset. The other, one of the finest bells known, and presented
+to the church in 1570 by Cardinal Charles de Lorraine, is the work of the
+Rheims metal-founder, Pierre Deschamps.</p>
+
+<p>The scaffolding fire of 1914 reached the belfry, bringing down the bells,
+which were broken in the fall.</p>
+
+
+<h4>The Lateral Façades and Chevet</h4>
+<p><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span></p>
+<p>The lateral façades of the Cathedral are of rare beauty. Nowhere have
+abutments and flying buttresses been so harmoniously employed as here.
+They are not merely supports, but form part of the decorative scheme of the
+nave, and ensure the harmony of the whole. Buttresses, finished off with
+pinnacles, serve as points of support for two superimposed flying-buttresses.
+The octagonal pinnacles are flanked with four small triangular pyramids
+and supported in front by two slender detached columns. Between the latter,
+under canopies, angels with outstretched wings carry the instruments of
+the Passion and various other emblems (<i>see photo, p. <a href="#Page_49">49</a></i>).</p>
+
+<p><i>Skirt the Cathedral on the left, passing in front of the North Façade (see photo
+below), to reach the Northern Transept.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i050.jpg" width="500" height="435" alt="THE
+NORTHERN
+TRANSEPT
+IN 1919" title="" />
+<span class="caption">THE
+NORTHERN
+TRANSEPT
+IN 1919</span>
+</div>
+
+
+<h4>The Northern Façade and Transept</h4>
+
+<p>The transept is pierced with broad bays, whose completion, as in all the
+windows of the Cathedral, consists of two twin arches surmounted by a six-leaved
+rose. The niches in the buttresses are ornamented with statues
+believed by some to represent Kings of France. At any rate, that of the
+buttress on the western front of the north-west tower greatly resembles
+the figure of St. Louis carved on the doorway of the church of St. Vincent at
+Carcassonne.</p>
+
+<p>The carvings of the lower windows were either destroyed or damaged
+on September 19, 1914, at the same time as the stained-glass. The two
+towers which flank the crossings were left unfinished.</p>
+
+<p>Before the fire of 1481, there was a lantern over the intersection of the
+transept.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
+<img src="images/i051.jpg" width="500" height="562" alt="CENTRAL
+DOOR
+OF THE
+NORTHERN
+TRANSEPT" title="" />
+<span class="caption">CENTRAL
+DOOR
+OF THE
+NORTHERN
+TRANSEPT</span>
+</div>
+
+
+<h4>The Central Door of the Northern Transept</h4>
+
+<p>The sculptural decoration, while rich, is more sober than that of the
+doorway of the western façade. It is commemorative of the glory of the
+Archbishops of Rheims.</p>
+
+<p>The statue of the Pontiff with a tiara, backing up to the dividing-pillar,
+is supposed to be that of St. Sixtus, first Bishop of Rheims. In the splaying,
+on the left, is St. Nicaise holding his head in his hands, between St. Eutropia,
+an angel and a figure improbably said to be Clovis.</p>
+
+<p>The pediment was pierced by a shell and scarred with splinters. It is
+divided into five tiers, and represent the life of St. Remi and St. Nicaise.</p>
+
+<p>Beginning at the bottom, the figures represent: <i>on the first tier</i>, the
+beheading of St. Nicaise by the Vandals and the Baptism of Clovis by
+St. Remi; <i>on the second</i>, St. Remi, as a child, restores sight to Montanus
+and, as a man, exorcises the demons who had set fire to Rheims; <i>on the third</i>,
+the story of Job; <i>on the fourth</i>, the restoring to life of a young Toulouse
+girl, and the miracle of the cask filled with wine by St. Remi; <i>on the fifth</i>,
+Christ between two angels.</p>
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+<img src="images/i052a.jpg" width="700" height="351" alt="LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST JUDGMENT
+The dead rise from their graves." title="" />
+<span class="caption">LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST JUDGMENT<br />
+<i>The dead rise from their graves.</i></span>
+</div>
+
+
+<h4>The Left-Hand Door of the Northern Transept</h4>
+
+<p>This door, which has long been walled up, is called <i>The Doorway of the
+Last Judgment</i>, on account of the carving on the tympanum.</p>
+
+<p>In the upper part, Christ is supported on one side by the Holy Virgin,
+and on the other by John the Baptist. Below (<i>two rows</i>) the dead rise from
+their graves (<i>photo above</i>). Lower down, on one side are <i>The Virtues</i>, represented
+by seated women; on the other, <i>The Vices</i>, mutilated in 1780 on
+account of their realism. On the lowest tier, <i>to the left</i>, angels carry souls to
+Abraham's bosom: <i>on the right</i>, Satan leads a chain of damned souls to Hell
+(<i>photo below</i>), amongst whom are a king, a bishop, and a monk.</p>
+
+<p>In the arching are three rows of angels carrying books or blowing trumpets,
+and the wise and foolish virgins.</p>
+
+<p>Backing up to the dividing pillar is an exceedingly fine 13th century
+statue, which recalls the "<i>Beautiful God</i>" of Amiens Cathedral (<i>see the
+Michelin Guide: Amiens Before and During the War</i>); Jesus blessing with
+His right hand, holds the globe of the world in His left (<i>see photo p. <a href="#Page_45">45</a></i>).</p>
+
+<p>This statue was decapitated by a shell which struck the doorway in 1918,
+also taking off the head of the first statue on the left-hand portion of the
+doorway.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i052b.jpg" width="700" height="356" alt="LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST JUDGMENT
+Satan drags a chain of damned Souls to Hell." title="" />
+<span class="caption">LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST JUDGMENT<br />
+<i>Satan drags a chain of damned Souls to Hell.</i></span>
+</div><p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p>
+
+<p>On the plinth of the dividing pillar is a bas-relief,
+remarkable for its delicate carving.</p>
+
+<div class="figright" style="width: 146px;">
+<img src="images/i053.jpg" width="146" height="500" alt="DIVIDING-PILLAR OF
+THE LEFT-HAND DOOR
+OF THE NORTHERN
+TRANSEPT
+The statue of Christ
+was decapitated by a
+shell.
+On the plinth is the
+legend of the Master-draper
+(see text opposite)." title="" />
+<span class="caption">DIVIDING-PILLAR OF
+THE LEFT-HAND DOOR
+OF THE NORTHERN
+TRANSEPT<br />
+<i>The statue of Christ
+was decapitated by a
+shell.</i><br />
+<i>On the plinth is the
+legend of the Master-draper
+(see text opposite).</i></span>
+</div>
+
+<p>According to local tradition, this plinth was erected
+at the expense of a dishonest master-draper, convicted
+of selling by false measure.</p>
+
+<p><i>On the left</i>, the merchant is seen in his shop. In
+front of the counter, customers of both sexes look at
+the outspread stuffs, while clerks write in books.</p>
+
+<p><i>On the right</i>, the merchant kneels before a statue of
+the Virgin in penance.</p>
+
+<p>Near-by, burgesses talk together and seem to
+judge the delinquent's conduct severely.</p>
+
+<p>The six statues against the walls represent the
+apostles: <i>on the right</i>, St. John, St. James and St.
+Paul; <i>on the left</i>, St. Andrew, St. Peter and St.
+Bartholomew.</p>
+
+<p>The rose is carved in a voussoir; the uprights are
+decorated with statues of Adam and Eve in long
+tunics, and the arch with twenty-two groups of small
+figures depicting, <i>from left to right</i>, the story of Adam
+and Eve, the various tasks to which they and their
+descendants were condemned, and the story of Cain
+and Abel.</p>
+
+
+<p>Above the rose an open-work gallery contains
+seven statues of the prophets. The statues are 13th century, but the
+gallery was restored in 1846.</p>
+
+<p>The balustrading and triangular gable flanked with pinnacles, which
+dominate the gallery, date from the beginning of the 16th century, but have
+been repaired in recent times. On the gable is a colossal <b>Annunciation</b>;
+the Archangel and Mary are under Flamboyant canopies.</p>
+
+
+<h4>The Right-Hand Door of the Northern Transept (Norman Door)</h4>
+
+<p>This little door formerly connected, by means of a vaulted passage, the
+Cathedral with the Cloister (no longer existing) of the Chapter.</p>
+
+<p>Its tympanum is a relic of the Cathedral built by Archbishop Samson.
+It depicts, in beautiful Romanesque relief, a majestic Virgin. The archivolt
+which frames it, doubtless belonged to a 12th century tomb. At the top of
+the arch, angels carry away a soul, while on the uprights, clerks officiate at
+a funeral service.</p>
+
+
+<h4>The Chevet</h4>
+
+<h6>(<i>See photograph of Cathedral, taken from aeroplane, p. <a href="#Page_30">30</a>.</i>)</h6>
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p>
+<p>The Chevet, begun by Jean D'Orbais and finished by Jean Le Loup,
+was inaugurated by the Chapter about 1241. It is one of the finest 13th
+century chevets in existence.</p>
+
+<p>It is stayed by two rows of buttresses supporting double flying-buttresses.
+Like those of the nave, the buttresses are surmounted with pinnacles, beneath
+which niches shelter statues of flying angels.</p>
+
+<div class="figcenter" style="width: 351px;">
+<img src="images/i054.jpg" width="351" height="500" alt="THE CHEVET BEFORE THE WAR
+One of the finest 13th century Chevets." title="" />
+<span class="caption">THE CHEVET BEFORE THE WAR<br />
+<i>One of the finest 13th century Chevets.</i></span>
+</div>
+
+<p>All around the apse, between the windows of the radial chapels and on
+the main buttresses, are statues of angels, some of them of great beauty.</p>
+
+<p>The 13th century clerestory gallery, which surrounds the upper portion
+of the apsidal chapels, was restored by Viollet-le-Duc. It was partially
+destroyed by the bombardments. On April 19, 1917, three large calibre
+shells, which burst on the chevet, destroyed forty to fifty feet of it. At the
+same time, the buttress jutting on the centre of the destroyed gallery lost its
+pinnacle, and behind, an arch of the flying-buttress. The buttresses between
+the above-mentioned one and the corner of the South Transept Tower lost
+either a colonnette or their pinnacle with angel statue.<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p>
+
+<p>The slender spire which, before the War, rose above the chevet, was known
+as the <b>Angel Spire</b>, on account of a bronze angel which surmounted it, and
+which was removed in 1860 as unsafe. This spire, the work of Colard le
+Moine, was built in 1485, after the fire of 1481. Its pierced base with
+balustrading was supported by eight leaden caryatids, some of which, in
+the popular costume of the Louis XI. period, became deformed in consequence
+of the rotting of their oaken core.</p>
+
+<p>The fire of September 19, 1914, caused by the German shells, entirely
+destroyed the spire and its caryatids.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i055.jpg" width="500" height="549" alt="THE CHEVET IN 1919
+The roof with the &quot;Angel Spire&quot; was destroyed." title="" />
+<span class="caption">THE CHEVET IN 1919<br />
+<i>The roof with the &quot;Angel Spire&quot; was destroyed.</i></span>
+</div>
+
+<p>The bombardments in the spring of the following year further damaged
+the gallery, also causing fresh mutilations to the flying buttresses and the
+pinnacles of the apse.</p>
+
+<p>A plain stone gallery with blind arcading, which formerly ran round the
+chevet on a level with the springing of the roof, was replaced by Viollet-le-Duc,
+with pierced battlemented arcading. Part of the original gallery which
+surrounded the entire building, level with the roof, still exists on the northern
+side.</p>
+
+<p>On October 12, 1914, a shell destroyed about twenty five feet of the
+gallery round the chevet, which later was further damaged by another shell.</p>
+
+
+<h4>The Lateral Façade and South Transept</h4>
+<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span></p>
+<p>This façade and transept (<i>which should be seen from the courtyard of the
+Archbishop's Palace</i>) are identical, as a whole, with the northern façade and
+transept (<i>see pp. <a href="#Page_28">28</a> and <a href="#Page_42">42</a></i>).</p>
+
+<p>The gallery at the springing of the roof of the nave was entirely rebuilt in
+1878 by Architect Millet, in a style foreign to that of the Cathedral.</p>
+
+<p>Among the statues of the transept buttresses that at the corner of the
+south-western tower, bestriding a lion, is thought by some to represent
+<b>Pepin-the-Short</b>, and another near him, <b>Charlemagne</b>.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i056.jpg" width="400" height="552" alt="THE LATERAL FAÇADE AND SOUTHERN TRANSEPT IN 1919" title="" />
+<span class="caption">THE LATERAL FAÇADE AND SOUTHERN TRANSEPT IN 1919</span>
+</div>
+
+<p>The façade of the transept has no doorway. Above the lower storey, the
+architectural arrangement is the same as that of the northern transept.
+At the base of the rose-window, on each side, are two very fine statues.</p>
+
+<p><i>On the left</i>, <b>The Christian Religion</b>, symbolised by a crowned woman
+with chalice and standard. This statue was destroyed by a German shell
+in 1918, after being damaged in April 1917.</p>
+
+<p><i>On the right</i>, <b>The Synagogue</b>, with eyes bandaged and a crown on one
+side, was not seriously damaged.<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p>
+
+<div class="figright" style="width: 268px;">
+<img src="images/i057a.jpg" width="268" height="400" alt="GABLE OF THE SOUTHERN TRANSEPT
+IN 1914" title="" />
+<span class="caption">GABLE OF THE SOUTHERN TRANSEPT
+IN 1914</span>
+</div>
+
+<p>In consequence of the fire of
+1481, the gable of South Transept
+was rebuilt at the beginning
+of the 16th century by three
+master-masons, one of whom,
+Guichart Antoine, co-operated
+later with the building of <b>Nôtre
+Dame de l'Epine</b>. (<i>See the Michelin
+Guide: The Revigny Pass.</i>) It
+was restored about 1888 in the
+original style. The subject sculptured
+on the pediment represents
+the <b>Assumption of the Virgin</b>.</p>
+
+<p>The <b>Sagittarius</b> which surmounted
+the gable was destroyed
+in 1914. It was a modern faithful
+copy of the old lead-covered wooden
+Sagittarius, which was carved,
+gilded and painted about 1503 by
+the Rheims sculptor, Jean Bourcamus.
+According to tradition,
+this Sagittarius, which appeared to
+be shooting its arrow at the bronze
+stag of the archi-episcopal palace,
+symbolised the rivalry between the
+Archbishop and the Chapter of the
+Cathedral.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i057b.jpg" width="700" height="568" alt="THE SOUTHERN LATERAL FAÇADE IN 1914" title="" />
+<span class="caption">THE SOUTHERN LATERAL FAÇADE IN 1914</span>
+<br /><br />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i058.jpg" width="400" height="588" alt="REVERSE SIDE OF THE CENTRAL DOOR IN 1914
+See complete view on p. 52." title="" />
+<span class="caption"><br />REVERSE SIDE OF THE CENTRAL DOOR IN 1914<br />
+<i>See complete view on p. <a href="#Page_52">52</a>.</i></span>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p>
+<h3>THE INTERIOR OF THE CATHEDRAL</h3>
+
+<h4>The Inner Western Façade</h4>
+
+<h6>(<i>See description of the Exterior on pp. <a href="#Page_34">34</a> to <a href="#Page_41">41</a>.</i>)</h6>
+
+
+<p>This is a masterpiece. Its sculptural decoration is unique, and as rich
+as that of the outer façade.</p>
+
+<p>In the tympanum of the central door a sixteen-leaved rose-window, the
+stained-glass of which was made shortly before the Revolution, is faced with
+three small trefoil rose-windows.</p>
+
+<p>At the top of the dividing pillar St. Nicaise, headless, is between two
+angels and two armed men personifying the barbarians who killed him.</p>
+
+<p>The entire door, as far as the triforium, is framed by seven rows of superimposed
+niches separated by panels of sculptured foliage. The basements are
+covered with figured drapery, as on the outside. In each niche, under a
+trefoil arcade, is a statue. The subjects represented are, <i>from bottom to top</i>:
+<i>on the right</i>: <b>The Life of John the Baptist</b>; <i>on the left</i>: <b>The Fulfilment of
+the Prophecy</b> and <b>The Childhood of Christ</b>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
+<img src="images/i059.jpg" width="700" height="518" alt="STATUES ON REVERSE SIDE OF DOORS AFTER FIRE, SEPT., 1914" title="" />
+<span class="caption">STATUES ON REVERSE SIDE OF DOORS AFTER FIRE, SEPT., 1914</span>
+</div>
+
+<p>The first row on the right is known as "<b>The Knight's Communion</b>";
+a priest offers the Host to a knight wearing 13th century armour, and turns
+his back on another knight clothed in a leathern Carolingian tunic with iron
+scales, and armed with a small round buckler.</p>
+
+<p>Above the door, a gallery with nine openings lights the triforium.</p>
+
+<p>On the highest storey, the great rose-window occupies the whole breadth
+of the nave. It is the masterpiece of Bernard de Soissons (<i>see p. <a href="#Page_40">40</a></i>).</p>
+
+<p>In the form of a gigantic flower with twelve petals, each of the latter
+is sub-divided by quatrefoils and trefoil archings. Its harmonious gracefulness
+and seeming lightness, in spite of the great thickness of its border
+(about 7 ft.), and mullions (about 2 ft. 6 in.), are very striking.</p>
+
+<p>The stained-glass, which, with the stonework, formed a harmonious whole,
+was restored in modern times. The subject represented was: <b>The Virgin
+surrounded by angels, kings and patriarchs</b>.</p>
+
+<p>The fire of 1914 destroyed the stained-glass.</p>
+
+<p>The side-doors have only a quatrefoil rose-window (<i>see pp. <a href="#Page_25">25</a> and <a href="#Page_34">34</a></i>),
+and their framework of niches consists only of four rows of two niches each.
+However, two lines of niches, in which are statues in demi-relief, form the
+contour of the arches which frame their top.</p>
+
+<p>The subjects of the sculptures are allied, in the case of each door, to those
+of the outer decoration, <i>i.e.</i> "<b>The Life of St. Stephen</b>."</p>
+
+<p>The wooden doors and their tambours were destroyed by the fire of
+September 19, 1914, which also disfigured or destroyed the statues framing
+them (<i>see photos above</i>).</p>
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
+<img src="images/i060a.jpg" width="700" height="552" alt="INTERIOR OF THE NAVE IN 1919" title="" />
+<span class="caption">INTERIOR OF THE NAVE IN 1919</span>
+</div>
+
+
+<h4>The Great Nave</h4>
+
+<p>The fire of September 19, 1914, destroyed the framework of the Nave
+and its 15th century lead roof. In the following years a number of shells
+pierced the vaulting, without, however, damaging its vital parts. It will
+be possible to restore it.</p>
+
+<p>It seems to be clearly established that although the first four bays were
+built later than the others, the nave as a whole, like that of the Cathedral
+of Amiens, was completely finished before 1300 <span class="smcap">A.D.</span> Vaulted throughout
+on diagonal ribs, the nave, which is perfectly regular, has three stories:
+the lowest, formed of great arches, rests on massive pillars; the triforium,
+formed of two, four, five, or six arcades, extends round the entire building;
+the high twin-bay windows are surmounted with a six-leaved rose-window.</p>
+
+<p>The pillars, which have been likened to a row of antique columns, are
+composed of a great cylindrical shaft, reinforced by four smaller engaged
+columns, standing on an octagonal base. The pillars which follow the first
+bay of the nave and carry one of the
+corners of the towers, as also the four
+pillars of the transept square, are more
+massive.</p>
+
+<div class="figleft" style="width: 250px;">
+<img src="images/i060b.jpg" width="250" height="217" alt="CAPITAL IN THE NAVE" title="" />
+<span class="caption">CAPITAL IN THE NAVE</span>
+</div>
+
+<p>The capitals of the pillars and of the
+columns (<i>photo opposite</i>) are most beautifully
+decorated. The dominating subject
+of their decoration is natural foliage (vine,
+oak, thistle, ivy, ranunculus, fig-tree).
+Occasionally, human or animal figures or
+monsters, and scenes from nature, <i>i.e.</i> the
+dainty <b>Vintage scene</b> on the capital of
+the sixth pillar on the right of the nave,<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
+are interspersed. The ornamentation
+of the capitals of six pillars
+of the first bays is more elaborate
+and more recent in style. These
+capitals are not, like those of the
+other pillars, divided on the four
+flanking columns into two equal
+courses by an astragal, neither do
+they include, like some of the
+others, crockets, acanthus leaves
+and other conventional ornaments
+of an older and less realistic style.</p>
+
+<div class="figright" style="width: 350px;">
+<img src="images/i061a.jpg" width="350" height="543" alt="ROOF OF THE NAVE IN 1914
+In the foreground on the right: Corner of the
+Southern Transept." title="" />
+<span class="caption">ROOF OF THE NAVE IN 1914<br />
+<i>In the foreground on the right: Corner of the
+Southern Transept.</i></span>
+</div>
+
+<p>The 13th and 14th century
+stained-glass of the high windows
+represents, on two superimposed
+lines, figures of kings of France
+and archbishops of Rheims. Some
+of the glass was broken, but the
+finest was saved.</p>
+
+<p>In the third and fourth bays
+there was formerly a square
+<b>Labyrinth</b>, flanked at the corners
+by polygonal compartments. In
+the interior, a line of white tiles
+bordered with black stones ran
+from one side, and after complicated
+windings reached a central
+compartment. At the corners of
+the compartments were figures of
+the four first architects of the
+Cathedral: Jean d'Orbais, Jean
+le Loup, Gaucher of Rheims and
+Bernard of Soissons. The central
+figure is probably that of Archbishop
+Aubri de Humbert, who
+laid the first stone of the edifice.
+This Labyrinth, the drawings of
+which revealed the names of the
+builders of the Cathedral, was
+destroyed in 1778 by the Chapter,
+to prevent the children playing
+there.</p>
+
+<div class="figright" style="width: 350px;">
+<img src="images/i061b.jpg" width="350" height="559" alt="ROOF OF THE NAVE IN 1919
+In the foreground, on the right: Corner of the
+Southern Transept." title="" />
+<span class="caption">ROOF OF THE NAVE IN 1919<br />
+<i>In the foreground, on the right: Corner of the
+Southern Transept.</i></span>
+</div>
+
+<p>Between the Labyrinth and
+the Choir are about twenty 14th
+century tombstones.</p>
+
+<p>The <b>great pulpit</b> set up
+against the fifth left-hand pillar
+was made, in the time of Louis
+XV., by a Rheims artist (Blondel).
+It comes from the old church of
+St. Pierre-le-Vieil.</p>
+
+<p>In the sixth bay, just before<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span>
+the entrance to the choir, the spot where St. Nicaise was beheaded, on the
+threshold of his church, was formerly indicated by a small circular chapel
+known as <i>La Rouelle de St. Nicaise</i>. The tiny building was replaced by a
+memorial inscription on the flagstone, supposed to have been stained with
+the blood of the martyr.</p>
+
+
+<h4>The Aisles of the Naves</h4>
+
+<p>The windows of the Aisles are similar to the lofty windows of the nave.
+The walls were formerly hung with valuable tapestries, which were taken
+down and evacuated by the <i>Historical Monuments Department</i> at the outbreak
+of the War. The two oldest, dating back to about 1440, and known
+as the tapestries of the <i>fort roi Clovis</i>, were presented by Cardinal Charles
+de Lorraine, and depict the history of Clovis. Those of the Renaissance,
+given in 1530 by Archbishop Robert de Lenoncourt, who caused himself
+to be portrayed kneeling in the picture of the Birth of Christ, depict
+the <i>Life of the Virgin</i>. The most modern, presented in 1640 by Archbishop
+Henri de Lorraine and worked by the Fleming, Daniel Pepersack,
+represent Jesus at the <i>Marriage at Cana in Galilee</i> and <i>Jesus among the
+Doctors</i>.</p>
+
+<p>At the foot of the walls, three stone steps serve as seats.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i062.jpg" width="700" height="572" alt="TAPESTRIES IN THE SOUTHERN SIDE AISLE, BEFORE THE WAR" title="" />
+<span class="caption">TAPESTRIES IN THE SOUTHERN SIDE AISLE, BEFORE THE WAR</span>
+</div>
+
+
+<h4>The Interior of the Northern Transept</h4>
+<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p>
+<h6>(<i>See plan, p. <a href="#Page_33">33</a>, and the Exterior, p. <a href="#Page_42">42</a>.</i>)</h6>
+
+<p>The inner façade is partially
+hidden by the great organ, built
+about 1487 and transformed several
+times since then. Of the original
+organ the loft only remains, the
+Gothic balustrading of which is
+pierced with Flamboyant arcading.</p>
+
+<div class="figright" style="width: 350px;">
+<img src="images/i063.jpg" width="350" height="493" alt="THE NORTHERN TRANSEPT (see p. 33)" title="" />
+<span class="caption">THE NORTHERN TRANSEPT (<i>see p. <a href="#Page_33">33</a></i>)</span>
+</div>
+
+<p>The façade originally consisted
+of three lofty bays with lancet-shaped
+windows surmounted by a
+gallery lighted by three rose-windows
+of six lobes each and one
+of twelve lobes. The subsequent
+addition of a doorway about the
+<i>middle</i> of the 13th century caused
+the partial suppression of the bays,
+of which the transformed summits
+alone remain.</p>
+
+
+<p>Almost all the high windows
+of the transept contained 13th
+century <i>grisaille</i> glass, which was
+damaged or broken by the bombardments,
+as was also the 13th
+century stained-glass of the great
+rose-window (repaired in 1869),
+which represented <i>The Story of the
+Creation</i> and <i>The Fall of Adam</i>.</p>
+
+<p>The reverse side of the Central Door is bare, except the dividing
+pillar, the statue of which is hidden by the 18th century wooden
+tambour.</p>
+
+<p>The small western side-door, which formerly communicated with the
+cloister of the Chapter, is entirely covered with 18th century woodwork.
+The adjoining bay, closed in by a beautiful 13th century wrought-iron railing,
+is the old chartulary or muniment room of the Chapter. Near the railing,
+in the corner of the transept, is a clock with automatons, which come out
+when the hours strike. Its woodwork is 14th and 15th century and its works
+17th and 18th century.</p>
+
+<p>To the right of the door of the organ stair, a <b>tombstone</b> to <b>Hugues
+Libergier</b> was set up against the wall. He was the architect who, in 1231,
+commenced the abbatial church of St. Nicaise. The tombstone has been
+in the Cathedral since 1800. The altar in the Lady-Chapel, surmounted
+with a statue by François Ladatte (1742), replaced a Gothic altar-screen
+destroyed in 1739.</p>
+
+<p>The picture <i>The Washing of the Disciples' Feet</i> is by Jerome
+Muziano.</p>
+
+<p>On the western walls of the transept is a fine tapestry, the pendant
+of which is in the south transept. These two great tapestries,
+made at the Gobelins, after cartoons by Raphael, represent the life
+of St. Paul. They were removed in 1914, at the same time as those in
+the aisles.</p>
+
+<div class="figcenter" style="width: 600px;">
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p>
+<img src="images/i064.jpg" width="450" height="669" alt="THE VAULTING OF THE CHOIR FELL IN ON THE HIGH ALTAR
+The photo on p. 31 shows the collapse, seen from above." title="" />
+<span class="caption"><br />THE VAULTING OF THE CHOIR FELL IN ON THE HIGH ALTAR<br />
+<i>The photo on p. <a href="#Page_31">31</a> shows the collapse, seen from above.</i></span>
+</div>
+
+<h4>The Choir</h4>
+
+<h6>(<i>See the Chevet, p. <a href="#Page_46">46</a>.</i>)</h6>
+
+<p>The ambulatory with its radiating chapels is of incomparable beauty.
+Excepting the larger central chapel, known as the <i>Chapel of the Holy
+Sacrament</i>, which is nine-sided, each chapel has seven sides rising from a
+circular floor.</p>
+
+<p>In each chapel, three windows similar to those of the nave, light the
+three hindmost walls. Blind windows imitate the true ones on the side walls.</p>
+
+<p>At the base of the windows a narrow gallery, passing through the pillars,
+continues all along the side-aisles of the transept and nave&mdash;a peculiarity in
+Champagne architecture.</p>
+
+<p>The 13th century stained-glass of the high windows was destroyed by
+the bombardment of September 19, 1914.</p>
+
+<p>In April, 1917, part of the vaulting fell in on the High Altar (<i>photo above</i>).</p>
+
+<p>The costly marble High Altar was erected in 1747 by Canon Godinot,
+who spent considerable sums in making alterations to the Cathedral, not all
+of which were happy. Its six chandeliers date from the consecration of
+Charles X.<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p>
+
+<p>The High Altar of the rear choir dates from 1764 and came from the
+Church of St. Nicaise. On either side of this altar are two 14th century
+tumulary stones. Behind is the tomb of Cardinal de Lorraine.</p>
+
+<p>The small pulpit of the rear choir, the medallions of which depict the
+life of St. Theresa, dates from 1678. It is a gift of the widow of M. Pommery
+(<i>photo below</i>).</p>
+
+<p>Twenty-two archbishops of Rheims were buried under the choir pavement.
+Their tombstones were removed in 1747. The present flag-stones came
+from the old church of St. Nicaise.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i065.jpg" width="500" height="294" alt="THE SMALL
+PULPIT IN
+THE REAR
+CHOIR" title="" />
+<span class="caption">THE SMALL
+PULPIT IN
+THE REAR
+CHOIR</span>
+</div>
+
+<p>The archbishop's throne, by Viollet-le-Duc, was destroyed by the fire of
+1914, together with the 18th century stalls.</p>
+
+<p>The railings (1826-1832) replaced, not very happily, an ancient stone
+rood-loft destroyed in 1761.</p>
+
+
+<h4>The Interior of the Southern Transept</h4>
+
+<h6>(<i>See plan, p. <a href="#Page_33">33</a>, and the Exterior, p. <a href="#Page_47">47</a></i>)</h6>
+
+<p>A gap was made in the vaulting by the bombardment of April 19, 1917.</p>
+
+<p>The arrangement of the inner façade is similar to that of the northern
+transept, except that the three high bays with lancet windows, which are
+partially hidden in the northern transept, are here entirely visible.</p>
+
+<p>The stained-glass of the rose-window, destroyed by a hurricane in 1580,
+was replaced in 1581 by the Rheims artist Nicolas Dérodé. It represents
+the Eternal Father surrounded by the twelve apostles.</p>
+
+<p>In the Rosary Chapel is a Renaissance altar-screen (1541), attributed to
+the Rheims sculptor Pierre Jacques. The general scheme represents <i>The
+dead body of Christ on the knees of the Virgin</i>, and above, <i>Christ coming forth
+from the sepulchre</i>. It was a gift of Canon Paul Grandraoul, who is shown
+on his knees before Mary Magdalene.</p>
+
+<p>The Roman mosaic work in the centre of the chapel was discovered in
+the courtyard of the archbishop's palace in 1849. Among the most remarkable
+scenes are: <i>Christ appearing to Mary Magdalene</i>, attributed to Titian;
+<i>Christ with the angels</i>, by Thaddeo Zuccaro; <i>The Nativity</i>, attributed to
+Tintoret; <i>Manna in the Desert</i>, attributed to Nicolas Poussin.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
+<img src="images/i066.jpg" width="500" height="633" alt="ST. REMI&#39;S CHALICE. (Cliché LL.)" title="" />
+<span class="caption">ST. REMI&#39;S CHALICE. (<i>Cliché LL.</i>)</span>
+</div>
+
+
+<h4>The Cathedral Treasure</h4>
+
+<p>This is kept in a sacristy built by Viollet-le-Duc, which is reached through
+a plain door in the southern façade of the transept.</p>
+
+<p>The treasure, which is very rich in precious reliquaries, chalices, and
+other pieces of goldsmith's work, was saved from the fire of September 19,
+1914, by the Curé of the Cathedral and one of his abbés. After being
+temporarily placed in the house of the Cardinal, it was evacuated in 1915,
+at the order of the Historical Monuments Department.</p>
+
+<p>Among the best known of these art treasures are the Chalice of St. Remi
+and St. Ursula's Skiff.</p>
+
+<p>The <b>Chalice of St. Remi</b>, with its gold filagree work, six rows of chasing,
+and precious stones set in a <i>collier</i>, is a remarkable work of art. It was in
+this chalice that, by special privilege, the kings of France communicated in
+wine at the conclusion of their consecration. Tradition has it that the gold<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
+of which it is made was that of the Soissons Vase, whereas in reality it is
+12th century. Confiscated in 1793 and deposited in the <i>Bibliothèque Nationale</i>,
+it was restored to the Cathedral by Napoleon III.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i067.jpg" width="400" height="606" alt="ST. URSULA&#39;S SKIFF. (Cliché LL.)" title="" />
+<span class="caption">ST. URSULA&#39;S SKIFF. (<i>Cliché LL.</i>)</span>
+</div>
+
+<p><b>St. Ursula's Skiff</b> is a reliquary given by Henri III. It represents a
+ship carved out of cornelian, floating on a sea of enamel. The ship, whose
+mast bears the royal crown, is adorned with the escutcheons of France and
+Poland, and contains eleven small figures. That of St. Ursula is said to be
+the portrait of the Queen of France.</p>
+
+<p>Amongst the other remarkable works of art in the Treasure are the
+following: the <i>reliquaries</i> of Archbishop Samson, St. Sixtus (12th century),
+St. Peter and St. Paul (14th century), and the Holy Sepulchre (16th century);
+a <i>monstrance</i> of gilt copper (13th century); a <i>liturgical comb</i> of ivory, said to
+have belonged to St. Bernard (12th century); a rock-crystal <i>cross</i>, which
+formerly belonged to Cardinal de Lorraine; <i>orfrays</i> embroidered with silver
+thread (13th century); the <i>credence</i> and <i>oil vessels</i> of Abbot de la Salle; a
+<i>fragment</i> of a carved wood crozier (incorrectly said to be the crozier of<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
+St. Gibrien), two other fragments of which are in the Town Museum (12th
+century); the <i>vases</i>, <i>utensils</i>, and <i>sacred ornaments</i> which were used at the
+consecration of Charles X.; the <i>reliquary</i> of the Sacred Ampulla, designed
+by Lafitte for the consecration of Charles X. The original Sacred Ampulla
+was broken in 1793. The present one, which has only served for the consecration
+of Charles X., is a replica said to have been made with the few
+drops of balsam of the Clovis Ampulla, which pious hands saved from the
+broken fragments of the sacred vessel.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i068a.jpg" width="700" height="478" alt="CASKET OF THE SACRED AMPULLA. (Cliché LL.)" title="" />
+<span class="caption">CASKET OF THE SACRED AMPULLA. (<i>Cliché LL.</i>)</span>
+<br /><br />
+</div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i068b.jpg" width="700" height="469" alt="FRAGMENTS SAVED FROM THE RUINS. (Cliché LL.)" title="" />
+<span class="caption">FRAGMENTS SAVED FROM THE RUINS. (<i>Cliché LL.</i>)</span>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i069.png" width="700" height="599" alt="" title="" />
+</div>
+
+<h3>FIRST ITINERARY FOR VISITING RHEIMS</h3>
+
+<h4>Starting-point: Place du Parvis Nôtre-Dame</h4>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align="right">1.</td><td align="left">The Archbishop's Palace (p. <a href="#Page_63">63</a>).</td><td align="right">9.</td><td align="left">The Musicians' House (p. <a href="#Page_80">80</a>).</td></tr>
+<tr><td align="right">2.</td><td align="left">The Theatre (p. <a href="#Page_68">68</a>)</td><td align="right">10.</td><td align="left">The House of De Muire (p. <a href="#Page_83">83</a>).</td></tr>
+<tr><td align="right">3.</td><td align="left">The House of Levesque de Pouilly (p. <a href="#Page_68">68</a>).&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="right">11.</td><td align="left">The House of Le Vergeur (p. <a href="#Page_85">85</a>).</td></tr>
+<tr><td align="right">4.</td><td align="left">The Stores: Galeries Rémoises (p. <a href="#Page_73">73</a>).</td><td align="right">12.</td><td align="left">A 16th Century House (p. <a href="#Page_86">86</a>).</td></tr>
+<tr><td align="right">5.</td><td align="left">The Maison Fossier (p. <a href="#Page_75">75</a>).</td><td align="right">13.</td><td align="left">The General Post Office and Chamber of Commerce (p. <a href="#Page_87">87</a>).</td></tr>
+<tr><td align="right">6.</td><td align="left">The House of J. B. de la Salle (p. <a href="#Page_75">75</a>).</td><td align="right">14.</td><td align="left">The Cloister of the Franciscan Friars (p. <a href="#Page_90">90</a>).</td></tr>
+<tr><td align="right">7.</td><td align="left">The House of the Enfant d'Or (p. <a href="#Page_75">75</a>).</td><td align="right">15.</td><td align="left">The House of Thiret de Prain (p. <a href="#Page_89">89</a>).</td></tr>
+<tr><td align="right">8.</td><td align="left">The Statue of Louis XV. (p. <a href="#Page_79">79</a>).</td><td align="right">16.</td><td align="left">The House of de la Pourcelette (p. <a href="#Page_92">92</a>).</td></tr>
+</table></div>
+
+<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i070a.jpg" width="400" height="597" alt="REMOVING THE STATUE OF JOAN-OF-ARC
+IN MAY, 1918" title="" />
+<span class="caption">REMOVING THE STATUE OF JOAN-OF-ARC
+IN MAY, 1918</span>
+</div>
+
+
+<h4>Place du Parvis</h4>
+
+<p>The Place du Parvis (<i>photo below</i>) is in front of the main façade of the
+Cathedral. The shells made enormous craters there.</p>
+
+<p>In the centre of the square stands an <b>equestrian statue of Joan-of-Arc</b>,
+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
+(<i>photo above</i>).</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i070b.jpg" width="700" height="487" alt="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." title="" />
+<span class="caption">THE PLACE DU PARVIS<br />
+<i>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.</i></span>
+</div><p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p>
+
+<p>Looking towards the Cathedral, the
+tourist will see on the right the ruins
+of the <i>Hôtel du Lion d'Or</i> and of the
+<i>Hôtel de la Maison Rouge</i>.</p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/i071.jpg" width="300" height="527" alt="INNER COURTYARD OF THE LION
+D&#39;OR HÔTEL. (Cliché A.S.)" title="" />
+<span class="caption">INNER COURTYARD OF THE LION
+D&#39;OR HÔTEL. (<i>Cliché A.S.</i>)</span>
+</div>
+
+<p>The latter was completely destroyed.
+Above the door was the inscription:
+"In the year 1429, at the consecration of
+Charles VII., in this hostelry&mdash;then called
+the 'Striped Ass'&mdash;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.</p>
+
+<p>It was at the Hôtel du Lion d'Or
+(<i>photo opposite</i>) 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.</p>
+
+<p>On the right of the Cathedral are
+the ruins of the Archbishop's Palace
+(<i>see plan, p. <a href="#Page_33">33</a></i>). A general view of them
+is seen in the photograph on p. <a href="#Page_48">48</a>.</p>
+
+
+<h4>The Archbishop's Palace</h4>
+
+<p>Of the three buildings which surrounded every Cathedral in the Middle
+Ages&mdash;the bishop's palace, the cloister of the canons, and the house set apart
+for the sick and poor (Hôtel-Dieu)&mdash;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.</p>
+
+<p>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 (<i>see p. <a href="#Page_64">64</a></i>), the very opposite of the
+German "scrap of paper" theory.</p>
+
+<p><b>The Archevêché</b>: 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.</p>
+
+<p><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/i072a.jpg" width="400" height="328" alt="THE SALLE DU TAU, BEFORE THE WAR" title="" />
+<span class="caption">THE SALLE DU TAU, BEFORE THE WAR</span>
+</div>
+
+<h4>The Salle du Tau (or Kings' Hall)</h4>
+
+<h6>(<i>See plan, p. <a href="#Page_33">33</a>.</i>)</h6>
+
+<p>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.</p>
+
+<p>A small porch-like structure at the top of the stair was an unfortunate
+addition of 1825.</p>
+
+<p>The hall was known as the <b>Salle du Tau</b>, in memory of the ancient palace
+which was shaped like the Greek letter <i>Tau</i>, or the Kings' Hall, on account
+of the portraits of the Kings consecrated at Rheims, received in 1825.</p>
+
+<p>Built by the Cardinal Archbishop Guillaume Briçonnet between 1497 and
+1507, it comprised two stories.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i072b.jpg" width="400" height="352" alt="THE SALLE DU TAU IN 1918
+Behind the ruined Hall are seen the Southern Transept
+and Chevet of the Cathedral." title="" />
+<span class="caption">THE SALLE DU TAU IN 1918<br />
+<i>Behind the ruined Hall are seen the Southern Transept
+and Chevet of the Cathedral.</i></span>
+</div><p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p>
+
+<div class="figright" style="width: 350px;">
+<img src="images/i073a.jpg" width="350" height="528" alt="ENTRANCE TO THE SALLE DU TAU
+(OR KINGS&#39; HALL). (see plan, p. 33)" title="" />
+<span class="caption">ENTRANCE TO THE SALLE DU TAU
+(OR KINGS&#39; HALL). (<i>see plan, p. <a href="#Page_33">33</a></i>)</span>
+</div>
+
+<p>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.</p>
+
+<p>The walls were hung with four
+admirable tapestries by Pepersack
+and several others given by Robert
+de Lenoncourt.</p>
+
+<p>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 page <a href="#Page_64">64</a>, at the
+bottom of the hall.</p>
+
+
+<p>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.</p>
+
+
+<h4>The Archi-episcopal Chapel</h4>
+
+<h6>(<i>See plan, p. <a href="#Page_33">33</a>.</i>)</h6>
+
+<div class="figright" style="width: 350px;">
+<img src="images/i073b.jpg" width="350" height="544" alt="ENTRANCE TO THE ARCHI-EPISCOPAL
+CHAPEL. (see plan, p. 33)" title="" />
+<span class="caption">ENTRANCE TO THE ARCHI-EPISCOPAL
+CHAPEL. (<i>see plan, p. <a href="#Page_33">33</a></i>)</span>
+</div>
+
+<p>This was without doubt the work
+of Jean d'Orbais, the first architect
+of the Cathedral. It resembled the
+latter in many respects.</p>
+
+<p>With its seven-sided apse, four-bay
+nave and lancet-shaped windows
+without rubber-work, it was remarkably
+slender and graceful.</p>
+
+<p>Its finest ornament was the 13th
+century bas-relief, <i>The Adoration of
+the Magi</i>, in the tympanum of the
+entrance door.</p>
+
+<p>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.</p>
+
+<p>The lower chapel, partly subterranean,
+was fitted up as a lapidary
+museum in 1865 and 1896.</p>
+
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i074.jpg" width="400" height="411" alt="THE ROYAL
+APARTMENTS
+IN THE
+ARCHBISHOP&#39;S
+PALACE" title="" />
+<span class="caption">THE ROYAL
+APARTMENTS
+IN THE
+ARCHBISHOP&#39;S
+PALACE</span>
+</div>
+
+
+<h4>The Royal Apartments</h4>
+<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p>
+<p>From the Kings' Hall, access was obtained to five royal saloons
+with windows looking on the gardens and adorned with portraits of
+archbishops.</p>
+
+<p>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
+(<i>see p.</i> <a href="#Page_6">6</a>). In the 17th and 18th centuries they lived mostly outside
+Rheims.</p>
+
+<p><i>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. <a href="#Page_61">61</a>).</i></p>
+
+
+<p><b>The Museum</b>, formerly <b>The Grand Séminaire</b></p>
+
+<p>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.</p>
+
+<div class="figcenter" style="width: 400px;">
+<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>
+<img src="images/i075a.jpg" width="400" height="423" alt="THE ENTRANCE
+TO THE COURTYARD
+OF THE
+OLD GRAND
+SÉMINAIRE
+(18th century)" title="" />
+<span class="caption">THE ENTRANCE
+TO THE COURTYARD
+OF THE
+OLD GRAND
+SÉMINAIRE
+(18th century)</span>
+</div>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i075b.jpg" width="400" height="301" alt="THE OLD GRAND SÉMINAIRE (MUSEUM)" title="" />
+<span class="caption">THE OLD GRAND SÉMINAIRE (MUSEUM)</span>
+</div><p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i076a.jpg" width="400" height="380" alt="THE BED IN
+WHICH
+NAPOLEON
+SLEPT IN 1814
+(In ruined
+house at No. 18
+Rue de Vesle.)" title="" />
+<span class="caption"><br />THE BED IN
+WHICH
+NAPOLEON
+SLEPT IN 1814<br />
+(<i>In ruined
+house at No. 18
+Rue de Vesle.</i>)</span>
+</div>
+
+<p><i>Continue along the Rue Chanzy, which skirts the</i> <b>Theatre</b> (1873), of which
+only the walls remain. <i>Take the Rue de Vesle (first street on the left. See
+Itinerary, p. <a href="#Page_61">61</a>).</i></p>
+
+<p>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.</p>
+
+<p>It was there that Napoleon I. slept after his return to Rheims. His room
+had been preserved exactly as it was in 1814 (<i>see p. <a href="#Page_8">8</a></i>).</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i076b.jpg" width="400" height="277" alt="THE PARIS GATE" title="" />
+<span class="caption">THE PARIS GATE</span>
+</div>
+
+<p>At No. 27 are vestiges of the old <b>Hôtel Levesque de Pouilly</b>. Inside
+the court there was a 16th century house, the residence of a family which
+furnished Rheims with some remarkable administrators, chief among whom
+was <i>Levesque de Pouilly</i>, "lieutenant of the inhabitants." Among the celebrated
+guests received by him were Voltaire and Madame du Châtelet (1749).<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span>
+In a letter to him, Lord Bolingbroke wrote: "<i>I know but three men who are
+worthy of governing the nation: You, Pope and myself.</i>"</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i077a.jpg" width="400" height="325" alt="THE VAULTING AND BELFRY OF THE CHURCH OF
+ST. JACQUES. (Cliché LL.)" title="" />
+<span class="caption">THE VAULTING AND BELFRY OF THE CHURCH OF
+ST. JACQUES (<i>Cliché LL.</i>)</span>
+</div>
+
+<p><i>On the right, between Nos. 44 and 46, is the Rue St. Jacques.</i></p>
+
+<p><i>Follow the Rue de Vesle to the end, where the</i> <b>Paris Gate</b> <i>stands, about 1 km.
+from the entrance to the Rue St. Jacques.</i></p>
+
+<p>This Gate replaced the Vesle Gate which formerly abutted on the river.
+In consequence of the growth of the city it was built in the <i>faubourg</i> about
+1845. Its beautiful wrought-iron work (<i>photo opposite</i>), by the local master-locksmiths
+Lecoq and Revel, was erected by the City in 1774, at the time of
+the consecration of Louis XVI.</p>
+
+<p><i>From the Paris Gate, return by the Rue de Vesle to the Rue St. Jacques, on the
+right of which stands the</i> Church of St. Jacques.</p>
+
+<p>The <b>Church of St. Jacques</b>, 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.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i077b.jpg" width="400" height="335" alt="THE INTERIOR OF THE CHURCH OF
+ST. JACQUES. (Cliché LL.)" title="" />
+<span class="caption">THE INTERIOR OF THE CHURCH OF
+ST. JACQUES (<i>Cliché LL.</i>)</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i078a.jpg" width="500" height="391" alt="THE PLACE DROUET D&#39;ERLON, BEFORE THE WAR
+On the right: Belfry of the Church of St. Jacques." title="" />
+<span class="caption">THE PLACE DROUET D&#39;ERLON, BEFORE THE WAR<br />
+<i>On the right: Belfry of the Church of St. Jacques.</i></span>
+</div>
+
+<p><i>The Rue St. Jacques leads to the long</i> Place Drouet d'Erlon, which was much
+damaged by the bombardments of 1918 (<i>photo opposite</i>).</p>
+
+<p>Formerly known as <i>Place de la Couture</i>, this square, like the old streets with
+picturesque names: <i>Rue des Telliers</i>, <i>Rue du Clou-dans-le-Fer</i>, <i>Rue de la
+Belle Image</i>, <i>Rue de la Grosse-Ecritoire</i>, <i>Rue du Cadran St. Pierre</i>, formed part
+of the <i>Quartier des Loges</i>, 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.</p>
+
+<p>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 a <b>monumental fountain</b>, the gift of M. Subé.</p>
+
+<p><i>Follow the Place Drouet d'Erlon to the Boulevard de la République, which
+skirts</i> <b>The Promenades</b>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i078b.jpg" width="500" height="403" alt="THE PLACE DROUET D&#39;ERLON, AFTER THE WAR
+The Belfry of the Church of St. Jacques no longer exists." title="" />
+<span class="caption">THE PLACE DROUET D&#39;ERLON, AFTER THE WAR<br />
+<i>The Belfry of the Church of St. Jacques no longer exists.</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i079a.jpg" width="500" height="423" alt="THE SUBÉ FOUNTAIN, IN THE PLACE DROUET D&#39;ERLON
+Seen from the Rue Buirette (in ruins)." title="" />
+<span class="caption"><br />THE SUBÉ FOUNTAIN, IN THE PLACE DROUET D&#39;ERLON<br />
+<i>Seen from the Rue Buirette (in ruins).</i></span>
+</div>
+
+<p>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 called <i>Cours Le Pelletier</i> (the name of the <i>Intendant of
+Champagne</i>, who approved the plans), then <i>Cours Royal</i>, after the passage
+of Louis XV. They were encroached upon by the railway station, built in
+1860.</p>
+
+<p>In the centre of the Promenades, opposite the station, in the <i>Square Colbert</i>,
+laid out by the landscape gardener Varé in 1860, is a statue of Colbert.</p>
+
+<p><i>Take the Rue Thiers, which begins at the Square Colbert and leads to the</i>
+<b>Hôtel-de-Ville</b>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i079b.jpg" width="400" height="327" alt="THE &quot;SQUARE COLBERT&quot; IN THE MIDDLE
+OF THE &quot;PROMENADES&quot;
+The Entrance to the Station is just opposite this &quot;Square.&quot;" title="" />
+<span class="caption"><br />THE &quot;SQUARE COLBERT&quot; IN THE MIDDLE
+OF THE &quot;PROMENADES&quot;<br />
+<i>The Entrance to the Station is just opposite this &quot;Square.&quot;</i></span>
+</div>
+
+<p><span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i080.jpg" width="700" height="521" alt="THE TOWN HALL IN 1918" title="" />
+<span class="caption">THE TOWN HALL IN 1918</span>
+</div>
+
+
+<h4>The Hôtel-de-Ville</h4>
+
+<p>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.</p>
+
+<p>Commenced in 1627, from plans by the Rheims architect, Jean Bonhomme,
+it was completed in stages, at long intervals. Only the central <i>pavilion</i> and
+the left-hand portion were 17th century.</p>
+
+<p>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.</p>
+
+<p>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 (<i>photo, p. <a href="#Page_73">73</a></i>).</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p><i>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.</i></p>
+
+<p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p>
+<div class="figcenter" style="width: 300px;">
+<img src="images/i081a.jpg" width="300" height="330" alt="THE GRAND
+STAIRCASE
+OF THE
+TOWN HALL" title="" />
+<span class="caption">THE GRAND
+STAIRCASE
+OF THE
+TOWN HALL</span>
+</div>
+
+<p>At No. 5 of the Rue Salin, the old 17th century <i>Hôtel Coquebert</i>, which was
+destroyed by the shells, used to be the headquarters of the <i>Society of Friends
+of Old Rheims</i>. Several of the illustrations in this Guide are taken from the
+collections of this Society.</p>
+
+<p>In the Rue de Pouilly, close to the Hôtel-de-Ville, are the <b>ruins</b> of the
+<i>Galeries Rémoises</i> stores. These shops were partly housed in a Gothic building,
+of which only a few chimney-stacks remain (<i>see chimney in photo below</i>).</p>
+
+<p><i>Opposite the Hôtel-de-Ville take the Rue Colbert to the Place des Marchés.</i></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i081b.jpg" width="400" height="323" alt="THE RUE COLBERT, BETWEEN THE TOWN HALL
+AND THE MARKET-PLACE" title="" />
+<span class="caption">THE RUE COLBERT, BETWEEN THE TOWN HALL
+AND THE MARKET-PLACE</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i082a.jpg" width="700" height="582" alt="RUINS IN THE MARKET-PLACE
+Seen from the Rue de Tambour. The &quot;Maison de l&#39;Enfant d&#39;Or&quot; is among the ruined
+houses seen in the middle (see pp. 75 to 77). The &quot;Hôtel de la Salle&quot; and &quot;Maison Fossier&quot;
+(p. 76), on the right-hand side of the Square, are not visible in the above photograph." title="" />
+<span class="caption">RUINS IN THE MARKET-PLACE<br />
+<i>Seen from the Rue de Tambour. The &quot;Maison de l&#39;Enfant d&#39;Or&quot; is among the ruined
+houses seen in the middle (see pp. <a href="#Page_75">75</a> to <a href="#Page_77">77</a>). The &quot;Hôtel de la Salle&quot; and &quot;Maison Fossier&quot;
+(p. <a href="#Page_76">76</a>), on the right-hand side of the Square, are not visible in the above photograph.</i></span>
+</div>
+
+
+<h4>The Place des Marchés</h4>
+
+<p>Built on the site of the ancient <i>forum</i>, 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.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i082b.jpg" width="400" height="303" alt="THE &quot;HÔTEL DE LA SALLE&quot;
+On the left: the Carriage Entrance with Caryatids: Adam and Eve." title="" />
+<span class="caption">THE &quot;HÔTEL DE LA SALLE&quot;<br />
+<i>On the left: the Carriage Entrance with Caryatids: Adam and Eve.</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i083.jpg" width="400" height="411" alt="THE COURTYARD
+OF THE &quot;HÔTEL
+DE LA SALLE&quot;
+The graceful
+Turret has
+partially
+collapsed." title="" />
+<span class="caption">THE COURTYARD
+OF THE &quot;HÔTEL
+DE LA SALLE&quot;<br />
+<i>The graceful
+Turret has
+partially
+collapsed.</i></span>
+</div>
+
+<p><i>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</i>, is the house, dating from the middle
+of the 16th century, where <b>J. B. de la Salle</b> was born.</p>
+
+<p>Although this house suffered from the bombardments of 1918, its front
+is practically intact. It is the finest Renaissance front in Rheims, after that
+of <b>Le Vergeur's House</b> (<i>see p. <a href="#Page_85">85</a></i>).</p>
+
+<p>The carriage entrance is flanked with two life-size caryatids, popularly
+called <i>Adam and Eve</i>, 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.</p>
+
+<p>In the courtyard is a strikingly graceful three-storey turret (<i>photo above</i>),
+one side of which has collapsed.</p>
+
+<p>Among the wooden houses destroyed by the bombardments of 1918 in
+the Place des Marchés, the following must be mentioned: the <b>Maison Fossier</b>
+(<i>see p. <a href="#Page_76">76</a></i>), which stood in the Square at the right-hand corner of the Rue de
+l'Arbalète, and especially the <b>Maison de l'Enfant d'Or</b> (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 name <i>Golden</i> or <i>Sleeping</i>
+Child.</p>
+
+<p>In spite of alterations, this house (<i>photo, p. <a href="#Page_77">77</a></i>), with its pent-house roof,
+two overhanging storeys, windows crowned with finials, and sculptural
+decoration (<i>see carved console, p. <a href="#Page_77">77</a></i>), was a well-preserved specimen of
+15th century architecture.</p>
+
+<p><i>From the Place des Marchés, follow the Rue Colbert to the</i> <b>Place Royale</b>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
+<img src="images/i084a.jpg" width="500" height="310" alt="BEFORE
+THE WAR
+See text, page 75." title="" />
+<span class="caption">BEFORE
+THE WAR<br />
+<i>See text, page <a href="#Page_75">75</a>.</i></span>
+<br /><br />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i084b.jpg" width="500" height="335" alt="AFTER
+THE WAR
+THE &quot;MAISON FOSSIER,&quot; BEFORE AND AFTER THE WAR
+See Itinerary, p. 61 (No. 5 of Explanatory Notes)." title="" />
+<span class="caption"><br />AFTER
+THE WAR<br />
+THE &quot;MAISON FOSSIER,&quot; BEFORE AND AFTER THE WAR<br />
+<i>See Itinerary, p. <a href="#Page_61">61</a> (No. 5 of Explanatory Notes).</i></span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i084c.jpg" width="500" height="345" alt="SEE TEXT.
+p. 75
+RUINS OF THE &quot;MAISON DE L&#39;ENFANT D&#39;OR&quot;
+Second house on the left, after the Rue des Elus. (See p. 77.)" title="" />
+<span class="caption">SEE TEXT.
+p. <a href="#Page_75">75</a><br />
+RUINS OF THE &quot;MAISON DE L&#39;ENFANT D&#39;OR&quot;<br />
+<i>Second house on the left, after the Rue des Elus. (See p. <a href="#Page_77">77</a>).</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i085a.jpg" width="400" height="408" alt="THIS VERY
+CURIOUS 15TH
+CENTURY HOUSE
+STOOD IN THE
+MARKET-PLACE
+It was completely
+destroyed (see p. 76.)
+THE &quot;MAISON DE L&#39;ENFANT D&#39;OR,&quot;
+BEFORE THE WAR" title="" />
+<span class="caption"><br />THIS VERY
+CURIOUS 15TH
+CENTURY HOUSE
+STOOD IN THE
+MARKET-PLACE<br />
+It was completely
+destroyed (<i>see p. <a href="#Page_76">76</a></i>)<br />
+THE &quot;MAISON DE L&#39;ENFANT D&#39;OR,&quot;
+BEFORE THE WAR</span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i085b.jpg" width="400" height="580" alt="BRACKET OF THE &quot;MAISON DE L&#39;ENFANT D&#39;OR,&quot;
+REPRESENTING SAMSON SLAYING THE LION" title="" />
+<span class="caption"><br />BRACKET OF THE &quot;MAISON DE L&#39;ENFANT D&#39;OR,&quot;
+REPRESENTING SAMSON SLAYING THE LION</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i086a.jpg" width="700" height="448" alt="THE PLACE
+ROYALE IN
+1765
+THE INAUGURATION OF THE STATUE OF &quot;LOUIS LE BIENAIMÉ.&quot;
+August 20, 1765; engraving by Varin. The original statue (by Pigalle)
+is in the middle of the Square." title="" />
+<span class="caption">THE PLACE
+ROYALE IN
+1765<br />
+THE INAUGURATION OF THE STATUE OF &quot;LOUIS LE BIENAIMÉ.&quot;<br />
+<i>August 20, 1765; engraving by Varin. The original statue (by Pigalle)
+is in the middle of the Square.</i></span>
+</div>
+
+
+<h4>The Place Royale</h4>
+
+<p>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.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i086b.jpg" width="500" height="357" alt="THE PLACE ROYALE IN 1918
+The plinth of the statue was protected by masonry-work." title="" />
+<span class="caption">THE PLACE ROYALE IN 1918<br />
+<i>The plinth of the statue was protected by masonry-work.</i></span>
+</div>
+
+<p>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 the <i>Hôtel des Fermes</i>) had a Doric front with a statue of<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
+Mercury surrounded by children arranging bales or carrying grapes to the
+wine-press. A <b>statue of Louis XV.</b>, in the middle of the Square, was
+protected from the bombardments by masonry-work (<i>photos, p. <a href="#Page_78">78</a> and below</i>).</p>
+
+<p>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,
+symbolizes <i>gentleness of Government</i>; the other, a contented man resting
+in the midst of abundance, represents <i>the happiness of nations</i>. The wolf
+and the lamb sleeping side by side at their feet are symbolical of the
+Golden Age.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i087.jpg" width="450" height="570" alt="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." title="" />
+<span class="caption"><br />STATUE OF LOUIS XV., PLACE ROYALE, WITH
+PARTIALLY BUILT PROTECTING WALL
+OF MASONRY<br />
+<i>The two allegorical figures are supposed to be likenesses of
+the Sculptor Pigalle and his wife.</i></span>
+</div>
+
+<p>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.</p>
+
+<p>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 the
+<i>Patrie</i>, 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.</p>
+
+<p>It was on the steps of the monument that the Conventionist Ruhl smashed
+the Sacred Ampulla under the Revolution.<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span></p>
+
+<p><i>From the Place Royale, return to the Market Square, cross over to the Rue de
+Tambour (parallel with the Rue Colbert).</i></p>
+
+<p>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.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i088.jpg" width="700" height="518" alt="THE STATUES OF THE MUSICIANS&#39; HOUSE
+The house was destroyed by bombardment, but the statues were saved." title="" />
+<span class="caption">THE STATUES OF THE MUSICIANS&#39; HOUSE<br />
+<i>The house was destroyed by bombardment, but the statues were saved.</i></span>
+</div>
+
+<p>Previous to 1918, old houses in this street were still numerous. The
+most celebrated was the now completely destroyed <b>Musicians' House</b>
+(<i>photo above</i>), the true origin of which is unknown.</p>
+
+<p>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 (<i>photo above</i>) represented <i>a
+tambourine and flute player</i>, <i>a piper</i>, <i>a falconer</i> with crossed legs, <i>a harpist</i>
+and <i>an organ-grinder</i> crowned 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.</p>
+
+<p>Fortunately, these statues, which are remarkable for their natural
+expression and vigour were removed to a place of safety before the house was
+destroyed.</p>
+
+<p>Thanks to a public subscription, the town was able to acquire them shortly
+before the war, thus preventing them from being sold abroad.</p>
+
+<p>The cellars of this house are curious, but there exists no proof that they
+date back, as has been said, to the Roman period.</p>
+
+<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/i089a.jpg" width="400" height="421" alt="14TH CENTURY
+DOORWAY,
+22 RUE DE
+TAMBOUR" title="" />
+<span class="caption"><br />14TH CENTURY
+DOORWAY,
+22 RUE DE
+TAMBOUR</span>
+</div>
+
+<p>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 (<i>photo
+above</i>).</p>
+
+<p>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.</p>
+
+<p><i>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
+the</i> <b>Mars Gate</b>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i089b.jpg" width="500" height="402" alt="THE RUE DE MARS. THE TOWN HALL IS ON THE LEFT" title="" />
+<span class="caption">THE RUE DE MARS. THE TOWN HALL IS ON THE LEFT</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i090a.jpg" width="500" height="304" alt="MARS
+GATE" title="" />
+<span class="caption">MARS
+GATE</span>
+</div>
+
+
+<h4>The Mars Gate</h4>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i090b.jpg" width="500" height="426" alt="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." title="" />
+<span class="caption"><br />18TH CENTURY ENGRAVING BY COLLIN OF THE VAULTING OF
+THE ROMULUS AND REMUS ARCADE OF THE MARS GATE<br />
+<i>In the centre: Romulus and Remus suckled by the she-wolf.</i></span>
+</div>
+
+<p>This monument was long believed to be a Roman <b>gate</b>&mdash;hence its name&mdash;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 (<i>photo, p. <a href="#Page_6">6</a></i>) 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 an <i>historical monument</i> (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,<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>
+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 arch <i>Romulus and Remus</i> are 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.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i091.jpg" width="500" height="519" alt="HÔTEL NOËL DE MUIRE
+Note the curious masonry-work of the first storey, composed
+of polygonal stones in relief." title="" />
+<span class="caption">HÔTEL NOËL DE MUIRE<br />
+<i>Note the curious masonry-work of the first storey, composed
+of polygonal stones in relief.</i></span>
+</div>
+
+<p><i>Behind the Mars Gate is the Place de la République, containing</i> a statue
+by Bartholdi, damaged by shell-fire. <i>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.</i> The house at No. 3 was destroyed by shells, except the <b>Louis XVI.
+front</b> with its gracefully carved garlands, which escaped injury.</p>
+
+<p><i>Take the Rue du Grenier-à-Sel, on the right, to the</i> <b>Hôtel Noël de Muire</b>,
+<i>on the left, at the corner of the Rue Linguet.</i></p>
+
+<p>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 the <i>Maison des Petits Pâtés</i>, 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.</p>
+
+<div class="figcenter" style="width: 400px;">
+<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
+<img src="images/i092a.jpg" width="400" height="301" alt="THE RUE DU MARC" title="" />
+<span class="caption">THE RUE DU MARC</span>
+</div>
+
+<p><i>Take the Rue du Marc, which continues the Rue du Grenier-à-Sel (photo
+above).</i></p>
+
+<p>The <b>Rue du Marc</b> was the quarter where the old noble families and the
+higher <i>bourgeoisie</i> of Rheims lived. It suffered considerably from the
+bombardments.</p>
+
+<p>At No. 3 is a Henry IV. house, the windows of which are framed with
+graceful ornamentation (<i>photo below</i>).</p>
+
+<p>However, the most remarkable house in the street is undoubtedly the
+<b>Hôtel Nicolas le Vergeur</b> (No. 1), which, unfortunately, was partly
+destroyed by the shells (<i>see p. <a href="#Page_85">85</a></i>).</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i092b.jpg" width="400" height="429" alt="HOUSE DATING
+BACK TO THE
+REIGN OF
+HENRI IV.
+(1589-1610)
+AT NO. 3
+RUE DU MARC" title="" />
+<span class="caption">HOUSE DATING
+BACK TO THE
+REIGN OF
+HENRI IV.
+(1589-1610)
+AT NO. 3
+RUE DU MARC</span>
+</div>
+
+<h4>The Hôtel Nicolas Le Vergeur</h4>
+<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p>
+
+<p>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 (<i>photo below</i>).</p>
+
+<p>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 with <i>collerettes</i> and high head-dresses, gracious or haughty,
+standing well out in relief.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i093.jpg" width="500" height="386" alt="HÔTEL NICOLAS LE VERGEUR" title="" />
+<span class="caption">HÔTEL NICOLAS LE VERGEUR</span>
+</div>
+
+<p>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.</p>
+
+<p>In one of the rooms overlooking the Rue Pluche were, a fine stone <i>mantelpiece</i>
+decorated with graceful delicate foliage; a timber-work <i>ceiling</i> with
+large and small beams, carrying panels decorated with scrolls, and
+15th century <i>tile-flooring</i> of terra-cotta, varnished and painted green and
+yellow.</p>
+
+<p>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. The
+<i>oaken ceiling</i> of 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.</p>
+
+<p><i>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</i>: <b>Rue Courmeaux</b>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
+<img src="images/i094a.jpg" width="500" height="294" alt="HÔTEL
+ROGIER DE
+MONCLIN,
+18 RUE
+COURMEAUX" title="" />
+<span class="caption">HÔTEL
+ROGIER DE
+MONCLIN,
+18 RUE
+COURMEAUX</span>
+</div>
+
+<p><i>At No. 18 are the</i> ruins of the <b>Hôtel Rogier de Monclin</b>, destroyed after
+April, 1918. This house dated back to the Louis XV. period, but had been
+disfigured by modern alterations. The façade overlooking the courtyard,
+the entrance-hall, and the staircase with ornamental balustrade, were interesting.
+At the time of the consecration of Louis XVI., one of the saloons
+was furnished for the King's brother, the Comte (or <i>Monsieur</i>) d'Artois,
+whence the name "<i>Rue de Monsieur</i>," formerly borne by the Rue
+Courmeaux.</p>
+
+<p><i>At No. 30</i> is a Renaissance door, almost intact (<i>photo below</i>).
+<i>At No. 34, at the corner of the Rue Legendre</i>, is a late 16th century house,
+whose interior arrangement and façade are intact, except for the woodwork
+of the windows, which was modernised in the 18th century. It
+was built on the site of the old wool-market, after Marshal de Saint-Paul,
+at the time of the League, had compelled the inhabitants of the Faubourg
+Cérès to destroy their houses.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/i094b.jpg" width="350" height="580" alt="RENAISSANCE DOOR,
+30, Rue Courmeaux." title="" />
+<span class="caption">RENAISSANCE DOOR,<br />
+<i>30, Rue Courmeaux.</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i095a.jpg" width="500" height="302" alt="CÉRÈS
+ESPLANADE" title="" />
+<span class="caption">CÉRÈS
+ESPLANADE</span>
+</div>
+
+<p><i>Return to the Rue Courmeaux and take the Rue Bonhomme on the left, which
+leads to the Rue Cérès.</i></p>
+
+<p>The <b>Rue Cérès</b> was totally destroyed by fire, from the Place Royale to
+the Post Office, which had to be given up in the autumn of 1914.</p>
+
+<p><i>At No. 30</i> is the <b>Chamber of Commerce</b>, one of the finest late 18th century
+buildings in Rheims. The magnificent Louis XVI. rooms escaped practically
+uninjured. The staircase leading to the first storey, with its delicate
+balustrade, is very remarkable.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/i095b.jpg" width="300" height="474" alt="CHURCH OF ST. ANDRÉ,
+Rue du Faubourg Cérès." title="" />
+<span class="caption">CHURCH OF ST. ANDRÉ,<br />
+<i>Rue du Faubourg Cérès.</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i096a.jpg" width="300" height="445" alt="INTERIOR OF THE CHURCH OF ST. ANDRÉ" title="" />
+<span class="caption"><br />INTERIOR OF THE CHURCH OF ST. ANDRÉ</span>
+<br /><br /></div>
+
+<div class="figleft" style="width: 200px;">
+<img src="images/i096b.jpg" width="200" height="390" alt="RELIQUARY OF ST. ANDRÉ" title="" />
+<span class="caption">RELIQUARY OF ST. ANDRÉ</span>
+</div>
+
+<p><i>The Rue Cérès ends at the Esplanade Cérès</i> (<i>photo, p. <a href="#Page_87">87</a></i>), which was
+made outside the old ramparts near the Cérès Gate. The name Cérès
+is derived from a tower that long served as a prison (<i>carcer</i>, whence by
+corruption <i>chair</i>, <i>cère</i>, and then by false
+mythological association, <i>Cérès</i>). It was in
+this tower (no longer existing, but famous
+as early as the 9th century) that, according
+to the <i>chansons de geste</i>, Ogier the Dane,
+handed over by Charlemagne to the custody
+of the Bishop of Rheims, was incarcerated.</p>
+
+<p><i>From the Esplanade continue, if desired,
+by the Rue du Faubourg Cérès</i> (greatly
+damaged by the bombardments), to the
+<b>Church of St. André</b>, a modern building
+erected by the architect Brunette.</p>
+
+<p>It was struck several times by shells
+and will have to be rebuilt. As early as
+the first bombardment of September 4th,
+1914, shell splinters damaged the doorway,
+transept, stained glass (part of which was
+16th century and came from the old church),
+small organ, and the painting of the <i>Baptism
+of Clovis</i>. Subsequently, the vaulting and
+parts of the walls collapsed.</p>
+
+<p>The Church possesses a precious <b>reliquary</b>
+of copper (15th century) and a <b>statue of
+St. André</b> (patron of the church) of painted
+and gilded stone, attributed without authority,
+to Pierre Jacques.</p>
+
+<p><span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i097a.jpg" width="500" height="431" alt="HÔTEL THIRET DE PRAIN IN 1916
+19 Rue Eugène Desteuque." title="" />
+<span class="caption">HÔTEL THIRET DE PRAIN IN 1916<br />
+<i>19 Rue Eugène Desteuque.</i></span>
+</div>
+
+<p><i>Return to the Esplanade Cérès, turn to the left at the beginning of the
+Boulevard de la Paix, then to the right into the</i> <b>Rue Eugène Desteuque</b>.</p>
+
+<p><i>At No. 19 of this street</i> are the ruins of the <b>Hôtel Thiret de Prain</b>.</p>
+
+
+<h4>The Hôtel Thiret de Prain</h4>
+
+<p>This was a mansion in the days of Henry IV. and Louis XIII. Richelieu
+stayed there in 1641.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i097b.jpg" width="500" height="430" alt="HÔTEL THIRET DE PRAIN IN 1918
+These two photographs illustrate the systematic destructions
+practised by the Germans." title="" />
+<span class="caption">HÔTEL THIRET DE PRAIN IN 1918<br />
+<i>These two photographs illustrate the systematic destructions
+practised by the Germans.</i></span>
+</div>
+
+<p>An imposing building, bordered with streets on its four sides, it had
+retained its original appearance. The carriage-entrance in the Rue Eugène
+Desteuque alone had been rebuilt in 1697. The principal entrance was
+surmounted with a gallery, the walls, ceiling and beams of which were
+covered with delicate decorative paintings.</p>
+
+<p>On the first floor one of the corner rooms, looking east, contained a large
+Henry IV. mantelpiece, above which were the arms of the nobles of Prain.
+Only the metallic portion remains.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span>
+<img src="images/i098a.jpg" width="500" height="434" alt="INTERIOR FAÇADE OF THE CLOISTER OF THE
+FRANCISCAN FRIARS
+In the courtyard of No. 9, Rue des Trois-Raisinets." title="" />
+<span class="caption">INTERIOR FAÇADE OF THE CLOISTER OF THE
+FRANCISCAN FRIARS<br />
+<i>In the courtyard of No. 9, Rue des Trois-Raisinets.</i></span>
+</div>
+
+<p>The dove-cot of the Hôtel, a massive square tower with pent-house roof,
+overlooking the Rue d'Avenay, was destroyed by the bombardments.</p>
+
+<p><i>On the left of the Rue Eugène-Desteuque, opposite the Hôtel Thiret-de-Prain,
+is the</i> Rue des Trois-Raisinets. At No. 9 are the ruins of a Franciscan Cloister
+(<i>photo above</i>).</p>
+
+<p>This street (<i>photo below</i>), like the Cloister, suffered severely from the
+bombardments.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i098b.jpg" width="500" height="439" alt="RUINS OF THE MARGOTIN FACTORY
+14, Rue des Trois-Raisinets." title="" />
+<span class="caption">RUINS OF THE MARGOTIN FACTORY<br />
+<i>14, Rue des Trois-Raisinets.</i></span>
+</div>
+
+<p><i>Return to the Rue Eugène-Desteuque and follow the same as far as the</i> Rue
+de la Grue (<i>on the right</i>). This street was badly damaged by shell-fire and
+is impracticable for motor-cars.</p>
+
+<p>It was named after the sign carved on a stone (<i>photo, p. <a href="#Page_91">91</a></i>) of the house
+at No. 5 (entirely destroyed by the shells). At the end stood the house where
+J. B. Colbert was born (at the corner of the Rues Cérès and de Nanteuil,
+<i>photo below</i>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
+<img src="images/i099a.jpg" width="500" height="368" alt="THE SIGN WHICH GAVE ITS NAME TO THE
+RUE DE LA GRUE
+It was at No. 5, but has been destroyed." title="" />
+<span class="caption">THE SIGN WHICH GAVE ITS NAME TO THE
+RUE DE LA GRUE<br />
+<i>It was at No. 5, but has been destroyed.</i></span>
+</div>
+
+<p><i>Return to the Rue Eugène-Desteuque, follow it as far as the</i> Rue de
+l'Université. <i>Turn into the latter on the left.</i></p>
+
+<p>This street was destroyed as early as September, 1914. At No. 25 are
+the ruins of a Professional School for Girls, formerly the St. Martha Hospital.
+The latter, also known as the "Hôpital des Magneuses," was founded in the
+17th century by Mesdames de Magneux, and rebuilt in the 18th century
+in the Louis XVI. style.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i099b.jpg" width="350" height="503" alt="RUINS OF THE HOUSE WHERE COLBERT
+WAS BORN
+At the corner of the Rues Cérès and de Nanteuil." title="" />
+<span class="caption"><br />RUINS OF THE HOUSE WHERE COLBERT
+WAS BORN<br />
+<i>At the corner of the Rues Cérès and de Nanteuil.</i></span>
+</div><p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p>
+
+<p>At No. 40, opposite the Sub-Prefecture, now in ruins, is the <b>Maison de
+Jean Maillefer</b>, named after the rich merchant who built it in 1652. It
+was scarcely finished, when it was chosen&mdash;and this was a source of pride to
+its owner&mdash;as an abode for Anne of Austria, at the time of the consecration
+of Louis XIV. The inside of the courtyard alone has retained practically
+its ancient appearance. The front looking on the street had recently been
+put back and altered. Some of the sculpture which adorned it came from
+another house.</p>
+
+<p><i>A short distance farther on, on the left, is the</i> Place Godinot, named after a
+canon of the 18th century, who caused numerous alterations to be made in
+the decoration of the choir and sanctuary of the Cathedral.</p>
+
+<p><i>Take the Rue St. Just on the right, and follow its continuation</i> (<i>the Rue des
+Anglais</i>) as far as the Rue d'Anjou, <i>which take on the right</i>.</p>
+
+<p>The <b>Hôtel de la Pourcelette</b> (No. 7) evokes memories of <i>Mabillon</i>,
+who lived there when a young student at the University of Rheims.</p>
+
+<p><i>At the end of the Rue d'Anjou, turn to the left into the Rue du Cardinal de
+Lorraine, and follow the same to the short</i> Rue des Tournelles <i>on the left</i>.</p>
+
+<p>In the house at No. 3 of this street were incorporated the turret and two
+principal windows of an old Gothic 16th century structure, situated at No. 18
+of the Rue des Anglais, and in ruins since 1898. The drawing-room likewise
+contains a large stone chimney-piece, which formerly stood in the great hall
+of the old house.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/i100.jpg" width="350" height="529" alt="LOUIS XIII. DOOR
+At No. 20 Rue du Carrouge." title="" />
+<span class="caption">LOUIS XIII. DOOR<br />
+<i>At No. 20 Rue du Carrouge.</i></span>
+</div>
+
+<p><i>At the end of the Rue des Tournelles, turn to the right into the Rue des Fusiliers,
+which leads to the Place du Parvis. Cross the latter to the Rue Tronson
+Ducoudray. Follow this street, which runs between the</i> Palais de Justice <i>and</i><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
+<i>the</i> Theatre, <i>turn to the left, in front of the latter, into the Rue de Vesle, and take
+the first street on the right</i>, the Rue de Talleyrand.</p>
+
+<p><i>Follow this street</i>, the greater part of which was destroyed by fire
+during the bombardments of April, 1918. It suffered further damage in
+the months that followed, and a number of interesting old houses were
+destroyed.</p>
+
+<p><i>Turn into the first street on the right (Rue du Cadran St. Pierre), and follow
+the same as far as the Rue de la Clef. Take the latter on the right.</i></p>
+
+<p>Before doing so, however, take a look at the <b>fine Louis XIII. entrance</b>
+(<i>photo, p. <a href="#Page_92">92</a></i>) of the house at No. 20 of the Rue du Carrouge opposite.</p>
+
+<p><i>At No. 4 of the Rue de la Clef are the</i> ruins of the former <b>Hôtel de Bezannes</b>,
+partly built by Pierre de Bezannes, Lieutenant of Rheims in 1458 This
+house contains some fine 16th and 18th century woodwork.</p>
+
+<p><i>The Rue des Deux Anges, which continues the Rue de la Clef, leads to the</i>
+Place du Palais, destroyed during the bombardments of April, 1918. <i>In
+this square stands the</i> <b>Palais de Justice</b>. The <i>Palais</i> replaced the old
+Hôtel-Dieu, but has been almost entirely rebuilt. It is a building of little
+note, the principal entrance in particular being stiff to excess.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i101.jpg" width="500" height="421" alt="RUE CARNOT
+The Place Royale is seen in the background." title="" />
+<span class="caption">RUE CARNOT<br />
+<i>The Place Royale is seen in the background.</i></span>
+</div>
+
+<p>Its only interest is provided by two relics of the past: the vast cellars
+or subterranean vaults with pointed arches supported by columns with
+Gothic capitals; and the façade of the Audience-Chamber, formerly the
+principal ward of the old Hôtel Dieu, the exterior of which has retained its
+venerable appearance and the interior, vestiges of its lofty timber-work and
+wainscoted vaulting.</p>
+
+<p>The ground-floor of the <i>Palais</i> alone escaped damage from fire and the
+shells, thanks to a terrace of reinforced concrete.</p>
+
+<p><i>On the left of the Palais take the Rue Carnot</i>, destroyed by the bombardments
+of April, 1918.<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span></p>
+
+<p>The Rue Carnot communicates with the courtyard of the Chapter-House,
+also burnt, by a great gate and passage which pass right through a
+house.</p>
+
+<p>This entrance was built about 1530, in the transition style between the
+Gothic and Renaissance. Its elliptical arch bears a scutcheon with the arms
+of the Chapter. Consoles, decorated with grotesque figures, support the
+beams. The points of the turrets have disappeared, a supporting shaft has
+been mutilated, and the carved wooden leaves of the door have been removed
+to the Lycée, yet the gate is still imposing.</p>
+
+<p>It is the last remaining vestige of the Chapter buildings which, with their
+gates closing at the same time as those of the city, at the sound of the bell,
+formed a "city within a city." In point of fact, the Chapter was once lord
+of that part of the city which lies around the Cathedral, and which it administered.
+The canons, jealous of their prerogatives, were often in conflict
+with the archbishops.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i102.jpg" width="400" height="645" alt="DOOR OF THE CHAPTER-HOUSE
+COURTYARD
+The Northern Transept of the Cathedral is
+seen in the background." title="" />
+<span class="caption"><br />DOOR OF THE CHAPTER-HOUSE
+COURTYARD<br />
+<i>The Northern Transept of the Cathedral is
+seen in the background.</i></span>
+</div>
+
+<p>A few capitals and shafts of the ancient cloister of the Chapter, adjoining
+the Cathedral, were recently discovered and placed under one of the penthouses
+built between the buttresses of Nôtre-Dame.</p>
+
+<p><i>Go through the gate, cross the Place du Chapitre, follow the Rue du Préau
+towards the Cathedral, then turn to the right into the Rue Robert de Coucy, which
+leads back to the Place du Parvis Nôtre-Dame.</i></p>
+
+
+<hr style="width: 65%;" />
+
+<h3>SECOND ITINERARY FOR VISITING RHEIMS</h3>
+<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p>
+<div class="figcenter" style="width: 900px;">
+<img src="images/i103a.png" width="900" height="815" alt="" title="" />
+</div>
+
+<p><i>Starting from the Place du Parvis-Nôtre-Dame, take the Rue Libergier,
+opposite the Cathedral. Turn to the left into the</i> Rue Chanzy, which was
+destroyed by the bombardments of April-August, 1918.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i103b.jpg" width="400" height="253" alt="RUE
+CHANZY" title="" />
+<span class="caption">RUE
+CHANZY</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i104a.jpg" width="400" height="386" alt="DOOR AND BALCONY
+OF THE HÔTEL DE
+COURTAGNON,
+(18th Century),
+at No. 71
+Rue Chanzy" title="" />
+<span class="caption">DOOR AND BALCONY
+OF THE HÔTEL DE
+COURTAGNON,<br />
+<i>(18th Century),
+at No. 71
+Rue Chanzy</i></span>
+</div>
+
+<p>The ruins of the 18th century <b>Hôtel Lagoille de Courtagnon</b> may be
+seen at No. 71 of this street. It was destroyed by the bombardments
+of April, 1918, with the exception of a part of the front. The finely
+carved door and remarkable ironwork of the balcony are visible in the
+above photograph.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i104b.jpg" width="400" height="376" alt="ORNAMENTAL
+RAIN-WATER
+PIPE-HEAD OF
+LEAD UNDER
+THE ROOF OF THE
+HOSPICE NOËL
+CAQUÉ (see p. 97)" title="" />
+<span class="caption">ORNAMENTAL
+RAIN-WATER
+PIPE-HEAD OF
+LEAD UNDER
+THE ROOF OF THE
+HOSPICE NOËL
+CAQUÉ (<i>see p. <a href="#Page_97">97</a></i>)</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i105a.jpg" width="400" height="376" alt="GALLO-ROMAN
+BAS-RELIEF
+at No. 65, Rue de
+l&#39;Université. This
+bas-relief and the
+one opposite, on the
+wall of the Lycée,
+are the last
+remaining vestiges
+of a Gallo-Roman
+gate." title="" />
+<span class="caption">GALLO-ROMAN
+BAS-RELIEF<br />
+<i>at No. 65, Rue de
+l&#39;Université. This
+bas-relief and the
+one opposite, on the
+wall of the Lycée,
+are the last
+remaining vestiges
+of a Gallo-Roman
+gate.</i></span>
+</div>
+
+<p>The <b>Hospice Noël Caqué</b> (formerly Hospice St. Marcoul), <i>on the right</i>,
+was seriously damaged by the bombardments of April, 1918. It dated
+from the middle of the 17th century, and was well preserved, with the exception
+of the chapel, rebuilt in 1873.</p>
+
+<p><i>Take the Rue de Contrai, on the left, which leads to the</i> Rue de l'Université.
+Inserted in the façade of the house at No. 65 (<i>on the right</i>), and in the wall of
+the Lycée (<i>on the left</i>), are two stone <b>bas-reliefs</b> ornamented with trophies
+of arms and Roman insignia, the sole remaining vestiges of the <i>Porte Basée</i>
+(<i>from Basilea</i>) which formerly stood there on the Cæsarean way, at the southern
+extremity of the Gallo-Roman town. (<i>See photo above of the right-hand
+bas-relief.</i>)</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/i105b.jpg" width="550" height="317" alt="THE FAÇADE
+OF THE LYCÉE
+DESTROYED
+BY THE
+BOMBARDMENTS" title="" />
+<span class="caption">THE FAÇADE
+OF THE LYCÉE
+DESTROYED
+BY THE
+BOMBARDMENTS</span>
+</div>
+
+<p><i>Follow the Rue de l'Université and skirt the</i> <b>Lycée de Garçons</b>, of which
+only the chapel and one of the buildings are left. The rest was burnt or
+destroyed by shell-fire.</p>
+
+<div class="figcenter" style="width: 400px;">
+<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
+<img src="images/i106.jpg" width="400" height="398" alt="DOOR OF THE
+PETIT LYCÉE,
+5, Rue Vauthier-le-Noir.
+On either side of
+the arcade are
+heads of
+&quot;Jean qui rit&quot;
+and
+&quot;Jean qui pleure.&quot;" title="" />
+<span class="caption">DOOR OF THE
+PETIT LYCÉE,<br />
+<i>5, Rue Vauthier-le-Noir.
+On either side of
+the arcade are
+heads of
+&quot;Jean qui rit&quot;
+and
+&quot;Jean qui pleure.&quot;</i></span>
+</div>
+
+<p>The Lycée replaced the old <i>Collège des Bons Enfants</i>, founded in the Middle
+Ages, and rebuilt in the 16th century by the Cardinal de Lorraine, founder of
+the University of Rheims.</p>
+
+<p>Of the old <i>Collège</i>, only the central part remained, in the second court
+built by Archbishop Charles Maurice Le Tellier in 1686 and the following
+years.</p>
+
+<p>The gate of the <i>Cour des Etudes</i> dates from 1688.</p>
+
+<p>The ancient door of the Collège&mdash;the tympana of whose arcading contain
+two laughing and crying heads&mdash;was transferred to the entrance of the
+<i>Petit Lycée</i>, at No. 5 of the street on the right of the Lycée (Rue Vauthier-le-Noir)
+(<i>photo above</i>).</p>
+
+<p><i>Shortly after the Lycée, turn to the right into the Place Godinot, then take the
+Rue St. Pierre-les-Dames on the right.</i> At No. 8 are the ruins of the <b>Abbey
+of St. Pierre-les-Dames</b>.</p>
+
+<p>Of this celebrated Abbey, where several royal persons stayed: <i>Mary
+Stuart</i> twice, in her childhood and after she was widowed; <i>Henry IV.</i>, on a
+visit to his cousin, the Abbess Renée II.; <i>Anne of Austria</i>, of whom the
+<i>Congrégation</i> library contains a portrait; there remains hardly anything but
+two 16th century <i>pavillons</i> belonging to the period when Renée de Lorraine,
+sister of the Queen of Scotland and aunt of Mary Stuart, was abbess of the
+convent. Built of stone and brick with marble incrustations, and adorned
+with beautiful carvings, these <i>pavillons</i> were pure Renaissance in style.
+The head of an angel with unfolded wings and the head of a grinning demon
+surmounted the two windows of one of the ground-floors. On the first floor
+of the same <i>pavillon</i> the window, framed with delicate ornaments, opened
+above a cornice, the principal sculptural subject of which was a nude woman,
+helmeted, suckling two children.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
+<img src="images/i107a.jpg" width="400" height="376" alt="RUINS OF THE
+ABBEY OF
+ST. PIERRE-LES-DAMES,
+8, Rue St. Pierre-les-Dames." title="" />
+<span class="caption"><br />RUINS OF THE
+ABBEY OF
+ST. PIERRE-LES-DAMES,<br />
+<i>8, Rue St. Pierre-les-Dames.</i></span>
+</div>
+
+<p><i>The Rue St. Pierre-les-Dames leads to the Rue des Murs, into which turn
+to the right, then to the left into the Rue du Barbâtre. Follow the latter to the end.</i>
+This street suffered greatly from the early bombardments, and was almost
+entirely destroyed in the summer of 1918.</p>
+
+<p><i>At Nos. 137 and 139, at the corner of the Rue Montlaurent</i>, are the ruins of
+the <b>Hôtel Féret de Montlaurent</b>.</p>
+
+
+<h4>Hôtel Féret de Montlaurent.</h4>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i107b.jpg" width="500" height="443" alt="GALLERY FACING THE COURTYARD OF THE HÔTEL FÉRET
+DE MONTLAURENT
+The statues in the niches represent the sun and planets." title="" />
+<span class="caption">GALLERY FACING THE COURTYARD OF THE HÔTEL FÉRET
+DE MONTLAURENT<br />
+<i>The statues in the niches represent the sun and planets.</i></span>
+</div>
+
+<p>This large building, occupied by the <i>Cercle Catholique</i>, was commenced
+about 1540 by Hubert Féret, a <i>Lieutenant</i> of the people, and the most<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>
+celebrated member of a family which played an important part at Rheims
+in the 15th, 16th, and 17th centuries. The outside façade has been greatly
+altered. At No. 137 it was entirely rebuilt under Louis XVI. At No. 139
+the ground-floor openings have been modified.</p>
+
+<p>As in many of the mansions of the 16th century, most of the decoration
+is on the inner façades. Inside the courtyard, on the ground-floor of the
+wing abutting on the Rue Montlaurent, there is a six-arched gallery which
+was damaged but not destroyed (<i>photo,</i> p. <a href="#Page_99">99</a>). Between the arch-centres
+and at the ends of the gallery are seven niches, three feet high, enclosing
+stone statues of the sun and the six planets known in the 16th century.</p>
+
+<p>Taken in their order they are: <b>Saturn</b>, with a scythe in his hand and
+serpent round his arm, devouring a child, and the zodiacal signs Aquarius
+and Capricornus at his feet; <b>Jupiter</b>, holding a lighted torch, with Sagittarius
+at his feet; <b>Mars</b>, armed from head to foot, surmounting Cancer and Aries;
+the <b>Sun</b>, personified by Ph&oelig;bus with flowing mantle, a lion at his side;
+<b>Venus</b>, clothed only in her hair, surmounting Taurus and Bal&oelig;na; <b>Mercury</b>,
+with wings on his head and heels, the caduceus in his hand, Virgo and Gemini
+at his feet; the <b>Moon</b>, represented by Diana bearing a crescent; below her
+Scorpio.</p>
+
+<p>The escutcheons on the wall at the back of this façade bear the initials
+of Régnault Féret, who completed the mansion. In the second court there
+are still vestiges of the chapel of this family.</p>
+
+<p><i>At No. 142 of the same street</i>, the entrance to the <b>Cour Maupinot</b> (one of
+the numerous <i>cours</i> which have survived in Rheims) is framed in pilasters,
+the carved entablature of which supports a triangular pediment (<i>photo below</i>).</p>
+
+<p><i>The Rue Barbâtre is continued by the Rue des Salines, which leads to the
+Place St. Nicaise.</i></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i108.jpg" width="400" height="373" alt="ENTRANCE TO
+MAUPINOT COURT.
+THE DOORWAY IS
+RENAISSANCE,
+142, Rue du Barbâtre.
+See Itinerary, p. 95" title="" />
+<span class="caption">ENTRANCE TO
+MAUPINOT COURT.
+THE DOORWAY IS
+RENAISSANCE,<br />
+<i>142, Rue du Barbâtre.
+See Itinerary, p. <a href="#Page_95">95</a></i></span>
+</div><p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p>
+
+<p>The Place St. Nicaise was destroyed by the bombardments of April-August,
+1918. It took its name from the celebrated Bishop of
+Rheims, who, with his sister St. Eutropia, was put to death by the Vandals
+in 407.</p>
+
+<p>The Church of St. Nicaise, rebuilt in the 13th century by Libergier and
+Robert de Coucy, was destroyed at the time of the Revolution. Amongst
+other curiosities it contained a loose pillar, which Peter the Great had pointed
+out to him at the time of his journey through Rheims.</p>
+
+<p>At the corner of the Place St. Nicaise, between the Boulevard Victor-Hugo
+and the Rue St. Nicaise, is the entrance to the <b>Champion Cellars</b>,
+in which the <i>Dubail</i> school was installed during the war (<i>see p. <a href="#Page_24">24</a></i>).</p>
+
+<p><i>Take the Rue St. Nicaise to the Boulevard Henry Vasnier (photo below),
+turn into the latter, on the right, and follow same as far as the</i> <b>Rond-Point
+St. Nicaise</b>.</p>
+
+<p>All this part of the town, which was quite close to the German lines,
+was constantly under the fire of their guns. It was violently bombarded
+during the German offensives of May, June and July, 1918.</p>
+
+<p><i>Near the Rond-Point de St. Nicaise are the</i> <b>Pommery Cellars</b>, which
+gave shelter to many citizens and school-classes during the war (<i>see p. <a href="#Page_24">24</a></i>).</p>
+
+
+<h4>The Pommery Cellars</h4>
+
+<p>These cellars are among the finest in Rheims, and form, with their
+eleven miles of streets, squares and boulevards lighted by electricity, rail-tracks,
+waggons, lifts, electric pumps and siphons, quite an underground city.
+A visit to them will give the tourist an idea of the importance and complexity
+of the Champagne wine industry in Rheims.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i109.jpg" width="700" height="480" alt="THE &quot;HENRY VASNIER,&quot; SEEN FROM THE &quot;ROND-POINT ST. NICAISE&quot;" title="" />
+<span class="caption">THE &quot;HENRY VASNIER,&quot; SEEN FROM THE &quot;ROND-POINT ST. NICAISE&quot;</span>
+</div><p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i110.jpg" width="600" height="447" alt="TRENCHES AND SHELTERS IN THE SQUARE ST. NICAISE
+See Itinerary, p. 95, and panorama seen from the top of St. Nicaise Hill, p. 27." title="" />
+<span class="caption"><br />TRENCHES AND SHELTERS IN THE SQUARE ST. NICAISE<br />
+<i>See Itinerary, p. <a href="#Page_95">95</a>, and panorama seen from the top of St. Nicaise Hill, p. <a href="#Page_27">27</a>.</i></span>
+</div>
+
+<p><i>The Boulevard Diancourt, which skirts the Square St. Nicaise, begins at
+the</i> Rond-Point St. Nicaise.</p>
+
+<p>This square was much cut up by the bombardments, and by the trenches
+and defensive works made there during the war (<i>photo above</i>).</p>
+
+<p>The square contains two eminences, from the top of which there is a fine
+panoramic view of Rheims.</p>
+
+<p>The photograph on page <a href="#Page_27">27</a> was taken from the eminence nearest the
+Rond-Point St. Nicaise.</p>
+
+<p>The other eminence is crowned by a limestone tower&mdash;all that remains of
+the ancient city ramparts.</p>
+
+<p><i>Follow the Boulevard Diancourt to the Place Dieu-Lumière.</i></p>
+
+<p>The name <i>Dieu-Lumière</i>, borne by the old gate through which Joan-of-Arc
+and the Dauphin entered Rheims, was not derived, as supposed at the
+Renaissance, from the Sun-God Apollo, but from the old Gate <i>Dieu-li-Mire</i>
+(God the Physician), so called in the Middle Ages on account of the proximity
+of a Cistercian hospital.</p>
+
+<p><i>Cross the square and take the Rue Dieu-Lumière on the right to the</i> Place
+St.-Timothée. The wood-panelled houses, whose <i>loges</i> faced the Place
+St.-Timothée, were destroyed by the bombardments of April-September,
+1918, except the one at the corner of the Rue St. Julien. This house, though
+severely damaged, has retained its butcher's stall with 17th century wooden
+balustrading.</p>
+
+<p><i>Take the Rue St. Julien on the left to the Place St.-Remi, in which stands the</i>
+<b>Church of St. Remi</b>.</p>
+
+
+<h4>The Church of St. Remi</h4>
+<p><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span></p>
+
+<p>The Church of St. Remi is the oldest church in Rheims, and one of the
+oldest in all France. Although it is not certain that it replaced a Roman
+basilica, said to have stood on the site of the present transept, there is no
+doubt that Gallo-Roman building materials, taken from neighbouring edifices,
+were used in its construction or restoration.</p>
+
+<p>To-day, the church covers a ground-space of about an acre and a quarter.
+In shape a Latin cross, it measures inside about 450 feet in length, 98 feet
+in breadth and 124 feet in height under the vaulting. Only the southern
+façade shows to advantage, but in spite of its varied styles, which mark the
+different stages of its growth, the church realises to the full the purpose of
+its founders. Its architecture and decoration, especially in the interior,
+make it, as was intended, a grand and dignified depository for sacred
+remains.</p>
+
+<p>The Church of St. Remi stands on the site of a former cemetery, in the
+middle of which was the Chapel of St. Christopher, where St. Remi was
+buried. The chapel soon became popular and grew rapidly, especially between
+the 6th and 9th centuries, when it became a great fortified church. The
+present church, which replaced it, is not only one of the finest Romanesque
+churches in the north of France, but also forms a curious epitome of the history
+of architecture for several centuries. Begun in 1039 under Abbot Thierry,
+it was still far from finished when consecrated in 1049 by Pope Leo IX.
+Building was continued in 1170 by Abbot Pierre de Celle, the future Bishop
+of Chartres, whose restorations were the first application of the Gothic style
+to a great building in Rheims; in the 13th and 14th centuries, under Abbot
+Jean Canart, and in the 15th century, under Abbot Robert de Lenoncourt.
+Partially transformed at the end of the 16th century, it has been restored
+and partly rebuilt at intervals since 1839.</p>
+
+
+<h4>The Church of St. Remi during the War</h4>
+
+<p>The Church of St. Remi escaped severe damage until the middle of 1918.
+The bombardment of September 4, 1914, injured one of the tapestries
+depicting the life of St. Remi, and destroyed a fine painting: <i>The Entry of
+Clovis into Rheims</i>. The bombardment of November 16, 1914, wrecked the
+apsidal chapel of the Virgin, bringing down the vaulting, destroying the
+key-stone and pointed arches, crushing the altar beneath a heap of ruins,
+smashing the magnificent windows of the apsidal gallery, and destroying
+the priceless 12th century stained-glass depicting <i>Christ crucified between the
+Virgin and St. John</i>. The Church narrowly escaped destruction when the
+Hôtel-Dieu Hospital was burnt down in 1916. From April, 1918, it was
+marked down by the German batteries. The roof was entirely burnt,
+and the dummy vaulting of the nave collapsed. Of the fine 15th century
+timber-work nothing remains, but parts of the lofty 13th century vaulting
+over the choir and transept withstood the bombardment. The treasure,
+tapestries, sacristy doors, storied tile-flooring of the chapel of St. Eloi,
+the old stained-glass of the lofty windows, and the apsidal windows round
+the gallery of the first storey, were saved by the Historical Monuments
+Department.</p>
+
+<p>The tomb of St. Remi is intact. The relics of the saint which, at the
+request of the Archbishop of Rheims had not been disturbed, were removed
+by the vicar of the parish at the time of the final evacuation of the town.
+The reliquary was taken away by officers at a later date, while the church was
+burning.</p>
+
+
+<h4>The Apse of St. Remi Church</h4>
+<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p>
+
+<p>The Apse was rebuilt under Pierre de Celle in 1170, in early Gothic. Five
+three-sided radiating chapels arranged in three stages, one behind the other,
+have flowing and elegant lines, broken by the enormous projections of the
+buttresses which were added at a later period.</p>
+
+<p>This apse is one of the earliest religious edifices in France, in which flying
+buttresses were employed.</p>
+
+<p>The latter, very simple in design, rest on outside fluted columns detached
+from the wall of the apse. This is one of the last examples of fluting, as
+applied to columns, the process disappearing generally with the introduction
+of pointed architecture, only to reappear at the Renaissance.</p>
+
+<p>The persistence of this fluting is doubtless explained by the influence
+of the many specimens of Roman architecture which Rheims had preserved.</p>
+
+
+<h4>The Doorway of the Southern Transept</h4>
+
+<p>Although the transept dates from the 11th century, its southern façade
+was built in 1480 by Robert de Lenoncourt.</p>
+
+<p>The doorway, which bears the Lenoncourt arms, comprises only one door,
+divided by a pillar with statues of St. Remi and the Virgin.</p>
+
+<p>The deep vaulting of the door is ornamented with vine-foliage. At the
+base, in the supporting walls, are statues of St. Sixtus and St. Sinicius (the
+first missionaries to Rheims) bare-footed, clothed in long embroidered mantles
+and holding books. In the vaulting above the head-covering of the missionaries
+are eight groups of statuettes representing episodes in the Life and
+Passion of Jesus.</p>
+
+<p>Tourists who follow the Itinerary on page <a href="#Page_95">95</a>, come out by the Rue
+St. Julien, in front of the doorway of the south transept. The latter is
+between the ruined apse (<i>on the right</i>) and the south lateral façade (<i>on the
+left</i>).</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i112.jpg" width="400" height="408" alt="SOUTHERN
+TRANSEPT
+OF ST. REMI
+CHURCH" title="" />
+<span class="caption">SOUTHERN
+TRANSEPT
+OF ST. REMI
+CHURCH</span>
+</div><p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i113.jpg" width="400" height="399" alt="DOORWAY
+OF THE
+SOUTHERN
+TRANSEPT
+(see photo,
+p. 104)" title="" />
+<span class="caption">DOORWAY
+OF THE
+SOUTHERN
+TRANSEPT<br />
+(<i>see photo,
+p. <a href="#Page_104">104</a></i>)</span>
+</div>
+
+<p>The 15th century leaves of the door are composed of wood panels in
+blind arcading, ornamented with flowering clover.</p>
+
+<p>On the buttresses which frame the doorway are five statues of saints,
+including St. Remi, St. Benedict, and St. Christopher carrying a kneeling
+Jesus on his shoulder.</p>
+
+<p>The tympanum of the gable above the great flamboyant window is
+arranged on a Gothic pediment. Its decoration represents the <i>Assumption
+of the Virgin and her crowning in Heaven</i>.</p>
+
+<p>On the top of the pediment, and crowning the whole, is St. Michael
+trampling Satan underfoot.</p>
+
+<p>The whole of the doorway is a beautiful example of Flamboyant Gothic.
+Its rich carvings and delicate ornamentation are in striking contrast with
+the severity of the rest of the building.</p>
+
+<p>At the intersection of the transept, there was formerly a wooden spire,
+built in 1394, which was pulled down as unsafe in 1825, by order of those
+who had charge of the arrangements connected with the consecration of
+Charles X.</p>
+
+<p>On the right-hand side of the transept, and also in the north transept,
+are small semi-circular chapels.</p>
+
+
+<h4>South Lateral Façade</h4>
+
+<p>This front has the bare, massive appearance of the 11th century buildings.
+The remarkable Roman arches, massive buttresses and blind doorway, framed
+by two primitive capitals with a wreath-shaped astragal, are apparently
+vestiges of constructions of an earlier date than those of Abbot Thierry.</p>
+
+<p>The semi-cylindrical abutments are among the oldest of mediæval
+buttresses. They are crowned with cones or capitals, the greater part of
+which are devoid of decoration.</p>
+
+<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i114.jpg" width="600" height="651" alt="" title="" />
+</div>
+
+<h4>The West Front of St. Remi Church</h4>
+
+<p>Between its two towers, this gabled façade, the recesses and blind arcading
+of which form almost its sole decoration, is in strong contrast with the principal
+façade of the Cathedral. At once elegant and severe, like most of the monastic
+buildings of the 12th century, it lacks unity. All that part situated above
+the five windows of the first storey, including the rose-window, has been
+rebuilt in modern times. The very simple rose-window, between two lines
+of superimposed arcading, is protected, in the Champagne style, by a relieving-arch.
+The northern tower (<i>on the left</i>) was almost entirely rebuilt in the
+19th century, on the lines of the old one. The simpler southern tower (<i>on
+the right</i>), with its arched windows and loopholes, is Roman of the 11th or
+12th century. The pointed part of the façade is late 12th century, and dates
+from the time of the restorations by Pierre de Celle.</p>
+
+<p>Three doors open on the nave. The central one is flanked by two columns
+with statues of St. Peter and St. Remi. The marble and granite columns
+came, no doubt, from some neighbouring Gallo-Roman building. These
+statues, with arms pressed close to their sides in the ancient stiff manner, are
+probably from the original basilicas.</p>
+
+<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i115.jpg" width="600" height="650" alt="THE NAVE
+(seen from
+the Choir)
+(Cliché LL.)" title="" />
+<span class="caption">THE NAVE
+(<i>seen from
+the Choir</i>)
+(<i>Cliché LL.</i>)</span>
+</div>
+
+<h4>The Inner Side of the Western Doorway</h4>
+
+<p>Here, the architecture is peculiar. Pierced columns form a gallery
+connecting the upper courses. The galleries of the first storey are supported
+by two great columnar shafts, each formed of two portions joined by a stone
+ring and surmounted by bell-shaped marble capitals. The columns and
+capitals are Gallo-Roman.</p>
+
+<h4>The Nave</h4>
+
+<p>Alterations were made at different times to the nave which, in the 11th
+century, had a timber-work roof. Pierre de Celle lengthened it by two bays,
+the pointed arches of which contrast with the circular ones of the lower bays,
+and also increased its height. <i>Note the ogives above the round arches.</i> The
+visible timber-work was replaced with vaulting on diagonal ribs sustained
+by clusters of small Gothic columns backing up against the Roman piers,
+the latter being still visible. These heavy piers (composed of fourteen small
+columns) which surround the central nave, and whose capitals (<i>photo, p. <a href="#Page_108">108</a></i>),
+with Barbaric wreathed astragals and foliage, recall the Carolingian period,
+contrast strikingly with the lightness of the apse. They are undoubtedly
+11th century. All the stone vaulting of the nave, as far as the transept,
+was replaced after 1839 with wood and plaster, which collapsed under the
+bombardments of 1918, when the roof was burnt.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>
+<img src="images/i116a.jpg" width="500" height="268" alt="ROMAN
+CAPITAL
+IN THE
+NAVE" title="" />
+<span class="caption">ROMAN
+CAPITAL
+IN THE
+NAVE</span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i116b.jpg" width="500" height="710" alt="THE NAVE AND CHOIR IN 1914 (Cliché LL.)" title="" />
+<span class="caption">THE NAVE AND CHOIR IN 1914 (<i>Cliché LL.</i>)</span>
+</div>
+
+<p>The pulpit, with its Benedictine monogram, is late 17th century. It is
+ornamented with three bas-reliefs: <i>St. Remi receiving the Sacred Ampulla</i>,
+<i>St. Benedict imploring the Holy Spirit</i>, and <i>St. Benedict giving the Injunction
+to his monks</i>. As far as the pulpit, on both sides of the nave, the granite
+columns resting on the piers date from the Gallo-Roman period.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
+<img src="images/i117a.jpg" width="500" height="310" alt="TRIFORIUM
+OF ST. REMI
+CHURCH
+(seen from
+entrance)" title="" />
+<span class="caption">TRIFORIUM
+OF ST. REMI
+CHURCH<br />
+(<i>seen from
+entrance</i>)</span>
+</div>
+
+<p>The side-aisles of the nave are surmounted with a triforium (<i>photo above</i>)
+with semi-circular vaulting at right-angles to the nave. The south aisle is
+almost entirely in ruins (<i>photo, p. <a href="#Page_107">107</a></i>).</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i117b.jpg" width="700" height="566" alt="THE NAVE AND CHOIR IN 1919" title="" />
+<span class="caption">THE NAVE AND CHOIR IN 1919</span>
+</div>
+
+
+<h4>The Tapestries</h4>
+<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p>
+<p>The priceless tapestries which, before the war, decorated the tribunals
+of the side-aisles, were saved.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i118.jpg" width="700" height="709" alt="THE TENTH TAPESTRY OF ST. REMI, DAMAGED BY SHELL-SPLINTERS ON
+SEPT. 4, 1914
+(See description, pp. 110, 111.)" title="" />
+<span class="caption">THE TENTH TAPESTRY OF ST. REMI, DAMAGED BY SHELL-SPLINTERS ON<br />
+SEPT. 4, 1914<br />
+(<i>See description, pp. <a href="#Page_100">110</a>, <a href="#Page_111">111</a>.</i>)</span>
+</div>
+
+<p>Those given by Robert de Lenoncourt and restored by <i>Les Gobelins</i>, are
+rich in composition and decorative effect. In an architectural frame of the
+Renaissance period, they represent the following legendary scenes from the
+life of St. Remi, the costumes belonging to the period of François I.:&mdash;</p>
+
+<p>1. The blind hermit Montanus visits the new-born Remi, who, touching him
+with his fingers wet with milk, restores his sight.</p>
+
+<p>2. The hermit St. Remi, called by the people to the bishopric, receives
+the mitre.</p>
+
+<p>3. Four miracles are performed by the saint: he extinguishes a fire lighted
+by demons in the city; he restores life to a girl; he is served at table by
+angels; when wine ran short at the table of his cousin Celsa, he blessed an
+empty cask, which was immediately filled.</p>
+
+<p>4. The Battle of Tolbiac; Clovis instructed and baptized by Remi;<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
+the miraculous dove and an angel bring from heaven the Sacred Ampulla
+and the fleur-de-lys scutcheon.</p>
+
+<p>5. Remi gives Clovis a cask of wine, telling him that he will always be
+victorious so long as the cask remains full; a miller who refused to give his
+mill to the Church, sees his wheel turn the wrong way and his mill fall
+down; St. Génebaud, Bishop of Soissons, punished by Remi for his sins,
+is afterwards delivered from his fetters by the saint.</p>
+
+<p>6. The miracle of Hydrissen: Remi raises a man from the dead, who
+confirms his wish to leave a portion of his wealth to the Church, to the confusion
+of his son-in-law who contested the will.</p>
+
+<p>7. Remi contemplating a heap of corn which he had collected to provide
+against famine, and which some drunkards had burnt. At a Council, Remi
+paralyses the tongue of a heretic priest, and then restores speech to him after
+repentance.</p>
+
+<p>8. Remi, singing Matins in the chapel of the Virgin, is assisted by St. Peter
+and St. Paul and blessed by Mary. Remi, blind, dictates his will in the
+presence of St. Génebaud and St. Médard. Remi recovers his sight, celebrates
+mass and gives the Communion to his clergy. Remi dies and four angels
+carry away his soul.</p>
+
+<p>9. Remi's funeral; the procession goes towards the church of St. Timothy,
+where it is proposed to bury the saint, but in front of St. Christopher's, on
+the site of the present basilica, the saint, by making it impossible to lift his
+coffin, manifests his desire to be interred in this chapel. The saint's winding-sheet,
+carried in procession, dispels the plague that had been ravaging the
+city.</p>
+
+<p>10. Angels transfer the relics of the saint to his mausoleum. A soldier
+who had tried to break in the door of the church, cannot withdraw his foot.
+Remi punishes the Bishop of Mayence, guilty of theft. Remi reveals himself
+with the Virgin and St. John. The Archbishop of Rheims, Robert de Lenoncourt,
+kneeling, presents the ten pieces of tapestry to the saint.</p>
+
+<p>The latter tapestry was riddled with splinters (<i>photo, p. <a href="#Page_110">110</a></i>) during the
+bombardment of September 4, 1914.</p>
+
+
+<h4>The Treasure</h4>
+
+<p>This was kept in the sacristy, the 15th century carved wood doors of
+which have Flamboyant style frames.</p>
+
+<p>Formerly the richest of all the church treasures of France, it was impoverished
+in the course of the centuries, through wars and revolutions.</p>
+
+<p>The <b>enamels</b> by Landin of Limoges (1633), dedicated to the lives of
+St. Timothy and St. Remi, a 12th century abbot's <b>crozier</b>, <b>reliquaries</b>
+and <b>sacerdotal ornaments</b> are noteworthy.</p>
+
+<p>The treasure was removed, together with the doors of the sacristy, by the
+Historical Monuments Department.</p>
+
+
+<h4>The North Transept</h4>
+
+<p>Three small white marble Gallo-Roman or Carolingian capitals crown the
+colonnettes of the triforium.</p>
+
+<p>Formerly, the church contained several tombs. Let into the wall of the<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span>
+north transept is a Latin epitaph, praising the virtues of a woman named
+Guiberge, who seems to have combined in her person the perfections of six
+women, <i>i.e.</i> the beauty of Rachel, the fidelity of Rebecca, the modesty of
+Susanna, the piety of Tabitha, the warm affections of Ruth, and the high
+morals of Anna.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i120.jpg" width="500" height="593" alt="THE RUINED TRANSEPT
+In the foreground: Renaissance Balustrade round the Choir (see p. 115), at
+the intersection of the Northern Transept. At the back: Inner side of the
+South Transept Door." title="" />
+<span class="caption">THE RUINED TRANSEPT<br />
+<i>In the foreground: Renaissance Balustrade round the Choir (see p. <a href="#Page_115">115</a>), at
+the intersection of the Northern Transept. At the back: Inner side of the
+South Transept Door.</i></span>
+</div>
+
+
+<h4>The South Transept</h4>
+
+<p>The first chapel on the right of the apse, against the transept, is the chapel
+of St. Eloi.</p>
+
+<p>In 1846, forty-eight storied flag-stones, taken from the flooring of the
+sanctuary of the church of St. Nicaise and collected by the architect Brunette,
+were placed there.</p>
+
+<p>These 14th century lozenge-shaped stones are engraved in black, the
+hollowed-out portions being filled with lead. Each stone has a pretty border<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
+with a square medallion, in the middle of which two or three figures represent
+a scene from the Old Testament, from Noah to Daniel in the lions' den.</p>
+
+<p>This chapel also contained two very expressive mediæval statues of
+painted wood and a 14th century Christ, all of which came from the old church
+of St. Balsamic.</p>
+
+<p>The second chapel on the eastern side of the south transept contained an
+Entombment dating from 1531. In this group, which belonged to the old
+church of the Commandery of the Temple of Rheims, Joseph of Arimathea
+and Nicodemus hold the winding-sheet. Salome, and Mary the mother of
+St. James, stand near the tomb, while the Virgin, overcome with grief, is
+supported by St. John.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i121.jpg" width="700" height="590" alt="THE SIXTEENTH CENTURY ENTOMBMENT, FORMERLY IN ONE OF THE
+CHAPELS OF THE SOUTHERN TRANSEPT (Cliché LL.)" title="" />
+<span class="caption">THE SIXTEENTH CENTURY ENTOMBMENT, FORMERLY IN ONE OF THE
+CHAPELS OF THE SOUTHERN TRANSEPT (<i>Cliché LL.</i>)</span>
+</div>
+
+<p>Facing this Burial Scene was the Altar-screen of the Three Baptisms,
+the work of Nicolas Jacques and the gift of Jean Lespagnol in 1610. This
+screen, which formed the background of the baptismal fonts, represented in
+three bas-reliefs: The baptism of Clovis (<i>on the right</i>), the baptism of Jesus
+by John the Baptist (<i>in the centre</i>), and the baptism of Constantine (<i>on the
+left</i>).</p>
+
+<p>The railing round the baptismal fonts belongs to the second half of the
+18th century, and was taken from the church of St. Pierre-le-Vieil.</p>
+
+<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/i122.jpg" width="500" height="486" alt="SCULPTURED CONSOLES OF COLONNETTES IN THE CHOIR" title="" />
+<span class="caption"><br />SCULPTURED CONSOLES OF COLONNETTES IN THE CHOIR</span>
+</div>
+
+<h4>The Choir of St. Remi Church</h4>
+
+<p>The Choir was rebuilt by Pierre de Celle. The plan is very like that of the
+choir of the Cathedral, of which it is the prototype.</p>
+
+<p>As in the Cathedral, it intrudes upon the nave, of which it occupies the
+three last bays. In the latter, the columns placed against the six piers were
+removed. The groups of small columns which support the ribs of the vaulting
+rest upon a corbel-table carried by three consoles (<i>photo above</i>), which in turn
+rest on colonnettes with crocketed capitals. The central consoles are ornamented
+with figures of angels and symbolic animals, while under the lateral
+consoles are statuettes of prophets holding scrolls, on which their names are
+inscribed in painted letters.</p>
+
+<p>Five circular radiating chapels open out on the vast ambulatory. The
+plan of the latter, like that of Nôtre-Dame-de-Châlons, evokes all that is most
+original in the Gothic architecture of Champagne. The bays with their
+alternations of square-ogival and triangular vaulting do not correspond
+with the breadth of the radiating chapels, which are connected to one another
+by three arcades resting on light columns. In the lower nave, from the
+curiously large number of points of support, it would seem that the builders
+had doubts as to the strength of the pointed style and, by way of precaution,
+greatly increased the number of points of support inside the church and of the
+exterior buttresses. The tribunes rising above the arcades are surmounted
+with a triforium lighted by high windows, which still retain their beautiful
+early 18th century stained-glass. The somewhat stiff figures stand out on a
+uniformly blue ground. In the upper part, apostles, evangelists, and the
+sixteen greater prophets are grouped around a stately Virgin. In the lower<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
+part, the principal archbishops of Rheims on thrones are seated round St. Remi
+who occupies the place of honour below the Virgin. In the two last windows
+are effigies of Archbishops Samson (<i>deceased in 1161</i>) and Henry of France,
+during whose episcopate Pierre de Celle caused the apse to be built.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i123.jpg" width="500" height="593" alt="FRAGMENT OF PASCHAL CHANDELIER DESTROYED BY
+THE BOMBARDMENTS OF 1914" title="" />
+<span class="caption">FRAGMENT OF PASCHAL CHANDELIER DESTROYED BY
+THE BOMBARDMENTS OF 1914</span>
+</div>
+
+<p>The choir is surrounded by a Renaissance railing which is out of harmony
+with the general scheme. It was erected between 1656 and 1669, at the joint
+expense of the widow of the famous barrister Omer Talon, the Town Council,
+the Duke of Longueville, and the Grand Prior of St. Remi. The sculptor
+François Jacques seems to have co-operated therewith.</p>
+
+<p>The great <i>crown of light</i> hanging at the entrance to the choir was an imitation
+of the original crown, destroyed in 1793, and which was garnished with
+ninety-six candles, symbolizing the ninety-six years of St. Remi's life (<i>see
+p. <a href="#Page_108">108</a></i>).</p>
+
+<p>The 18th century high-altar of red marble which, like the cross and the
+six chandeliers, came from the church of the Minims, was crushed beneath
+the falling vaulting.</p>
+
+<p>At the time of the Revolution (1792) the chandelier (masterpiece of the
+old Rheims metal-founders), which adorned the centre of the Sanctuary,
+was broken and melted down, with the exception of a portion of one of the
+feet. This fragment (<i>photo above</i>), preserved in the Archæological Museum,
+was destroyed by the bombardment of 1914.</p>
+
+<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/i124.jpg" width="600" height="654" alt="TOMB AND
+RELIQUARY
+OF ST. REMI" title="" />
+<span class="caption">TOMB AND
+RELIQUARY
+OF ST. REMI</span>
+</div>
+
+<h4>The Tomb and Reliquary of St. Remi</h4>
+
+<p>The present tomb, erected in 1847, is only a memorial of the sumptuous
+mausoleum, profusely decorated with gold medals, diamonds and sapphires,
+which was destroyed at the time of the Revolution.</p>
+
+<p>It is a Renaissance chapel, ornamented with the statues of the original
+tomb, which form by far the most interesting part of the monument. The
+twelve Peers are represented in their coronation robes: the Archbishop,
+Duke of Rheims, carries the Cross; the Archbishop, Duke of Laon, the sceptre;
+the Bishop, Count of Beauvais, the royal mantle; the Bishop, Count of
+Châlons, the ring; the Bishop, Count of Noyon, the girdle; the Duke
+of Burgundy, the crown; the Duke of Aquitaine, the standard; the Duke of
+Normandy, a second standard; the Count of Flanders, the sword; the Count
+of Toulouse, the spurs; the Count of Champagne, the military standard of
+the King.</p>
+
+<p>The Reliquary of St. Remi, which is in the mausoleum, dates from 1896.
+It was bought by national subscription and presented to the church on the
+occasion of the centenary of the baptism of Clovis. In the niches of the lower
+part of the reliquary are statuettes of the twelve apostles. Higher up, in
+the recesses of the long sides, enamels illustrating episodes in the life of St. Remi
+are imbedded. On the two ends, two enamels represent the Battle of Tolbiac
+and the Baptism of Clovis.<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p>
+
+<p><i>Leave the Church of St. Remi by the western doorway, which faces the Place
+de l'Hôpital civil, cross the square, then turn to the right into the Rue Simon.
+The entrance to the</i> Hôtel-Dieu Hospital <i>is on the right</i>.</p>
+
+
+<h4>The Hôtel-Dieu</h4>
+
+<p>This hospital is installed in the buildings of the ancient Abbey of the
+Benedictine monks of St. Remi who, for centuries, were the guardians of the
+relics of the famous Bishop of Rheims.</p>
+
+<p>During the invasion, at the time of the Revolution, the Abbey was transformed
+into a military hospital, but it was only in 1827 that it became officially
+the <i>Hôtel-Dieu,</i> in place of the old Municipal Hospital (<i>see "Palais de Justice"
+p. <a href="#Page_93">93</a></i>). The furnishings of the latter were then transferred to the Abbey
+buildings, disaffected since the Restoration.</p>
+
+<p>Of the ancient abbey, where <i>Charles-le-Simple</i> and the <i>Duc Robert</i> were
+proclaimed king, and where several archbishops were elected, only a few
+vestiges remain. Damaged by the fires of 1098, 1481, and 1751, it was completely
+destroyed by the great conflagration of January 15, 1774. The
+present abbey, rebuilt by Duroche, the King's architect, was scarcely finished
+when the Revolution broke out.</p>
+
+<p>Incendiary bombs dropped by German aeroplanes in August, 1916,
+destroyed most of the buildings.</p>
+
+<p>The monumental façade which faces the Court of Honour is Louis XVI.
+in style.</p>
+
+<p>The second court, that behind the main buildings, is bordered by a cloister
+built by the Rheims architect, Nicolas Bonhomme, in the first part of the
+18th century, in place of the 13th and 14th century cloister destroyed in 1707.
+The buttresses of the side which abuts on the church of St. Remi, and those
+of the opposite side, are 12th century.</p>
+
+<p>The marble fountain with bronze furnishings, in the centre of the court,
+was formerly in the Place St. Nicaise. It was erected in 1750 from designs
+by <i>Coustou</i>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i125.jpg" width="400" height="309" alt="THE CLOISTER AND FOUNTAIN OF THE HÔTEL-DIEU" title="" />
+<span class="caption"><br />THE CLOISTER AND FOUNTAIN OF THE HÔTEL-DIEU</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i126a.jpg" width="500" height="392" alt="THE GRAND STAIRCASE OF THE HÔTEL-DIEU
+Through the windows is seen the North Front of St. Remi." title="" />
+<span class="caption">THE GRAND STAIRCASE OF THE HÔTEL-DIEU<br />
+<i>Through the windows is seen the North Front of St. Remi.</i></span>
+</div>
+
+<p><i>At the back of the court, on the left</i>, is an exceedingly fine Louis XVI.
+staircase with wrought-iron handrail (<i>photo above</i>).</p>
+
+<p>The <b>Lapidary Museum</b>, which was formerly in the crypt of the archi-episcopal
+chapel (<i>see p. <a href="#Page_65">65</a></i>), was installed under one of the galleries of the
+cloister in 1896. Of the tombstones, storied floor-tiles, and various carvings
+which it contains, the most remarkable is the <b>Tomb of Jovinus</b>.</p>
+
+<p>Consul in 367, Jovinus commanded the armies in Gaul, under the Emperor
+Julian, and successfully resisted three attempts at invasion by the Alemanni.
+As a Christian, he founded a basilica at Rheims.</p>
+
+<p>The white marble tomb with carvings is apparently Græco-Roman of
+the 3rd century, and dates back before the time of Jovinus, who died in 370.
+It is possible that Jovinus had the first occupant of the tomb ejected, or
+that he bought an old sarcophagus and had his own portrait affixed to it.</p>
+
+<p>The chapel installed in the old library of the abbey contained some fine
+Louis XVI. wood carvings (<i>see photo below of the ruins of the chapel</i>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i126b.jpg" width="500" height="383" alt="CHAPEL OF THE HÔTEL-DIEU IN 1919" title="" />
+<span class="caption">CHAPEL OF THE HÔTEL-DIEU IN 1919</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i127a.jpg" width="400" height="426" alt="THE OLD
+CHAPTER-HOUSE
+OF THE
+ABBEY" title="" />
+<span class="caption">THE OLD
+CHAPTER-HOUSE
+OF THE
+ABBEY</span>
+</div>
+
+<p>The <b>chapter-house</b> of the abbey, which served as a refectory, was rebuilt
+about the end of the 12th century. With its pointed arches, it belonged to
+the early period of Gothic architecture. The most remarkable portion was
+the vestibule facing the cloister. The decoration of the lateral arcades of
+the vestibule included Roman capitals, nearly all of which are intact (<i>photo
+below</i>), and which are of great value from the standpoint of the history of
+art and costumes. In the refectory were the <i>Godard</i> tables made out of a
+single branch of a gigantic oak-tree from the forest of St. Basle. They were
+given to the old <i>Hôtel-Dieu</i> by Canon Godard, whose name is incrusted in
+lead in the wood, as a rebus: <i>Go</i>, followed by the figure of a dart (French:
+<i>dard</i>).</p>
+
+<p>Near the chapter-house, a round-arched chamber was all that remained
+of the early portion of the abbey.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i127b.jpg" width="500" height="343" alt="ROMAN CAPITALS IN THE VESTIBULE OF THE
+CHAPTER-HOUSE" title="" />
+<span class="caption">ROMAN CAPITALS IN THE VESTIBULE OF THE
+CHAPTER-HOUSE</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i128.jpg" width="400" height="424" alt="THE GRAND
+STAIRCASE
+OF THE
+HÔPITAL
+GÉNÉRAL" title="" />
+<span class="caption">THE GRAND
+STAIRCASE
+OF THE
+HÔPITAL
+GÉNÉRAL</span>
+</div>
+
+<p><i>After visiting the Hôtel-Dieu, follow the Rue Simon, which skirts the Ecole
+de Médecine, then turn to the right into the Rue St. Remi. At the end of same,
+take the Rue Gambetta on the left, and follow it as far as the</i> <b>Hôpital Général</b>
+<i>on the right.</i></p>
+
+
+<h4>The Hôpital Général</h4>
+
+<p>This is the old Order-House of the Jesuits, built at the beginning of the
+17th century. The <b>refectory</b> is ornamented with rich woodwork and paintings,
+by the Rheims artist Hélart. Of greater interest is the <i>library</i>,
+situated under the gables, and which is reached by a fine staircase. The
+room is adorned with a profusion of wood-carvings and mouldings. Exceedingly
+fine consoles carry the ceiling, whose carved panels are profusely
+ornamented with crowns, polygons, florets and heads of angels. The oaken
+pilasters which separate the bookshelves are decorated with a variety of
+leaves and flowers. In spite of this wealth of ornament, the general effect is
+harmonious. The recesses in the woodwork, opposite the dummy dormer-windows,
+were for reading.</p>
+
+<p>Ancient vines cover the walls of the chapel, near the entrance to the
+<i>hôpital</i>.</p>
+
+<p><i>At the side of the Hôpital Général stands the</i> <b>Church of St. Maurice</b>.</p>
+
+<p>This church was entirely rebuilt by the Jesuits after the destruction of the
+ancient edifice, which was one of the oldest in Rheims. Here may be seen
+the <i>Eagle Reading-Desk</i>, a fine piece of 17th century wood-carving; two
+<i>Louis XIV. portable iron desks</i> and the <i>paschal chandelier</i> of carved wood;
+the <i>17th century confessionals</i> of the lateral chapels, and in the sacristy
+remarkable <i>Louis XIII., hand-embroidered guipures</i> of open-work designs,
+after the style of the models by the Rheims artist, Georges Baussonnet.</p>
+
+<p><i>Return to the Place du Parvis, in front of the Cathedral, via the Rue Gambetta
+and its continuation, the Rue Chanzy.</i></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span></p>
+<h2>A VISIT TO THE BATTLEFIELDS
+AROUND RHEIMS</h2>
+
+
+<div class="figcenter" style="width: 900px;">
+<img src="images/i129.png" width="900" height="969" alt="" title="" />
+</div>
+
+<p>A thorough visit can be made in two days.</p>
+
+<p>The Itinerary for each day is divided into two parts, to allow tourists to
+return to Rheims for lunch.</p>
+
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="right"><b>First Day</b></td><td align="left">{ Morning</td><td align="left">pp. <a href="#Page_122">122</a>-<a href="#Page_133">133</a>.</td></tr>
+<tr><td align="right"></td><td align="left">{ Afternoon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">pp. <a href="#Page_134">134</a>-<a href="#Page_159">159</a>.</td></tr>
+<tr><td align="right"><b>Second Day</b></td><td align="left">{ Morning</td><td align="left">pp. <a href="#Page_160">160</a>-<a href="#Page_165">165</a>.</td></tr>
+<tr><td align="right"></td><td align="left">{ Afternoon</td><td align="left">pp. <a href="#Page_166">166</a>-<a href="#Page_174">174</a>.</td></tr>
+</table></div>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span></p>
+<h2>FIRST DAY<br />MORNING</h2>
+
+<h3>THE MOUNTAIN OF RHEIMS</h3>
+
+<h6>(<i>See the complete Itineraries on p. <a href="#Page_121">121</a>, and the summary of the war
+operations on p. <a href="#Page_131">131</a>.</i>)</h6>
+
+
+<div class="figcenter" style="width: 900px;">
+<img src="images/i130.png" width="900" height="737" alt="" title="" />
+</div>
+
+<p>This part of the Itinerary will take the tourist to the most important
+points of the last German offensive of 1918, which aimed at the capture of
+Rheims.</p>
+
+<p><i>Starting from the Place du Parvis Nôtre-Dame, take the Rue Libergier,
+opposite the Cathedral, turn to the right into the Rue Chanzy, follow same as far
+as the Rue de Vesle, take the latter on the left, and follow it to the end.</i></p>
+
+<p><i>After the</i> <b>Porte de Paris</b> <i>(see p. <a href="#Page_68">68</a>) the Rue de Vesle becomes the Avenue
+de Paris. Take same, but after passing under the railway bridge, turn to the
+left into the Avenue d'Epernay (R. N. 51, see plan, p. <a href="#Page_121">121</a>).</i></p>
+
+<p><i>Take the second street on the right (Rue de Bezannes), which passes in front
+of the</i> <b>Western Cemetery</b>, devastated by the bombardments.</p>
+
+<p>The road crosses numerous lines of trenches and boyaux, which defended
+the immediate approaches to Rheims.<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p>
+
+<p><i>Before reaching Bezannes village, leave on the right, two roads which skirt
+a large estate enclosed with railings, go straight on to the ruined railway-station
+of Bezannes, then turn to the right.</i></p>
+
+
+<h4>Bezannes</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_122">122</a>.</i>)</h6>
+
+<p><i>Cross the first group of half-ruined houses, then, on reaching a second group,
+which forms the main part of the village, turn to the left into the first street
+encountered, where the</i> partially destroyed church <i>stands</i>.</p>
+
+<p>The round-vaulted apse, tower, nave and aisles all belong to the
+Romanesque period. The Gothic doorway is 13th, and the spire of the
+belfry 15th century.</p>
+
+<p>The square tower greatly resembles the old belfry on the doorway of
+St. Remi Church in Rheims, and, like the latter, dates apparently from the
+middle of the 11th century.</p>
+
+<p>The Gothic doorway of the west front is set up against a Romanesque
+wall. The gable has been rebuilt in modern times. Vestiges of an ancient
+portal are to be found on each side of the doorway. The key-stones of the
+arch above the tympanum, like those of the upper arching, are numbered in
+Roman figures, a peculiarity rarely to be found.</p>
+
+<p>Facing the doorway of the church, on the left of the great entrance-door
+to a court, is a niche containing a 16th century stone <b>statue</b> representing a
+bishop wearing a chasuble.</p>
+
+<p>In the court of the same house, over the door of the main structure, on
+the right, in an arched Renaissance niche, hollowed out and ornamented
+with marble incrustations, is the <b>statue</b> of a canon with folded hands
+kneeling at the foot of a crucifixion.</p>
+
+<p>A shell-splinter took off the
+head of the bishop's statue, but
+the other group is intact.</p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/i131.jpg" width="300" height="428" alt="CHURCH OF BEZANNES IN 1914" title="" />
+<span class="caption">CHURCH OF BEZANNES IN 1914</span>
+</div>
+
+<p>Those interested in things pre-historic,
+may visit the <b>Pistat
+Collection</b> at Bezannes, which contains
+a great number of interesting
+specimens belonging to the stone
+and neolithic ages, and to the
+Gallic and Roman periods of the
+region.</p>
+
+<p>Of the old castles of Bezannes,
+nothing of interest remains.</p>
+
+<p>On September 11, 1914, during
+the Battle of the Marne, the
+German Staff took up their quarters
+in the house of M. Poullot.
+On the 12th, the battle attained
+the vicinity of the village.</p>
+
+<p><i>Skirt the church, and at the
+cross-roads at the end of the village,
+keep straight on, past the cemetery on
+the right.</i></p>
+
+
+<p><span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span></p>
+
+<p><i>The road climbs a small hill lined with trenches, then descends to the village of</i>
+<b>Les Mesneux</b>.</p>
+
+<p><i>At the entrance to this village (which is of no particular interest) turn to
+the right, and at the fork about fifty yards farther on, to the left, leaving the
+unmetalled road on the right.</i></p>
+
+<p><i>About half-a-mile from Les Mesneux and shortly before reaching the crossing
+with the road to Rheims (G. C. 6)</i>, there is a small wood at the place called
+<b>Le Champ Clairon</b>. It was from here that German batteries under Colonel
+von Roeder fired on Rheims on September 4, 1914, in spite of the protestations
+of the Mayor of Les Mesneux, who assured the German commander
+that the French troops had completely evacuated the town.</p>
+
+<p><i>At the crossing with G. C. 6, keep straight on to Ormes</i>, whose church, at the
+entrance to the village, was almost entirely destroyed.</p>
+
+
+<h4>Ormes</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_122">122</a>.</i>)</h6>
+
+<p>This village, in addition to numerous subterranean passages and chambers,
+possesses the interesting 12th century <b>Church St. Remi</b> (<i>photo below</i>).</p>
+
+<p>Its circular apse with cornice resting on corbels is barrel-vaulted. Colonnettes
+in the great bays of the steeple (in ruins) carry carved 12th century
+capitals.</p>
+
+<p>The pointed vaulting of the southern transept is 12th century, and the
+ogival groining rests on Norman capitals. The doorway of the western
+façade dates from the second half of the 12th century, and although its porch
+was destroyed in 1853 it is still remarkable.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/i132.jpg" width="350" height="507" alt="THE CHURCH OF ORMES" title="" />
+<span class="caption">THE CHURCH OF ORMES</span>
+</div><p><span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i133a.jpg" width="500" height="410" alt="THE INSIDE OF ORMES CHURCH" title="" />
+<span class="caption">THE INSIDE OF ORMES CHURCH</span>
+</div>
+
+<p>It comprises three tierce-pointed arcades surmounted by a line of billet-moulding.
+The lateral arcades are blind, while the higher central arcading
+around the door is surmounted with three receding <i>tori</i> resting on crocketed
+foliate capitals. The lateral arcades have similar capitals but only one
+<i>torus</i>.</p>
+
+<p>Inside the church are interesting <b>16th century statues</b>: <i>St. Barbara</i>
+in stone and <i>St. Catharine</i>, painted and decorated, face the altar; <i>St. Remi</i>
+in stone, remarkable for its costume and decoration, stands above the altar
+of the northern chapel; a wooden <i>Virgin</i> surmounts the inner doorway.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i133b.jpg" width="400" height="560" alt="ALTAR-SCREEN OF THE CHOIR" title="" />
+<span class="caption">ALTAR-SCREEN OF THE CHOIR</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i134.jpg" width="500" height="428" alt="THE ROAD FROM RHEIMS TO JOUY, NEAR THE
+LATTER VILLAGE
+Note the camouflaging." title="" />
+<span class="caption">THE ROAD FROM RHEIMS TO JOUY, NEAR THE
+LATTER VILLAGE<br />
+<i>Note the camouflaging.</i></span>
+</div>
+
+<p><i>Return by the same road to the crossing with the road to Rheims (G. C. 6),
+where, opposite the</i> <b>Café du Joyeux Laboureur</b>, <i>turn to the right.</i></p>
+
+<p>The road rises towards the Mountain of Rheims. Of the <i>camouflaging</i>
+seen in above photograph, only traces remain.</p>
+
+<p><i>Shortly after, the tourist passes between the villages of</i> <b>Jouy</b> <i>and</i> <b>Pargny</b>,
+<i>whose houses border the road.</i> Jouy (<i>on the left</i>) and Pargny (<i>on the right</i>) were
+bombarded by the Germans in June, 1915.</p>
+
+<p>The <b>Church of Jouy</b>, visible from the road to Rheims, was almost
+entirely destroyed.</p>
+
+<p><i>To visit the church of Pargny, turn to the right opposite the grocery stores,
+No. 262, then take the second street on the left</i> (near a fine mansion partly in
+ruins).</p>
+
+<p><i>About 100 yards farther on is</i> the church, the belfry of which was destroyed.
+<i>Return to the crossing with the main road to Rheims, where turn to the right.</i></p>
+
+<p>The road continues to climb the northern slopes of the Mountain of Rheims.
+On a hill to the left, the <b>Chapel of St. Lié</b> dominates the surrounding plain.
+There is a very fine view of Rheims from here.</p>
+
+<p><i>The top of the rise is reached soon afterwards. Descend the southern slopes,
+passing between the sidings of an</i> important material and ammunition depot
+situated on the reverse side of the mountain out of sight of the enemy's
+observation-posts. <i>On reaching the crossing half-way down the hill, leave on
+the left the two roads leading respectively to</i> <b>Ville Dommange</b> <i>and</i> <b>Courmas</b>.</p>
+
+<p><i>A short distance further on, after passing the road to Onrézy (on the left),
+take the following narrow road on the left</i>, which passes between clumps of trees
+that were cut to pieces by shell-fire.</p>
+
+<p><i>A little further on, on the right, is a</i> cemetery containing the graves of some
+two hundred French, British and Italian soldiers.</p>
+
+<p><i>Turn to the right after the cemetery.</i> The road crosses a fine avenue bordered
+with shell-torn poplar trees, leading to the <b>Castle of Commetreuil</b> <i>on the
+left</i>. <i>The village of</i> <b>Bouilly</b> is reached soon afterwards.</p>
+
+<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i135a.jpg" width="500" height="394" alt="THE END OF BOUILLY VILLAGE
+(going towards St. Euphraise)." title="" />
+<span class="caption">THE END OF BOUILLY VILLAGE<br />
+(<i>going towards St. Euphraise</i>).</span>
+</div>
+
+
+<h4>Bouilly&mdash;St. Euphraise&mdash;Clairizet</h4>
+
+<h6>(<i>See pp. <a href="#Page_131">131</a>-<a href="#Page_132">132</a>, and Itinerary, p. <a href="#Page_122">122</a>.</i>)</h6>
+
+<p>Bouilly was burnt by the Germans on September 12, 1914, under the
+pretext that the inhabitants had caused the death of two <i>Uhlans</i> killed the
+day before by French <i>Chasseurs</i>.</p>
+
+<p><i>Turn to the right opposite the Church of Bouilly.</i> There is a small cemetery
+on the right, just outside the village, containing several German graves.</p>
+
+<p><i>On reaching G.C. 6, leading to Rheims, turn to the right. Take the first
+road on the left</i>, which passes through a small devastated wood, where batteries
+of guns were posted. <i>Cross a small stream, and immediately afterwards the
+railway, then turn to the left into the village of</i> <b>St. Euphraise</b>.</p>
+
+<p><i>Turn to the right in the village, opposite the church.</i> The road rises steeply
+to the hamlet of <b>Clairizet</b>, which was almost entirely destroyed. <i>Pass by
+a</i> "Calvary," composed of four large trees surrounding a cross, <i>then turn to
+the left into a small narrow street</i>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i135b.jpg" width="500" height="398" alt="RUINED CHURCH OF ST. EUPHRAISE" title="" />
+<span class="caption">RUINED CHURCH OF ST. EUPHRAISE</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i136a.jpg" width="600" height="439" alt="COULOMMES VILLAGE SEEN FROM THE CHURCH" title="" />
+<span class="caption">COULOMMES VILLAGE SEEN FROM THE CHURCH</span>
+</div>
+
+
+<h4>Coulommes-la-Montagne&mdash;Vrigny</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_122">122</a>.</i>)</h6>
+
+<p><i>The road rises, then descends to</i> <b>Coulommes-la-Montagne</b>. <i>Turn to the
+right at the entrance to the village.</i> The church, in ruins, is on the left.</p>
+
+<p><i>At the cross-roads just outside the village take G.C. 26 on the left. At
+first, the road dips rather abruptly, then rises to</i> <b>Vrigny</b>.</p>
+
+<p>The Church of Vrigny, entirely in ruins, is on the right at the entrance to
+the village. <i>Pass the Town Hall, leaving a public washing-place on the left,
+then turn to the right.</i></p>
+
+<p><i>On leaving the village, take G.C. 26 on the left to the village of</i> <b>Gueux</b>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i136b.jpg" width="600" height="461" alt="RUINS OF THE CHURCH AT VRIGNY" title="" />
+<span class="caption">RUINS OF THE CHURCH AT VRIGNY</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i137a.jpg" width="700" height="489" alt="RUINS OF THE CHURCH OF GUEUX IN 1918" title="" />
+<span class="caption">RUINS OF THE CHURCH OF GUEUX IN 1918</span>
+</div>
+
+
+<h4>Gueux</h4>
+
+<h6>(<i>See pp. <a href="#Page_131">131</a>-<a href="#Page_132">132</a> and Itinerary, p. <a href="#Page_122">122</a>.</i>)</h6>
+
+<p>Gueux is a small old-world village, with ancient houses, castle and church.</p>
+
+<p>At the entrance to the village, a large square with trees, cut to pieces and
+devastated by the bombardment.</p>
+
+<p><i>From the square, go to the</i> <b>Church</b> <i>on the right</i>, now a heap of ruins. Seen
+through the trees from the square it forms a pitiful sight.</p>
+
+<p>In the chapel, on the left of the main entrance, there was a fine piece of
+Renaissance carving.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i137b.jpg" width="400" height="342" alt="GUEUX CHURCH IN 1917
+Cardinal Luçon coming out of the Church (see above.)" title="" />
+<span class="caption"><br />GUEUX CHURCH IN 1917<br />
+<i>Cardinal Luçon coming out of the Church (see above).</i></span>
+</div>
+
+<p>It was to Gueux that the Archbishop of Rheims, Mgr. Luçon, betook
+himself after the bombardments of April, 1917. The village cemetery contains
+many soldiers' graves. The Cardinal-Archbishop of Rheims presided at
+a pathetic ceremony held during the War in honour of the dead.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span>
+<img src="images/i138a.jpg" width="500" height="373" alt="THE ANCIENT CASTLE OF GUEUX" title="" />
+<span class="caption">THE ANCIENT CASTLE OF GUEUX</span>
+</div>
+
+<p><i>To visit the</i> <b>Castle</b>, <i>cross the square and take a small street on the left, which
+leads to the road to Rosnay (G.C. 27)</i>.</p>
+
+<p><i>Turn to the left, and fifty yards further on take on foot the narrow street on
+the left, which leads to the old castle.</i></p>
+
+<p>This ancient castle, where the Kings of France, on their way to Rheims to
+be consecrated, used to dine, suffered severely from the bombardments.
+Outwardly it has, however, retained its general appearance (<i>photo above</i>).</p>
+
+<p><i>Return to the car, and go straight on to the fork in the roads to Rosnay and
+Prémecy. Facing the fork is the entrance</i> to the park and <b>modern Castle of
+Gueux</b>, belonging to the Roederer family, which was completely destroyed
+(<i>photo below</i>).</p>
+
+<p><i>Turn the car round at the above-mentioned fork and continue straight along
+G.C. 27.</i></p>
+
+<p><i>Beyond the village of Gueux</i> the road crosses numerous lines of trenches.
+Many shelters and ammunition depots can still be seen along the road. <i>The
+National Road from Rheims to Soissons (N. 31) is reached soon afterwards.
+Near the cross-ways are the</i> ruins of an inn.</p>
+
+<p><i>At this crossing, leave the National Road on the left and take the narrow road
+on the right which leads to</i> <b>Thillois</b>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i138b.jpg" width="500" height="325" alt="THE MODERN CASTLE OF GUEUX" title="" />
+<span class="caption">THE MODERN CASTLE OF GUEUX</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i139.jpg" width="500" height="408" alt="CROSSING OF THE THILLOIS AND RHEIMS ROADS" title="" />
+<span class="caption">CROSSING OF THE THILLOIS AND RHEIMS ROADS</span>
+</div>
+
+
+<h4>Thillois</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_122">122</a>.</i>)</h6>
+
+<p>The <b>Church of Thillois</b> (late 12th century), now a heap of ruins, stood
+at the entrance to the village.</p>
+
+<p>In 1914 it was still intact in all its vital parts. Its vaulting was pointed,
+with groining resting on columns, whose capitals were either Romanesque
+or Gothic. The nave had a timber roof.</p>
+
+<p>The high-altar screen was a fine piece of sculptured stone-work of late
+16th or early 17th century. In a niche above the altar, the Virgin, sitting on
+an X-shaped seat, was holding Jesus, clothed in a tunic and standing on her
+knee.</p>
+
+<p><i>Leaving the church behind on the right, turn to the left, to reach the National
+Road. On the right is a</i> small 18th century castle, behind a clump of fine stately
+trees, known as the <i>Bosquet de Thillois</i>. It was destroyed by shells.</p>
+
+<p><i>Return to the National Road, turn to the right at the cross-roads, leaving on
+the left the road to Champigny, then return direct to Rheims, entering the city by
+the Avenue and Porte de Paris.</i></p>
+
+
+<h4>The Mountain of Rheims Battles</h4>
+
+<h6>(<i>See p. <a href="#Page_14">14</a> and p. <a href="#Page_122">122</a>.</i>)</h6>
+
+<p>The fighting known as the <i>Battles of the Mountain of Rheims</i> took place in
+1918 over the whole of the area described above, <i>i.e.</i> from Bouilly to Thillois,
+<i>via</i> St. Euphraise, Coulommes, Vrigny and Gueux (<i>see the Michelin Illustrated
+Guide: The Second Battle of the Marne</i>).</p>
+
+<p>The Mountain of Rheims prolongs the region of Tardenois to the east.
+It is an important military position between the Vesle and the Marne, as it
+dominates the plain of Champagne. The higher part of it is finely wooded,
+while on the lower slopes and eastern and southern edges are the famous
+Champagne vineyards (<i>see Verzenay, pp. <a href="#Page_171">171</a>-<a href="#Page_172">172</a></i>).</p>
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
+<img src="images/i140.png" width="700" height="634" alt="" title="" />
+</div>
+
+<p>During the year 1918 the Germans made tremendous efforts to carry this
+position, the loss of which would have meant the fall of Rheims, leaving
+Epernay and Châlons-sur-Marne unprotected.</p>
+
+<p>Although held to the east of Mountain, they obtained important successes
+on the west, where they reached the Marne, while in May they occupied the
+Woods of Courton and Le Roi. In July they crossed the Marne and advanced
+as far as Montvoisin, on the road to Epernay. Very fierce fighting took place,
+especially to the north-west of the Mountain at <b>Bouilly</b>, <b>Bligny</b>,
+<b>St. Euphraise</b> and <b>Vrigny</b>. These positions, and Hill 240 to the west of
+Vrigny, were several times lost and recaptured by the Allied troops under
+General Berthelot, French, Italian and British, who fought there side by side.</p>
+
+<p>Vrigny was taken by the Germans on May 30, but retaken by the Allies
+on June 1 at the point of the bayonet. The same evening, four German
+regiments, after progressing slightly in the direction of Hill 240, were first
+checked, then driven back after bitter hand-to-hand fighting.</p>
+
+<p>On June 9, the Germans were repulsed around Vrigny, after having sustained
+severe losses. On the 23rd, they rushed Bligny Hill, held by Italian
+troops, reaching the summit, but were shortly afterwards driven back. On
+the 29th, they sustained a like check at the same place.</p>
+
+<p>In July they advanced their lines slightly towards Marfaux, Pourcy and
+Cuchery, but were unable to hold the captured ground. On the 18th, the
+Italians advanced in the region of Bouilly. On the 19th, Franco-British
+troops progressed towards St. Euphraise. On the 21st, the Allies carried
+Bouilly and St. Euphraise. On the 24th and 25th, in spite of desperate
+repeated efforts, the Germans were unable to hold Hill 240 which they had<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
+temporarily captured. On August 1 further enemy efforts to carry the
+Bligny uplands failed.</p>
+
+<p>The region of Gueux&mdash;Thillois&mdash;Champigny was terribly ravaged by
+the war.</p>
+
+<p>On September 11th, 1914, the French 5th Division, under General Mangin,
+drove the enemy from these positions, which remained in the French lines
+until May 30, 1918. Occupied by the Germans on May 31, after fierce
+fighting, they were completely devastated by artillery fire. Retaken by the
+French, then lost again in July, Thillois was finally recaptured on August 2,
+at the same time as Gueux.</p>
+
+<p>On August 4, after having reached the Vesle at several points east of
+Fismes, French troops engaged a vigorous battle between Muizon and
+Champigny, and some of them succeeded in crossing the river the same day.</p>
+
+
+<h4>Champagne Wine</h4>
+
+<p>Wine-growing has always been a favourite industry in this part of France.
+The vineyards extend over the Rheims hills and along the valley of the Marne.
+In the hilly country around Rheims there are two distinct growths of wine:
+the <i>Montagne</i> proper, with its famous <i>Verzy</i>, <i>Verzenay</i>, <i>Mailly</i>, <i>Ludes</i>, <i>Rilly</i>
+and <i>Villers</i> "crus," and the <i>Petite Montagne</i> with its secondary "crus" of
+the <i>Tardenois Valley</i>, <i>Hermonville Hills</i>, <i>St. Thierry</i>, <i>Nogent l'Abbesse</i> and
+<i>Cernay-les-Reims</i>. The <i>Montagne</i> produces more especially black grapes for
+white wines.</p>
+
+<p>Champagne wines were famous as far back as the 16th and 17th centuries.
+Henri IV. had a marked preference for the wines of <i>Ay</i>. The magnitude of
+the cellars still to be seen in the 16th and 17th century houses testifies to the
+importance of a trade, whose main outlets were Paris, Flanders, Belgium and
+Germany.</p>
+
+<p>The Champagne wines of that period were red, and rivals of the famous
+Burgundy wines.</p>
+
+<p>The vogue of Champagne wines as understood to-day dates back to the
+end of the 17th century. It was Dom Pérignon, cellarer of the Abbey of
+Hautevillers, near Epernay, who, if not actually the inventor of sparkling
+wines, first undertook to perfect them by blending the "crus" and preparing
+them with greater care.</p>
+
+<p>In the last years of the reign of Louis XIV., and still more so under the
+Regency, the use of Champagne at Court gained ground, especially at the
+tables of the <i>Duc de Vendôme</i> and the <i>Marquis de Sillery</i>.</p>
+
+<p>At that time Champagne was merely a "creamy" wine, <i>i.e.</i> semi-sparkling.
+The low breaking strain of the glass of those days would not
+have allowed of the higher pressure (six atmospheres) of the present-day
+wine. The discovery of the chemist François, who in 1836 at Châlons invented
+a special "densimeter," made it possible to calculate the amount of carbonic
+acid gas contained in the must, and to proportion the expansive force of the
+wine to the strength of the bottles, thus reducing losses by breakage, which
+for long had been very serious.</p>
+
+<p>From the 19th century onwards, the production of Champagne wine has
+grown unceasingly. The number of bottles of sparkling Champagne placed
+on the market for sale in France and abroad rose from 19,145,481 (of which
+16,705,719 went abroad) between April, 1875, and April, 1876, to 33,171,395
+(of which 23,056,847 went abroad) between April, 1906 and April, 1907. During
+the first ten months of 1915, the exports of Champagne and sparkling wines
+were 630,140 wine-quarts, as against 1,092,660 wine quarts in 1914.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span></p>
+<h2>FIRST DAY<br />AFTERNOON</h2>
+
+<h3>ST. THIERRY HEIGHTS&mdash;LE GODAT&mdash;THE GLASS-WORKS OF LOIVRE&mdash;BRIMONT&mdash;THE
+"CAVALIERS DE COURCY"</h3>
+
+<h6>(<i>See complete Itineraries, p. <a href="#Page_121">121</a>, and summary of the military operations,
+pp. <a href="#Page_147">147</a> and <a href="#Page_154">154</a>.</i>)</h6>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i142.png" width="600" height="813" alt="" title="" />
+</div>
+
+
+<p><span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span><i>Starting from the Place du Parvis-Nôtre-Dame, follow the morning's Itinerary
+(p. <a href="#Page_122">122</a>) as far as the railway bridge, then continue straight along the Avenue
+de Paris (N. 31). Before leaving Rheims the tourist can, if desired, visit</i>
+<b>Haubette Park</b>. <i>In this case, turn to the left, opposite No. 10, Avenue
+de Paris, into the Rue Flin des Oliviers. The entrance to</i> Haubette Park
+(an annex of the Calmette Dispensary) <i>stands at the beginning of this street, on
+the right</i>.</p>
+
+<p>Napoleon I. bivouacked in this park while his troops attacked Rheims in
+1814. A monument and a small museum commemorate the event. At the
+end of 1914 Haubette Park was a favourite recreation ground and refuge
+for the inhabitants of the city during the bombardments.</p>
+
+<p><i>Return to the junction of N. 31 (which leads to Fismes) with G. C. 6 (the road
+to Ville-en-Tardenois). Take N. 31 on the right. About 1 km. from the fork take
+the first road on the right.</i></p>
+
+<p><i>On reaching</i> <b>Tinqueux</b> <i>turn to the left at the entrance to the village, and
+follow the main road</i>.</p>
+
+
+<h4>Tinqueux&mdash;Mont St. Pierre</h4>
+
+<p>The church of Tinqueux (St. Peter's) was entirely destroyed. It contained,
+on the left side of the nave, a remarkable 16th century painting on wood,
+representing the <i>Adoration of the Shepherds</i>, with a frame of the same
+period.</p>
+
+<p><i>Near the church, between the Vesle and the main street of the village</i>, stood an
+old baronial mansion, in front of which was a building with turreted façade
+known as the <b>Maison de la Salle</b>. Inside the buildings which, in later
+years, served as a farm, there was a curious old wooden staircase with railed
+balustrade. The whole was destroyed by the shells.</p>
+
+<p>In September, 1914, at the beginning of the bombardment of Rheims,
+many of the people took refuge at Tinqueux.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i143.jpg" width="500" height="326" alt="THE MAIN STREET OF TINQUEUX VILLAGE" title="" />
+<span class="caption">THE MAIN STREET OF TINQUEUX VILLAGE</span>
+</div>
+
+<p><i>At the end of the main street of the village, opposite a kind of observation-post
+with ladder in a tree, turn to the right. The road passes at the foot of</i> <b>Mont St.
+Pierre</b>, whose village and church entirely disappeared in the 17th century.<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span>
+It was to replace the church of Mont St. Pierre that the church of St. Pierre
+de Tinqueux was built at the end of the 17th century.</p>
+
+<p><i>The road turns abruptly and nears the Vesle. Turn to the right and cross the
+river to reach</i> <b>St. Brice</b>.</p>
+
+
+<h4>St. Brice&mdash;Champigny&mdash;Merfy</h4>
+
+<h6>(<i>Itinerary, p. <a href="#Page_134">134</a>.</i>)</h6>
+
+<p><i>Turn to the right at the entrance to the village and take the first street on the
+right, which leads to the church.</i></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i144.jpg" width="400" height="499" alt="THE RUINED CHURCH OF CHAMPIGNY" title="" />
+<span class="caption">THE RUINED CHURCH OF CHAMPIGNY</span>
+</div>
+
+<p>The Church of St. Brice was almost entirely destroyed. In style, it is
+Romanesque, with Renaissance doorway and aisles. The door of the west
+front contains interesting carvings&mdash;unhappily much mutilated.</p>
+
+<p><i>Return by the same way to the cross-roads in front of the bridge over the Vesle,
+turn to the right, then, about 150 yards further on, to the left. Continue straight
+ahead, cross the railway (l.c.) and follow the railway on the left.</i></p>
+
+<p><i>About half a mile further on an avenue on the right leads to the</i> <b>Château
+de la Malle</b>. Both the castle and grounds were badly damaged by the
+bombardment.</p>
+
+<p>Standing in the park with magnificent avenues of beech-trees, the castle
+is one of the most ancient manors in the vicinity of Rheims. It was rebuilt
+in one storey at the beginning of the 14th century on the old foundations.
+The decoration of the interior (Louis XVI.) is interesting. The drawing-room
+has retained its old wainscoting and paintings. A carved shield bearing<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
+the arms of the Cauchon family, a member of which, the Bishop of Beauvais,
+sided with the English and the Duke of Burgundy against the Dauphin of
+France and Joan of Arc during the Hundred Years' War, is still to be seen
+over a door of one of the out-buildings.</p>
+
+<p><i>Return by the same road to the Vesle. Cross the river and follow it (as per
+Itinerary, p. <a href="#Page_134">134</a>), to the village of Champigny.</i></p>
+
+<p><i>Cross straight through the village by the main street, at the end of which
+stands the church in a narrow by-street near the entrance to a park (photo,
+p. <a href="#Page_136">136</a>).</i></p>
+
+<p>The little church of St. Theodule is 12th century, except the wooden belfry,
+which was modern. The belfry and roof were destroyed.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i145.jpg" width="500" height="443" alt="MERFY CASTLE, CONVERTED BY THE GERMANS INTO
+A BLOCKHOUSE
+General Foch had his Headquarters there in 1914." title="" />
+<span class="caption">MERFY CASTLE, CONVERTED BY THE GERMANS INTO
+A BLOCKHOUSE<br />
+<i>General Foch had his Headquarters there in 1914.</i></span>
+</div>
+
+<p><i>On leaving the village, go straight ahead. The road (G.C. 75) follows the
+railway on the left. Cross the railway (l.c.). The road passes along the marshy
+valley of the Vesle, then rises towards the</i> St. Thierry Heights.</p>
+
+<p><i>At the cross-roads of</i> the hamlet of Mâco, <i>keep straight on along G.C. 26</i>.
+The road runs between two fairly high embankments containing numerous
+shelters. Slightly before entering the village of <b>Merfy</b> is a cemetery containing
+graves of French, British and German soldiers.</p>
+
+<p><i>At the entrance to the same village, on the right, stands</i> a castle, severely
+damaged, which, early in September, 1914, served as headquarters to General
+Foch (<i>photo above</i>).</p>
+
+<p><i>A little farther</i> is the church, almost entirely destroyed.</p>
+
+<p><i>At the church, turn to the right and follow the main street</i>, which is lined with
+houses in ruins.</p>
+
+<p><i>On leaving Merfy, cross the railway (l.c.). The village of</i> <b>St. Thierry</b> <i>is
+reached shortly afterwards.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span>
+<img src="images/i146a.jpg" width="500" height="408" alt="ENTRANCE TO ST. THIERRY VILLAGE
+The sign and camouflaging are German." title="" />
+<span class="caption">ENTRANCE TO ST. THIERRY VILLAGE<br />
+<i>The sign and camouflaging are German.</i></span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i146b.jpg" width="500" height="333" alt="ST. THIERRY CHÂTEAU IN 1914" title="" />
+<span class="caption">ST. THIERRY CHÂTEAU IN 1914</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i146c.jpg" width="500" height="384" alt="ST. THIERRY CHÂTEAU IN 1919" title="" />
+<span class="caption">ST. THIERRY CHÂTEAU IN 1919</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i147.jpg" width="500" height="639" alt="ST. THIERRY CHURCH
+See other photos, p. 140." title="" />
+<span class="caption">ST. THIERRY CHURCH<br />
+(<i>See other photos, p. <a href="#Page_140">140</a>.</i>)</span>
+</div>
+
+
+<h4>St. Thierry</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_134">134</a>, summary of the Military Operations, p. <a href="#Page_147">147</a>.</i>)</h6>
+
+<p>This village was frequently bombarded by the Germans from 1914 to
+1918. <i>It is crossed by a narrow, winding street containing several sharp turnings.
+Shortly before the end of the village, the street widens abruptly. About a hundred
+yards further on is the church, while on the right a monumental door gives access</i>
+to the <b>Château of St. Thierry</b> (<i>photos, p. <a href="#Page_138">138</a></i>).</p>
+
+<p>This castle was built in 1777 by Mgr. de Talleyrand-Périgord, Archbishop
+of Rheims. It replaced the ancient abbey founded in the 6th century by
+St. Thierry, a disciple of St. Remi. Remains of the 12th century chapter-house
+ogives, colonnettes and capitals, as well as an old chimney-piece,
+have been rebuilt into the kitchens. The spacious Louis XVI. drawing-room
+and the dining-room were likewise remarkable.</p>
+
+<p>The church (<i>see photos above and on p. <a href="#Page_140">140</a></i>) possessed certain remarkable
+features, <i>e.g.</i> the porch, nave and organ-loft. The 12th century porch had a
+17th century pent-house roof.</p>
+
+<p>Inside the church were Gothic stalls, and a 16th century bas-relief depicting
+<i>The Martyrdom of St. Quentin</i>.</p>
+
+<p>The church is now in ruins.</p>
+
+<p><i>Opposite the castle gate turn to the left into G.C. 26.</i></p>
+
+<p>In the embankments along the road are numerous shelters, posts of commandment,
+ammunition depots, etc.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
+<img src="images/i148a.jpg" width="500" height="283" alt="ST. THIERRY
+CHURCH
+(see p. 139)" title="" />
+<span class="caption">ST. THIERRY
+CHURCH<br />
+(<i>see p. <a href="#Page_139">139</a></i>)</span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i148b.jpg" width="500" height="307" alt="RUINED PORTAL
+OF ST. THIERRY
+CHURCH" title="" />
+<span class="caption">RUINED PORTAL
+OF ST. THIERRY
+CHURCH</span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i148c.jpg" width="500" height="299" alt="RUINS
+OF CHOIR,
+ST. THIERRY
+CHURCH" title="" />
+<span class="caption">RUINS
+OF CHOIR,
+ST. THIERRY
+CHURCH</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i149a.jpg" width="500" height="296" alt="RUINS OF
+THIL CHURCH" title="" />
+<span class="caption">RUINS OF
+THIL CHURCH</span>
+</div>
+
+
+<h4>Thil&mdash;Villers-Franqueux</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_134">134</a>.</i>)</h6>
+
+<p><i>On reaching Thil, turn to the left at the entrance to the village. Go straight
+through.</i></p>
+
+<p>The church, entirely in ruins, <i>stands at the end of the village, on a small
+eminence to the right</i>.</p>
+
+<p><i>Half-way through the village, on the left, is a road which leads to the St.
+Thierry Fort, via the village of Pouillon.</i></p>
+
+<p>The road from Thil to Cormicy was the starting-point of the communicating
+trenches which led to the first lines along the National Road No. <b>44</b> and
+along the canal from the Aisne to the Marne, during the long stabilisation
+period of the Berry-au-Bac&mdash;Rheims front. All along the road can still be
+seen, practically intact, the military works which were in the immediate
+rear of the front lines, viz., posts of commandment, depots, shelters, etc.
+At the present time, close to the destroyed villages, these shelters are being
+used by the people as habitations.</p>
+
+<p><i>Beyond Thil, the road passes between two embankments.</i> <b>Villers-Franqueux</b>
+<i>is soon reached</i>. The ruined village and church <i>are somewhat to the
+right</i>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i149b.jpg" width="500" height="276" alt="RUINS OF
+VILLERS-FRANQUEUX" title="" />
+<span class="caption">RUINS OF
+VILLERS-FRANQUEUX</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/i150.jpg" width="450" height="452" alt="RUINED
+CHURCH OF
+HERMONVILLE" title="" />
+<span class="caption">RUINED
+CHURCH OF
+HERMONVILLE</span>
+</div>
+
+
+<h4>Hermonville</h4>
+
+<p><i>Follow the rails, straight ahead, to</i> Hermonville.</p>
+
+<p><i>Turn to the left, at the entrance to the village, into the large square, on the
+opposite side of which stands the</i> <b>Town Hall</b>, partially destroyed. The
+<b>Church</b> <i>is on the right</i>.</p>
+
+<p>This remarkable church is 12th century. The pointed vaulting of the
+nave was raised in 1870, but this had been provided for in the original plans.
+At the intersection of the transept the pointed vaulting is lower. The capitals
+with their finely carved palm-leaves appear to be rather more recent than
+those of the nave, and extend frieze-like round the pillars. The bays of the
+transept-arms and of the two square eastern chapels are round-arched and
+surmounted with a quatrefoil&mdash;an arrangement frequently met with in the
+vicinity of Rheims.</p>
+
+<p>The outer porch, like that of Cauroy-les-Hermonville and St. Thierry,
+is a 12th century addition. The depressed arch of the entrance is 17th
+century.</p>
+
+<p>The square tower at the corner of the nave and south transept has cubic
+capitals in the twin bays of the second storey.</p>
+
+<p>The ancient <b>cemetery</b>, which used to surround the church, is bordered
+by old houses. Entrance was gained by a little gate facing the porch, in
+which are incrusted fragments of a 15th century altar-screen representing a
+horseman and a group of persons.</p>
+
+<p>The village was frequently bombarded by the Germans after the Battle
+of the Marne. In 1916 several inhabitants were killed by shells.</p>
+
+<p><i>Leave the church on the right, and follow the Rue Sébastopol, at the end of
+which is an abrupt turning to the left. The road skirts a large house and garden
+surrounded by a wall. At the end of the latter, turn to the right into the Rue
+de Sommerville. On leaving the village, turn to the left, then go straight on to</i>
+<b>Cauroy-les-Hermonville</b>.</p>
+
+<p><span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i151a.jpg" width="500" height="349" alt="CAUROY
+CHURCH
+IN 1914" title="" />
+<span class="caption">CAUROY
+CHURCH
+IN 1914</span>
+</div>
+
+
+<h4>Cauroy-les-Hermonville</h4>
+
+<p><i>Turn to the right at the entrance to the village, then into the first street on the
+left, where stands the</i> half-destroyed <b>Church of Nôtre-Dame</b>.</p>
+
+<p>This Church (<i>historical monument</i>) has an original 12th century porch,
+which was mutilated by the bombardments.</p>
+
+<p>Romanesque in style, it stands out from the remainder of the building
+and extends over the whole breadth of the west front. Its tile-covered roof
+rests on a timber-work frame, whose beams appear to be 16th century. Two
+round-arched openings in the ends of the porch serve as entrances. The
+front is pierced with a number of round arcades. The central door giving
+access to the church is of a later date (16th or 17th century). The capitals
+of the arcadings are 12th century. Their curious decoration represents
+figures of men, animals, birds, scrolls, etc.</p>
+
+<p>The ruined tower and nave were likewise 12th century. The side-chapels,
+transept-crossing and choir were rebuilt in the 16th century.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i151b.jpg" width="500" height="317" alt="CAUROY
+CHURCH
+IN 1918" title="" />
+<span class="caption">CAUROY
+CHURCH
+IN 1918</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i152.jpg" width="500" height="354" alt="STREET IN CAUROY VILLAGE
+(Seen from the Porch of the Church. To go from Cauroy to Cormicy,
+take this street opposite the Church.)" title="" />
+<span class="caption">STREET IN CAUROY VILLAGE<br />
+(<i>Seen from the Porch of the Church. To go from Cauroy to Cormicy,
+take this street opposite the Church.</i>)</span>
+</div>
+
+<p>In the interior of the church, the wooden altar-screen over the high-altar
+dated from 1616. The painting which decorated its central panel, and the
+side woodwork of the choir were removed in 1888. The altar-screen (1547)
+of the southern side-chapel was composed of an assemblage of stone statues
+representing <i>The Virgin carrying Jesus, St. Roch, a pilgrim</i>, and <i>St. Stephen,
+a deacon, with the donor kneeling at his feet</i>.</p>
+
+<p>Under several of the houses in the village are subterranean passages, the
+most noteworthy being that under the old presbytery on the left of the
+church, to which access is gained by a stair of fifty-one steps.</p>
+
+<p><i>Leave the village of Cauroy by the street (photo, p. <a href="#Page_145">145</a>) which opens up
+opposite the church.</i></p>
+
+<p><i>The road passes through clumps of</i> devastated trees. <i>On the left side of
+the road is</i> a cemetery, containing numerous well-organised shelters. <i>The
+village of</i> <b>Cormicy</b> <i>is next reached.</i></p>
+
+
+<h4>Cormicy</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_134">134</a>.</i>)</h6>
+
+<p><i>Turn to the right at the entrance to the village. On either side are</i> tree-lined
+boulevards, which were made on the ancient ramparts. The trees have been
+cut to pieces by the shells.</p>
+
+<p>Cormicy was formerly a small fortified town with turret, gates, ramparts
+and moats, all of which have disappeared except one gate. The site was
+planted with trees, which surround practically the whole town. The town
+was destroyed in the time of Charles VI., during the Hundred Years'
+War.</p>
+
+<p>The present village suffered severely during the German bombardments,
+most of the houses being damaged. In June, 1916, only eighty-three
+inhabitants remained in their homes.</p>
+
+<div class="figcenter" style="width: 350px;">
+<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
+<img src="images/i153a.jpg" width="350" height="490" alt="CORMICY CHURCH IN 1914" title="" />
+<span class="caption">CORMICY CHURCH IN 1914</span>
+</div>
+
+<p>The ancient <b>Church</b> was likewise badly damaged (<i>photos above and below</i>).
+While the tower, west front, and the two first bays of the nave are late 15th
+or early 16th century, the greater part of the nave is 11th or 12th century.
+The chevet and the transept-crossing are early 13th century, while the transept
+ends probably date from the middle of 12th century.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i153b.jpg" width="500" height="397" alt="CORMICY CHURCH IN 1918" title="" />
+<span class="caption">CORMICY CHURCH IN 1918</span>
+</div>
+
+<p>The portal comprises twin doors surmounted with a broad flamboyant
+recess. The doors have been partially mutilated. Above the window
+runs a balcony, the Gothic balustrade of which, known as the <i>Gloria Gallery</i>,
+was modern. This balustrade was destroyed by the bombardments, which
+also brought down the steeple.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
+<img src="images/i154.jpg" width="500" height="392" alt="G.C. 32 ROAD ON LEAVING CORMICY
+(See Itinerary, p. 134.)" title="" />
+<span class="caption">G.C. 32 ROAD ON LEAVING CORMICY<br />
+(<i>See Itinerary, p. <a href="#Page_134">134</a>.</i>)</span>
+</div>
+
+<p>The west front has two Gothic doors with 16th century iron-work, at the
+extremity of the aisles. The tympana of these doors, formerly lighted,
+have been bricked up. The lintels have three consoles ornamented with
+fantastic animals and banderoles. The three statues which carried the
+consoles have long since disappeared.</p>
+
+<p>In the south transept, on the left, behind the altar, is an interesting small
+door surmounted with a square lintel of the 11th or 12th century. Two
+figures of winged monsters with heads of a man and a woman and fish tails,
+stand out in high relief, framed and separated by a belt, on which are carved
+<i>florets</i> mingled with fantastic figures.</p>
+
+<p>The three remarkable 18th century marble altars of the choir and transept
+chapels come from the Church of the Nuns of Longueau, the abbey of which,
+in the Rue du Jard at Rheims, was sold in 1790. The high-altar occupies
+nearly the whole of the chancel. Over the tomb, six columns of grey Dinant
+marble, crowned with Corinthian capitals, support an oval marble cornice
+with richly carved and gilt consoles of wood. The very large, white and gilt
+tabernacle is a fine example of 17th or 18th century woodwork. Its door,
+decorated with symbolic attributes, is surrounded by statuettes depicting,
+<i>in the lower part</i>, St. John the Evangelist and a holy woman wearing
+crowns; <i>above each of these figures</i>, an angel; <i>at the top</i>, The Resurrection
+of Christ.</p>
+
+<p>The sixteen carved oak stalls of the choir, as well as the wrought-iron
+reading-desk on a marble pedestal, also came from the former Abbey of
+Longueau.</p>
+
+<p>Near the choir, on a pillar of the nave, is an inscription to the effect that
+the chronicler <i>Flodoard</i>, who died in 966, was <i>Curé</i> of Cormicy.</p>
+
+<p>The modern <b>Town Hall</b>, built by the Rheims architect, Gosset the elder,
+which faced the church, was entirely destroyed.</p>
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
+<img src="images/i155.png" width="700" height="584" alt="" title="" />
+</div>
+
+<p>All the places visited since leaving Merfy, <i>i.e.</i> St. Thierry, Thil, Villers-Franqueux,
+Hermonville and Cormicy, border the St. Thierry Heights.
+The latter are commanded by the fort of the same name and the Chenay
+Redoubt, with altitudes of about 670 and 620 feet respectively. They were
+recaptured from the Germans after the Battle of the Marne on September 11,
+1914, by the French 3rd Corps.</p>
+
+<p>After the loss of the Chemin-des-Dames and the Aisne Canal on May 27,
+1918, this position, which with its guns commands the road and railway
+from Rheims to Soissons and the road from Rheims to Laon, remained the
+sole protection of Rheims to the north-west.</p>
+
+<p>It was defended by the French 45th Infantry Division (General Naulin),
+composed of Algerian Sharp-shooters, Zouaves and African Light Infantry,
+who held their ground on May 27-28, after which they were reinforced
+by battalions of Singalese and Marines drawn from the sector east of
+Rheims.</p>
+
+<p>The struggle was a fierce one, and hand-to-hand fighting frequent. Finally
+the constant inflow of German reserves forced back the French who, on May
+29, had to abandon the position, to which the enemy afterwards clung for
+four months. On October 1 the Germans, beaten on the previous evening
+by the French 5th Army on the high ground between the Aisne and Rheims,
+was forced to retreat. The French regained possession of Merfy and St.
+Thierry, and advanced as far as the outskirts of the Fort of St. Thierry,
+which, with Thil and Villers-Franqueux, Hermonville, Courcy and Cormicy,
+fell into their hands in the course of the next few days (<i>see map above</i>).</p>
+
+<p><span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i156a.jpg" width="600" height="444" alt="DESTROYED BRIDGE OVER THE CANAL, NEAR LE GODAT" title="" />
+<span class="caption">DESTROYED BRIDGE OVER THE CANAL, NEAR LE GODAT</span>
+</div>
+
+<h4>From Cormicy to Godat Farm</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_134">134</a>.</i>)</h6>
+
+<p><i>Pass straight through Cormicy, leaving the church on the left. Take G.C. 32 to
+the Rheims-Laon road (N. 44), where turn to the right. Rather less than a mile
+further on, near the</i> Maison Blanche, <i>is a road leading to</i> <b>Godat Farm</b>. <i>Cars
+can only go as far as the canal</i>, the destroyed bridge (<i>photo above</i>) not having
+yet been rebuilt. The lock-keeper's house <i>seen in the photograph below</i> was
+completely destroyed.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i156b.jpg" width="500" height="425" alt="THE LOCK-KEEPER&#39;S HOUSE AT LE GODAT
+(Now destroyed.)" title="" />
+<span class="caption">THE LOCK-KEEPER&#39;S HOUSE AT LE GODAT<br />
+(<i>Now destroyed.</i>)</span>
+</div>
+
+<p><i>Cross the canal on foot to reach Godat Farm, situated about 300 yards
+further on.</i></p>
+
+<p><b>Le Godat</b>, formerly a small fief with a castle and chapel (destroyed during
+the Revolution in 1793), was merely a farm and a plain country house when
+the war broke out. By reason of its position, north of the Aisne Canal,
+this bridgehead was, throughout the war, one of the most fiercely disputed
+points in the sector north-west of Rheims, even during the period of trench-warfare.
+At the time of the French offensive of April, 1917, the 44th Infantry
+Regiment advanced beyond Le Godat, where the French held their ground
+until the powerful German push of May 27, 1918.</p>
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
+<img src="images/i157a.jpg" width="700" height="445" alt="RUINS OF LE GODAT FARM" title="" />
+<span class="caption">RUINS OF LE GODAT FARM</span>
+</div>
+
+<p>The farm is now a mere heap of ruins. Shelters still exist in the basements.</p>
+
+<p><i>Return to the National Road, and turn to the left.</i></p>
+
+<p><i>The road crosses</i> numerous boyaux which provided access to the front-line
+trenches down the hill on the right.</p>
+
+<p><i>Follow the National Road to</i> <b>Chauffour Farm</b> (in ruins), <i>where take the
+road on the left to</i> <b>Loivre</b>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i157b.jpg" width="500" height="404" alt="EMPLACEMENT OF GERMAN HEAVY GUN AT LOIVRE" title="" />
+<span class="caption">EMPLACEMENT OF GERMAN HEAVY GUN AT LOIVRE</span>
+</div>
+
+<p><i>On nearing the canal</i>, the ruins of the village of Loivre (entirely destroyed)
+<i>become visible</i>.</p>
+
+<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i158a.jpg" width="500" height="359" alt="RUINS OF THE CHURCH AT LOIVRE" title="" />
+<span class="caption">RUINS OF THE CHURCH AT LOIVRE</span>
+</div>
+
+<h4>From Loivre to Brimont</h4>
+
+<p><b>Loivre.</b>&mdash;<i>Visit the village on foot. The canal can only be crossed near the
+lock south-east of the village.</i> The destroyed bridge has been replaced by a
+temporary footway across the bed of the canal, which necessitates climbing
+down and up the banks by steep paths.</p>
+
+<p><i>After crossing the canal the tourist passes by the</i> ruins of the Loivre Glass-Works,
+founded in 1864 by the descendants of the noble house of Bigault de
+Grandrupt, glass manufacturers of Argonne.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i158b.jpg" width="600" height="451" alt="GENERAL VIEW OF THE RUINS AT LOIVRE IN 1919" title="" />
+<span class="caption">GENERAL VIEW OF THE RUINS AT LOIVRE IN 1919</span>
+</div>
+
+<p>Loivre and its glass-works were occupied in September, 1914, by the Germans,
+who deported the inhabitants to the Ardennes. The village and works<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
+were re-captured during the offensive of April 16, 1917, by the French 23rd
+and 133rd Infantry Regiments, surnamed <i>Les Braves</i> and <i>Les Lions</i> respectively.
+Whilst other battalions outflanked the village and crossed the canal,
+the third battalion of <i>Lions</i> attacked it in front. The position, powerfully
+organised, was stoutly defended. The attacking troops were obliged to come
+to a halt in front of the cemetery (a veritable bastion with concrete casemates),
+and before the ruins of the mill, both of which bristled with machine-guns.
+Withdrawing slightly to allow of a barrage of 75's, they rushed forward again
+under the protection of the latter. The site of the mill and the cemetery
+were captured, together with numerous prisoners (122 were taken in one
+machine-gun shelter). The ruined village was next carried in a bayonet
+charge, to the sound of the bugles. The captures were considerable, one
+battalion of 500 men alone taking 825 prisoners.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/i159.jpg" width="450" height="469" alt="SEPULCHRE
+IN THE
+CEMETERY
+AT LOIVRE,
+USED BY THE
+GERMANS AS A
+PHOTOGRAPHIC
+DARK-ROOM" title="" />
+<span class="caption"><br />SEPULCHRE
+IN THE
+CEMETERY
+AT LOIVRE,
+USED BY THE
+GERMANS AS A
+PHOTOGRAPHIC
+DARK-ROOM</span>
+</div>
+
+<p>In March and May, 1918, two violent attacks were made on Loivre by the
+Germans, but without success. They took it on May 27, only to be driven
+out on October 4.</p>
+
+<p><i>Before the war, a road</i>, which has since completely disappeared, <i>led direct
+from Loivre to Brimont. To reach the latter it is now necessary to go farther
+north, via Berméricourt and Orainville, returning southwards by the Neufchâtel
+to Rheims road (see Itinerary, p. <a href="#Page_134">134</a>).</i></p>
+
+<p><b>Berméricourt.</b>&mdash;This hamlet, of Gallo-Frankish origin, was formerly
+more populous. The bombardments have literally wiped it out.</p>
+
+<p><i>From Berméricourt the tourist reaches</i> <b>Orainville</b> <i>by G.C. 30, which becomes
+I.C. 2 after crossing the boundary line between the "departments" of the Marne
+and the Ardennes. At the entrance to the ruined village, near the church, turn
+to the right into I.C. 12, which, 1 kilometre further on, joins the road from
+Neufchâtel to Rheims (G.C. 9), where turn to the right.</i></p>
+
+<p><i>Follow this road for four and a half kilometres to the ruins of</i> <b>Landau Farm</b>,
+<i>turn to the right, then, about 200 yards further on, take the road on the left to the</i>
+village of Brimont, entirely destroyed.</p>
+
+<p><span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i160a.jpg" width="500" height="319" alt="ALL THAT REMAINS OF BERMÉRICOURT VILLAGE" title="" />
+<span class="caption">ALL THAT REMAINS OF BERMÉRICOURT VILLAGE</span>
+</div>
+
+<h4>Brimont Fort and Château</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_134">134</a>, and summary of the Military Operations, p. <a href="#Page_154">154</a>.</i>)</h6>
+
+<p>Situated to the west of the road from Rheims to Neufchâtel (formerly a
+Roman causeway which crossed the hill at <i>Cran de Brimont</i>) Brimont was
+already important in Roman times. It was fortified in the Middle Ages,
+and traces of its ancient fortifications are still to be found on the hill. The
+discovery of a Roman tomb in 1790 caused considerable excitement in archæological
+circles, as it was believed to be the burial-place of the Frankish Chief
+<i>Pharamond</i> who, according to one chronicler, had been buried on a hillock
+near Rheims.</p>
+
+<p>In 1339, during the siege of Rheims by the English, the Duke of Lancaster
+had his camp at Brimont.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i160b.jpg" width="700" height="556" alt="RUINS OF BRIMONT VILLAGE
+In the foreground, on the left: Road to Brimont Fort. On the right: Beginning of the
+road to the Château (entirely destroyed)." title="" />
+<span class="caption">RUINS OF BRIMONT VILLAGE<br />
+<i>In the foreground, on the left: Road to Brimont Fort. On the right: Beginning of the
+road to the Château (entirely destroyed).</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i161a.jpg" width="500" height="391" alt="RUINS OF THE CHURCH OF BRIMONT" title="" />
+<span class="caption">RUINS OF THE CHURCH OF BRIMONT</span>
+</div>
+
+<p>On several occasions, since September, 1914, the Germans deported the
+inhabitants of Brimont and Coucy to the Ardennes. The village is now
+destroyed and its church a heap of ruins.</p>
+
+<p>The church was built at the beginning of the 15th century.</p>
+
+<p>The four last bays of the nave, which was partly Romanesque, were
+altered in the middle of the 16th century.</p>
+
+<p>The sacristy occupied the lower storey of the square, pointed-arch tower.</p>
+
+<p>Several ancient statues were placed at the entrance to the Choir: <i>St
+Remi</i>, with a woman in late 15th century dress kneeling at his feet; a <i>Virgin</i>
+offering grapes to the Infant Jesus in her arms (late 15th century) and a
+large <i>Christ Crucified</i>, dated from the middle of the 16th century. A beautiful
+18th century <i>lectern</i> of carved wood, representing an eagle standing on a
+massive three-sided pedestal of red and white marble, stood in front of the
+Choir.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i161b.jpg" width="500" height="388" alt="BRIMONT FORT" title="" />
+<span class="caption">BRIMONT FORT</span>
+</div><p><span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span></p>
+
+<p><i>To visit the</i> <b>Fort of Brimont</b>, <i>skirt the church on the side of the portal
+staircase, then take the road seen on the photograph on p. <a href="#Page_152">152</a>. The Fort is
+about 400 yards further on.</i></p>
+
+
+<p><b>The Defences North of Rheims and the Fighting
+in that Sector</b></p>
+
+<p>The <b>Fort of Brimont</b>, completed by the <b>Battery of the Cran de
+Brimont</b> about a mile to the east, and on the west by the <b>Loivre Battery</b>,
+mentioned on page <a href="#Page_151">151</a>, sweeps the whole country north of Rheims as far as
+the banks of the Aisne, Suippe, Retourne and the Aisne-Marne canal, the
+Rheims-Neufchâtel, Rheims-Vouziers, Rheims-Rethel and Rheims-Laon
+roads, and the Rheims-Laon and Rheims-Charleville railways. About
+five miles east of Brimont and four miles east of Rheims is the position of
+<b>Berru</b> (<i>see p. <a href="#Page_165">165</a></i>), extending along a front of about six miles, <i>via</i> the hills
+of Berru and Nogent l'Abbesse. Intended by those who planned it to guard
+the valley of the Suippe, the Rheims-Rethe and Rheims-Vouziers roads,
+as well as the Rheims-Charleville and Rheims-Châlons-sur-Marne railways,
+it comprises the <b>Fort of Witry</b> (about 150 feet in altitude), the batteries of
+<b>La Vigie de Berru</b> (870 feet), and the <b>fort and batteries of Nogent-l'Abbesse</b>
+(670 feet).</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i162.png" width="700" height="555" alt="The roads shown on the above map are those followed by the Third Itinerary (see p. 160)." title="" />
+<span class="caption"><i>The roads shown on the above map are those
+followed by the Third Itinerary (see p. <a href="#Page_160">160</a>.)</i></span>
+</div>
+
+<p>Brimont and Berru are further covered and linked up by the <b>Fort of
+Fresne</b> (360 feet), situated four miles north-east of Rheims.</p>
+
+<p>These<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span> defensive works, conceived and executed after the war of 1870, had,
+in consequence of the evolution of strategical and tactical doctrines, been
+abandoned or disarmed before the war of 1914. After evacuating Rheims
+on September 12, 1914, the Germans grasped the importance of these
+works, to which they clung tenaciously, after hurriedly organising them. It
+was against these naturally strong positions, further strengthened by trenches,
+that the French 5th Army, in pursuit of the enemy, found themselves brought
+to a standstill on the evening of September 12. From September 13 to
+18, the French tried in vain to capture them. The 5th Division, under
+General Mangin, did succeed in capturing the <b>Château de Brimont</b>, in the
+plain, but were unable to hold it.</p>
+
+<p>Later, the Germans converted these hills into one of the most formidable
+positions organised by them in France. Brimont, Berru, Fresne and Nogent
+l'Abbesse, whose guns slowly destroyed Rheims, were, so to speak, her jailers
+for four years.</p>
+
+<p>In April, 1917, during the French offensive of the Aisne, one division,
+known as the "Division of aces" (because its four regiments have the
+fourragère decoration), penetrated into Berméricourt and advanced to the
+outskirts of Brimont, but was unable to hold its ground against the furious
+counter-attacks of the Germans. It was only in October, 1918, that the
+French 5th Army, in conjunction with the victorious attacks of the 4th Army
+in Champagne, after forcing the Germans back to the Aisne and the canal,
+and after crossing the Aisne canal on October 4 in front of Loivre and
+near Berméricourt, forced the enemy, whose communications were now
+threatened, to abandon one of the most valuable portions of his 1914 positions.
+On October 5, the French re-entered Brimont and Nogent l'Abbesse,
+progressed beyond Bourgogne, Cernay-les-Rheims, Beine, Caurel and
+Pomacle, and, in spite of desperate enemy resistance, drove back the
+Germans to the Suippe.</p>
+
+<p><i>After visiting the fort return to the village of Brimont.</i></p>
+
+<p>From here the <b>Château de Brimont</b> may be visited, but this will have to be
+done on foot as the road has been destroyed, traces only of it being left in
+places (<i>the lower photograph on p. <a href="#Page_152">152</a> shows the beginning of the road in the
+village</i>).</p>
+
+<p>The <b>Château de l'Ermitage</b>, also known as the Château de Brimont, <i>is
+situated about 500 yards south of the village, at the entrance to a</i> large park,
+completely devastated. It was the scene of desperate fighting (<i>see p. <a href="#Page_152">152</a></i>).</p>
+
+<p><i>Return to Brimont, cross the village (skirting the church) and continue straight
+on to the</i> <b>Cran de Brimont Redoubt</b> <i>on the road to Rheims.</i> Numerous
+German trenches, etc., are to be seen here.</p>
+
+<p><i>Turn to the right into G.C. 9, which dips down to the</i> Plain of Rheims. The
+region hereabouts bristle with barbed-wire entanglements and is crossed with
+numerous trenches. It was ranged to an incredible degree by the bombardments.</p>
+
+<p><i>At the bottom of the hill which starts at the Cran de Brimont, cross Soulains
+Wood, of which only</i> a few torn tree-stumps remain.</p>
+
+<p><i>Several hundred yards after leaving the wood, take on foot the broken road
+to the</i> "<b>Cavaliers de Courcy</b>," situated <i>on the right, about 500 yards
+further on.</i></p>
+
+<p><span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i164.jpg" width="600" height="476" alt="THE AISNE CANAL AT THE &quot;CAVALIERS DE COURCY&quot;" title="" />
+<span class="caption">THE AISNE CANAL AT THE &quot;CAVALIERS DE COURCY&quot;</span>
+</div>
+
+<h4>The "Cavaliers de Courcy"</h4>
+
+<p>To the north of La Neuvillette, the Aisne-Marne Canal is flanked on
+both sides by enormous artificial embankments planted with fir-trees and
+known as the "<b>Cavaliers de Courcy</b>." After their retreat in September, 1914,
+the Germans entrenched themselves there and clung to the east bank until
+April, 1917.</p>
+
+<p>On April 16, 1917, the French 410th Regiment of the Line attacked
+the enemy's formidable positions there. This Brittany regiment set out
+from positions to which they had given names taken from the history of their
+country (<i>Quimper Bastion</i>, <i>Auray</i>, <i>Redon Bastion</i>, etc.). On the first day
+they carried three successive lines of defences, and advanced about a mile.
+On the 17th and 18th they left their zone of action, to ensure the <i>liaison</i> on
+their right, and to help a brigade in difficulties on their left. For eight days
+they held their positions against powerful enemy counter-attacks, after
+having progressed to a depth of two miles and captured more than 400
+prisoners, 11 bomb-throwers, and an immense amount of stores.</p>
+
+<p>These positions, like the neighbouring villages, were re-taken by the
+Germans in May and June, 1918, and finally by the Allies in October, 1918.</p>
+
+<p><i>Return to the road and follow it towards Rheims. Leave on the left</i> the devastated
+<b>Aviation-ground of Champagne</b>&mdash;now in a state of complete
+upheaval, due to the terrific shelling it received&mdash;<i>then cross the</i> <b>Plain of
+Bétheny</b> (<i>photo, p. <a href="#Page_157">157</a></i>).</p>
+
+<p>The Plain of Bétheny was the scene of two important historical events:
+in 1901 the Tsar Nicolas II. reviewed a part of the French Army there;
+in August, 1909, the Great Aviation Week was inaugurated there, in the
+presence of an immense crowd of spectators.</p>
+
+<div class="figcenter" style="width: 600px;">
+<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
+<img src="images/i165a.jpg" width="600" height="408" alt="GERMAN
+FIRST-LINE
+POSITIONS
+BÉTHENY
+PLAIN
+(see sketch-map
+below)
+Photographed at 7,000 ft. from aeroplane, August 6, 1916, at 10 a.m." title="" />
+<span class="caption">GERMAN
+FIRST-LINE
+POSITIONS
+BÉTHENY
+PLAIN<br />
+(<i>see sketch-map
+below</i>)<br />
+<i>Photographed at 7,000 ft. from aeroplane, August 6, 1916, at 10 a.m.</i></span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i165b.png" width="700" height="588" alt="THE GERMAN FIRST-LINE DEFENCES IN THE PLAIN OF BÉTHENY
+The tourist passes through this region on returning to Rheims, shortly before coming to the
+bridge under the railway. The sketch map explains the photograph above." title="" />
+<span class="caption">THE GERMAN FIRST-LINE DEFENCES IN THE PLAIN OF BÉTHENY<br />
+<i>The tourist passes through this region on returning to Rheims, shortly before coming to the
+bridge under the railway. The sketch map explains the photograph above.</i></span>
+</div>
+
+<p><span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span></p>
+
+<p><i>Pass under the Rheims-Laon railway by a very sharp double turning.</i> <b>Pierquin
+Farm</b>, entirely destroyed, <i>stood on the right a short distance further on</i>.
+The only remaining trace is the torn shapeless carcass of a large
+iron shed.</p>
+
+<p>The railway embankment south of Pierquin Farm was fiercely disputed
+from September 18, 1914, onwards. Several enemy attacks against it broke
+down before the French 75's. During the offensive of May, 1918, the whole
+of this region was the scene of desperate fighting. La Neuvillette was taken
+on May 30, and Pierquin Farm on the 31st. On August 4, the French,
+after crossing the Aisne Canal, advanced to La Neuvillette, where the enemy
+made a desperate stand. At the beginning of October they advanced to the
+north of La Neuvillette, which the enemy was eventually compelled to
+abandon. The last inhabitants had left the locality on July 12, 1916.</p>
+
+<p><i>The tourist enters Rheims by the Rue de Neufchâtel and the Avenue
+de Laon.</i></p>
+
+
+<h4>La Neuvillette</h4>
+
+<p><i>On reaching the Avenue de Laon, the tourist, instead of entering Rheims,
+may turn to the right and go northwards as far as the</i> village and cemetery of
+La Neuvillette.</p>
+
+<p>The cemetery of La Neuvillette <i>is on the right of the road, between the last
+houses of Rheims and the village</i>. It was completely cut up by a network of
+first-line trenches (<i>photos, p. <a href="#Page_159">159</a></i>).</p>
+
+<p>The village of La Neuvillette, now in ruins, was the scene of desperate
+fighting during the German offensive of May, 1918.</p>
+
+<p>Nothing remains of the 12th century church of John-the-Baptist.</p>
+
+<p>The glass-works north-west of the village, by the side of the canal, are
+now a heap of ruins (<i>photo, p. <a href="#Page_159">159</a></i>).</p>
+
+<p><i>Return to Rheims by the same road.</i></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i166.jpg" width="700" height="500" alt="THE ROAD TO RHEIMS AT NEUVILLETTE" title="" />
+<span class="caption">THE ROAD TO RHEIMS AT NEUVILLETTE</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i167a.jpg" width="500" height="361" alt="THE GLASS-WORKS AT NEUVILLETTE" title="" />
+<span class="caption">THE GLASS-WORKS AT NEUVILLETTE</span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i167b.jpg" width="500" height="406" alt="DRESSING-STATION AT NEUVILLETTE" title="" />
+<span class="caption">DRESSING-STATION AT NEUVILLETTE</span>
+<br /><br /></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i167c.jpg" width="600" height="401" alt="THE CEMETERY AT NEUVILLETTE" title="" />
+<span class="caption">THE CEMETERY AT NEUVILLETTE</span>
+</div>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span></p>
+<h2>SECOND DAY<br />MORNING</h2>
+
+
+<h3>FRESNES FORT&mdash;WITRY-LES-REIMS&mdash;BERRU&mdash;NOGENT
+L'ABBESSE&mdash;BEINE</h3>
+
+<h6>(<i>See complete Itineraries, p. <a href="#Page_121">121</a>, and map on p. <a href="#Page_154">154</a>.</i>)</h6>
+
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i168.png" width="700" height="659" alt="" title="" />
+</div>
+
+<p><i>This Itinerary will lead the tourist through the region of the</i> Forts to the
+north-east of Rheims, which formed the rear of the German lines during the
+stabilisation period of 1914-1918.</p>
+
+<p>It was this line of forts that, in the German hands, held the French in
+check after the first Battle of the Marne. Practically the whole of these
+works were but little damaged by the relatively light bombardments, and
+have retained traces of the German organisation.</p>
+
+<p><i>Leave Rheims by the Avenue de Laon</i> (<i>which begins at</i> Les Pomenades,
+<i>opposite Mars Gate</i>), <i>and the Rue de Neufchâtel (second street on the right),
+Sortie No. IX. of the Michelin Tourist Guide (see coloured plan, pp. <a href="#Page_32">32</a>-<a href="#Page_33">33</a>).</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
+<img src="images/i169.jpg" width="500" height="387" alt="RUINS OF THE CHURCH AT BOURGOGNE" title="" />
+<span class="caption">RUINS OF THE CHURCH AT BOURGOGNE</span>
+</div>
+
+<p><i>Follow in the contrary direction the route described in the preceding Itinerary
+(p. <a href="#Page_134">134</a> to p. <a href="#Page_159">159</a>) as far as the crossing in the Berméricourt-Bourgogne road,
+where stood</i> Landau Farm, now entirely in ruins. <i>At this crossing take
+G.C. 30 on the right.</i> German camouflaging is still visible on the right-hand
+side of the road.</p>
+
+
+<h4>Bourgogne&mdash;Fresnes</h4>
+
+<p><i>The village of</i> Bourgogne, entirely in ruins, <i>is soon reached</i>.</p>
+
+<p>The village is of very ancient origin. Formerly it was protected by a
+belt of moats, now partly filled in, and by earthen ramparts, almost everywhere
+levelled. The lines of these moats, planted with rows of elm-trees,
+are clearly distinguishable. There is a very extensive view from this original
+site.</p>
+
+<p>A portion of the village was burnt by the Germans who, in 1916, destroyed
+the belfry of the church with dynamite.</p>
+
+<p>This church (dedicated to St. Peter and St. Paul), with its fine Romanesque
+tower, was remarkable.</p>
+
+<p>The greater part of it dated from the 12th and 13th centuries. It is
+now in ruins (<i>photo above</i>).</p>
+
+<p><i>Cross straight through the village.</i> Numerous German signs <i>are still to be
+seen. At the cross-roads just outside the village, follow the railway, then cross
+it near the destroyed railway station of Fresnes. The village of</i> Fresnes <i>is
+reached shortly afterwards.</i></p>
+
+<p><i>Turn to the right at the first crossing met with.</i> The church <i>stands about
+100 yards away, on the left.</i></p>
+
+<p>Norman in style, the Church of Fresnes comprises a central nave with
+aisles and a tower without transept. It dates back to the 12th century, but
+was several times extensively altered and restored both in the 18th century
+and in recent times.</p>
+
+<p>A small porch of limestone added to the northern aisle, is reached by a
+round Norman bay of stone. In the corner of the porch, to the left on entering,
+is incrusted a fragment of a small funerary monument of the 16th century.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
+<img src="images/i170.jpg" width="500" height="394" alt="RUINED CHURCH OF WITRY-LES-REIMS" title="" />
+<span class="caption">RUINED CHURCH OF WITRY-LES-REIMS</span>
+</div>
+
+<p>This church was almost entirely destroyed.</p>
+
+<p><i>After turning to the right at the crossing mentioned above, keep straight on.</i></p>
+
+<p>About 2 kilometres from Fresnes the road from that village to Witry-les-Reims
+crosses an old Roman causeway, at the side of which, slightly to
+the south of Hill 118, the Fort of Fresnes was built in 1878. This fort was
+blown up by the Germans during their retreat in 1918. Its ruins are
+impressive. In the moats of the fort are German trenches and shelters
+extending right up to the walls of the fort.</p>
+
+<p><i>The village of Witry-les-Reims is next reached.</i> It suffered severely from
+the numerous bombardments, which its situation near the first lines rendered
+inevitable.</p>
+
+
+<h4>Witry-les-Reims</h4>
+
+<p><i>After crossing the railway (l.c.) at the entrance to the village, keep straight
+on.</i> The ruined church <i>is on the left, near the entrance to the village</i>.</p>
+
+<p>Except for one tower, which dates from the 12th century, the church is
+modern. The spire was destroyed by the Germans. The belfry, used by
+the enemy as an observation-post, was struck by French shells.</p>
+
+<p>Like many of the villages around Rheims, Witry-les-Reims is of Gallo-Roman
+origin. More than two hundred Gallic sepulchres and cinerary urns
+have been brought to light. The objects thus discovered, including a large
+number of vases, now form the <i>Bourin</i> pre-historic collection.</p>
+
+<p><i>After visiting the church keep straight on. At the Mairie</i>, of which only
+the front remains standing, <i>turn to the right into the Rue Boucton-Fayréaux.
+Follow this street to the Place Gambetta (about 200 yards distant), where turn to
+the left.</i> The entrance to "Pommern Tunnel," which connected up the
+German rear and front lines (<i>photo, p. <a href="#Page_163">163</a></i>), is in this square.</p>
+
+<p>The German inscriptions in the tunnel have been taken down, and the
+entrance blocked up, on account of the roof and walls giving way.</p>
+
+<div class="figcenter" style="width: 600px;">
+<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
+<img src="images/i171.jpg" width="500" height="392" alt="ENTRANCE TO &quot;POMMERN TUNNEL&quot; AT WITRY-LES-REIMS" title="" />
+<span class="caption"><br />ENTRANCE TO &quot;POMMERN TUNNEL&quot; AT WITRY-LES-REIMS</span>
+</div>
+
+<p><i>Leaving the Place Gambetta, take the Rheims-Rethel road (N. 51) on the left,
+then the first street on the right to the</i> <b>Fort of Witry</b>.</p>
+
+<p><i>Just outside the village the road crosses</i> the old Roman causeway from
+Rheims to Trèves, <i>and a little further on passes to the left of the</i> <b>Fort of Witry</b>.</p>
+
+<p>The <b>Fort of Witry</b> suffered but little from the bombardments.</p>
+
+<p><i>The road climbs the northern slopes of the</i> Berru Hill, across numerous
+German trenches. <i>At the bottom of a short run-down, opposite the village of
+Berru, is a crossing of four ways. The road leading to the fort is the one straight
+ahead.</i></p>
+
+<p><i>On the right, among the</i> numerous defences, is a German cemetery containing
+a monument to the dead, ornamented with somewhat rudimentary
+carving and bearing an epitaph dedicated to the memory of the German
+soldiers who fell in the battles around Rheims.</p>
+
+<p><i>The road continues up the slopes of Berru Hill, to the right of the way leading
+to the</i> auxiliary battery of the fort of <b>Vigie de Berru</b>. <i>The top of the hill is
+soon reached</i>, on which the fort, known as the "Vigie de Berru," stands.
+This fort was little bombarded, and is practically intact.</p>
+
+<p><b>Berru Hill</b>, on account of its height, its sulphurous and ferruginous
+waters, flint quarries, and fertile soil, was inhabited in pre-historic times.
+At the summit, a <i>campignien</i> workshop, and farther down, above the springs
+which supply the village with water, a neolithic station have been discovered.
+Thousands of knives, arrow-heads, scrapers, saws, and other primitive tools
+have been unearthed. In the Gallo-Roman times the village must have been
+fairly important, judging by the vestiges of the ancient buildings discovered
+at the foot of the hill. It was near Berru that the <i>Gaulish helmet</i>, now in the
+National Museum of St. Germain, was found. Towards the end of the 16th
+century (about 1575), during the Leaguers' struggles around Rheims, the
+village was fortified, to protect it from pillaging by the soldiers. The moats
+and glacis which surrounded it are still visible to the south, where, covered
+with trees, they adjoin the gardens. Subterranean places of refuge, the
+entrance to which is no longer known, formerly existed underneath the village.</p>
+
+<p><i>From the fort, the road, winds down the opposite slopes of the hill. At
+the bottom of the latter, leave on the right the road to the</i> <b>Fort of Nogent
+l'Abbesse,</b> <i>seen on the high ground to the right.</i></p>
+
+
+<div class="figcenter" style="width: 700px;">
+<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
+<img src="images/i172a.jpg" width="600" height="343" alt="ENTRANCE TO BEINE VILLAGE BY THE ROAD TO NOGENT L&#39;ABBESSE" title="" />
+<span class="caption"><br />ENTRANCE TO BEINE VILLAGE BY THE ROAD TO NOGENT L&#39;ABBESSE</span>
+</div>
+
+<h4>Nogent l'Abbesse&mdash;Beine&mdash;Berru</h4>
+
+<h6>(<i>See Itinerary, p. <a href="#Page_160">160</a>, and summary of the Military Operations, p. <a href="#Page_154">154</a>.</i>)</h6>
+
+<p><i>The village of</i> <b>Nogent l'Abbesse</b> <i>is next reached, at the entrance to which
+the road divides into three branches. Take the middle one (G.C. 64), which leads
+to the</i> ruined village of <b>Beine</b>. <i>During the run-down to the village, there is a</i>
+fine view of the Champagne Hills in front (Mont Cornillet and Mont Haut).</p>
+
+<p>The village of <b>Beine</b> was one of the oldest demesnes belonging to the
+Abbey of St. Remi-de-Reims. It was made into a <i>commune</i> at the end of
+the 12th century.</p>
+
+<p>The church of St. Laurent, situated in the centre of the village, was an
+excellent specimen of the transition style of the 12th century (<i>photo below</i>).</p>
+
+<div class="figcenter" style="width: 350px;">
+<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
+<img src="images/i172b.jpg" width="350" height="527" alt="RUINS OF THE CHURCH AT BEINE" title="" />
+<span class="caption">RUINS OF THE CHURCH AT BEINE</span>
+</div>
+
+<p><i>A road leading to Sillery leaves Beine in a south-westerly direction, but owing
+to its bad condition it is impossible to use it for returning to Rheims.</i> The
+trenches and shell holes have barely been filled in, and the temporary bridges
+over the wider trenches would probably break down under a fairly heavy
+car. On the other hand, the huge craters made by the Germans in the course
+of their retreat, have only been summarily repaired and are not practicable
+for motor-cars. <i>Tourists should therefore return to Nogent l'Abbesse by the road
+they came by.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i173a.jpg" width="500" height="395" alt="BERRU CHURCH" title="" />
+<span class="caption">BERRU CHURCH</span>
+</div>
+
+<p><i>Enter the village by the main street, which follow as far as</i> the church, whose
+belfry has been destroyed.</p>
+
+<p><i>After the church, take the first street on the right, then the second road on the
+left (G.C. 64), which leads to</i> <b>Berru</b>. <i>In front of the village, turn to the left and
+cross straight through.</i> The 12th century Church of St. Martin, which suffered
+only slightly from the bombardments, <i>is in the middle of the village, on the
+left (photo above)</i>.</p>
+
+<p><i>On leaving Berru, the tourist comes again to the crossing mentioned on p. <a href="#Page_163">163</a>.
+Turn to the right and return to Witry-les-Reims by the road previously followed.</i></p>
+
+<p><i>At Witry-les-Reims, take N. 51 on the left, passing by the</i> ruined works of
+Linguet (<i>photo below</i>).</p>
+
+<p><i>Rheims is reached by the Faubourg Cérès. Keep straight on to the Place
+Royale, via the Rue du Faubourg Cérès and the Rue Cérès.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i173b.jpg" width="500" height="326" alt="RUINS OF THE LINGUET WORKS" title="" />
+<span class="caption">RUINS OF THE LINGUET WORKS</span>
+</div>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span></p>
+<h2>SECOND DAY<br />AFTERNOON</h2>
+
+<h3>LA POMPELLE FORT-SILLERY</h3>
+
+<h6>(<i>See complete Itinerary, p. <a href="#Page_121">121</a>.</i>)</h6>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i174.png" width="700" height="900" alt="" title="" />
+</div>
+
+<p><span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span></p>
+
+
+<p><i>This Itinerary will take the tourist through two regions of entirely different
+characters.</i></p>
+
+<p><i>The first part is devoted to visiting the battlefield south-east of Rheims</i>, which
+was the scene of much desperate fighting throughout the war, but especially
+in 1918. This region formed the pivot of the French right wing, and remained
+firm despite the repeated powerful attacks of the enemy.</p>
+
+<p><i>The second part of the Itinerary leaves the battlefield proper, and conducts the
+tourist across</i> the most reputed vine-growing centres of Champagne (Verzenay,
+Mailly-Champagne and Ludes), through lovely, picturesque country, which,
+although it has somewhat suffered from the bombardments, has nevertheless
+retained its pre-war aspect.</p>
+
+<p><i>Leave Rheims by the Avenue de Châlons, continued by N. 44 (see the plan
+of Rheims between pp. <a href="#Page_32">32</a> and <a href="#Page_33">33</a>, F. 6 and H. 7).</i></p>
+
+<p>The Avenue de Châlons was well within the first-line defences.</p>
+
+<p>Two communicating trenches run along the footpaths on either side of
+the Avenue.</p>
+
+<p><i>Skirt</i> Pommery Park, <i>on the left</i>, completely ravaged by the bombardment
+and the network of trenches which cross it.</p>
+
+<p><i>As soon as the last houses of the town have been left behind, the tourist finds
+himself</i> in the midst of the battlefield.</p>
+
+<p>The sector, known as "<b>La Butte-de-Tir</b>," situated on the left, below
+Cernay and beyond the railway, was the scene of furious fighting throughout
+the German occupation of 1914 to 1918 (<i>photo below</i>).</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i175.jpg" width="700" height="578" alt="THE &quot;BUTTE-DE-TIR&quot; SECTOR
+Listening-post in front of Cernay village." title="" />
+<span class="caption">THE &quot;BUTTE-DE-TIR&quot; SECTOR<br />
+<i>Listening-post in front of Cernay village.</i></span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i176a.jpg" width="500" height="541" alt="COMMUNICATING TRENCH AT JOUISSANCE FARM (1915)" title="" />
+<span class="caption"><br />COMMUNICATING TRENCH AT JOUISSANCE FARM (1915)</span>
+</div>
+
+<p><i>The road crosses the Châlons Railway (l.c.), and goes thence direct to the</i>
+<b>Fort of La Pompelle</b>, passing through an inextricable network of trenches
+and barbed wire entanglements. The country hereabouts was completely
+ravaged by the terrific bombardments, and recalls the devastated regions
+around Verdun, near Vaux and Douaumont (<i>see the Michelin Illustrated Guide:
+Verdun, and the Battles for its Possession</i>).</p>
+
+<p><b>La Jouissance Farm</b> is next passed. Nothing remains either of it or
+of the road, <i>which started from this point towards Cernay, on the left</i>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i176b.jpg" width="700" height="465" alt="LA POMPELLE FORT (1918)" title="" />
+<span class="caption">LA POMPELLE FORT (1918)</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i177a.jpg" width="500" height="401" alt="THE MOATS OF LA POMPELLE FORT (1918)" title="" />
+<span class="caption">THE MOATS OF LA POMPELLE FORT (1918)</span>
+</div>
+
+<p>The <b>Fort of La Pompelle</b>, <i>which is next reached</i>, is now a mere heap of
+ruins. The road which led to the fort no longer exists. <i>To visit the ruins
+of the fort, tourists will have to follow on foot the narrow-gauge railway which
+starts from the road (photo above)</i>.</p>
+
+<p>Tradition has it that St. Timothy came from Asia to convert Rheims,
+suffered martyrdom, together with St. Apollinaris and several companions,
+on the hill known as <i>La Pompelle</i>, so-called perhaps from the procession
+(<i>pompa</i> or <i>pompella</i>) which, in the Middle Ages, used to visit the place of
+martyrdom of the saints.</p>
+
+<p>This hill, which rises close to the crossing of the Rheims-St.-Hilaire-le-Grand
+and Rheims-Châlons Roads, was fortified after 1870, to flank the position
+of Berru on the south.</p>
+
+<p>The road from Rheims to Saint-Hilaire-le-Grand (<i>G.C. 7</i>), which used to
+start from the "Alger Inn," at the cross-roads mentioned above, no longer
+exists. Like the inn, it was obliterated by the shelling. A huge crater now
+occupies the site of the Alger Inn (<i>photo below</i>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i177b.jpg" width="500" height="363" alt="CRATER, WHERE USED TO STAND THE &quot;ALGER INN&quot;" title="" />
+<span class="caption">CRATER, WHERE USED TO STAND THE &quot;ALGER INN&quot;</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i178a.jpg" width="500" height="356" alt="THE IMMEDIATE VICINITY OF WHAT WAS THE
+&quot;ALGER INN&quot; (1918)" title="" />
+<span class="caption">THE IMMEDIATE VICINITY OF WHAT WAS THE
+&quot;ALGER INN&quot; (1918)</span>
+</div>
+
+<p><i>Continue along N. 44. About 1 kilometre from the fort, at a bend in the road</i>,
+the shattered remnants of trees of an avenue are visible on the left. Under
+the first fir-tree of this avenue, about 20 yards from the national road, is an
+armoured machine-gun shelter, almost intact.</p>
+
+<p><i>Cross the railway (l.c.) near the entirely destroyed station of Petit-Sillery.
+After passing a ruined château on the left, cross the bridge over the Vesle. At
+the fork beyond the bridge, leave N. 44 and take G.C. 8 on the right to</i> <b>Sillery</b>.</p>
+
+<p>This village, renowned for its dry wine, is pleasantly situated on the banks
+of the Vesle. Throughout the war, it was quite close to the trenches and was
+frequently bombarded. In May, 1916, only some fifty of its inhabitants
+remained in the village, which subsequently suffered very severely, especially
+in 1918.</p>
+
+<p><i>Take a turn in the village, then follow N. 44 towards Châlons (see Itinerary,
+p. <a href="#Page_166">166</a>).</i></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i178b.jpg" width="600" height="414" alt="THE &quot;PLACE DE LA MAIRIE&quot; AT SILLERY (1918)" title="" />
+<span class="caption">THE &quot;PLACE DE LA MAIRIE&quot; AT SILLERY (1918)</span>
+</div><p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p>
+
+<p>The region of <b>Sillery-Pompelle</b> was the scene of much fierce fighting
+throughout the war. After the capture of <b>La Pompelle</b> and the "<b>Alger Inn</b>"
+by the French 10th Corps on the night of September 17-18, 1914, the
+Germans increased the number of their attacks, with a view to regaining these
+important positions.</p>
+
+<p>One of these attacks (that of December 30, 1914) was preceded by the
+explosion of a mine at the "Alger Inn," which made a hole 130 feet in diameter
+by 55 feet deep (<i>see photo, p. <a href="#Page_169">169</a></i>). After a hand-to-hand fight, the French
+drove back the enemy and remained masters of the crater.</p>
+
+<p>In 1918, during their offensives against Rheims, the Germans attacked
+several times in this region. On June 1, between <b>Pommery Park</b> (in the
+south-eastern outskirts of Rheims) and the north-east of Sillery, they attacked
+with eight or nine battalions and fifteen tanks. The garrison of Fort Pompelle,
+momentarily encircled, held out until a furious counter-attack by the French
+Colonial Infantry relieved it and drove back the assailants. The German
+tanks were either captured or destroyed. On the 18th, after an hour's intense
+bombardment, the Germans made a fresh attack and secured a footing in
+the Northern Cemetery of Rheims and in the north-eastern outskirts of
+Sillery, but French counter-attacks drove them out almost immediately.
+From July 15 to 17 their attacks on Sillery were likewise repulsed.</p>
+
+<p><i>Continue along N. 44 to the</i> destroyed Espérance Farm <i>(about 2 kilometres
+distant), then turn to the right</i>. Numerous military works were made by the
+French in the embankments of the Aisne-Marne canal along the left side of
+the road.</p>
+
+<p><i>The road rises towards the "Mountain of Rheims."</i> A white tower,
+dominating the whole plain, <i>is seen on the left (photo below)</i>.</p>
+
+<p><b>Verzenay</b> <i>is next reached by the Rue de Sillery.</i></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i179.jpg" width="700" height="494" alt="VERZENAY, SEEN FROM THE VERZENAY&mdash;MAILLY&mdash;CHAMPAGNE ROAD" title="" />
+<span class="caption">VERZENAY, SEEN FROM THE VERZENAY&mdash;MAILLY&mdash;CHAMPAGNE ROAD</span>
+<br /><br /></div>
+
+<p><span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i180.jpg" width="500" height="345" alt="THE OLD MILL AT VERZENAY" title="" />
+<span class="caption">THE OLD MILL AT VERZENAY</span>
+</div>
+
+<p>It was at <b>Verzenay</b> that, on the evening of September 3, 1914, the
+German aeroplane, which had dropped bombs on Rheims the same morning,
+was brought down. It has suffered relatively little from the bombardments.</p>
+
+<p><i>To visit the church</i>, which contains the tomb of Saint-Basle (<i>chapel on the
+right</i>), <i>take the Rue Gambetta, then the Rue Thiers</i>.</p>
+
+<p><i>After visiting the church, return to the Rue Thiers, at the end of which is the
+Rue de Mailly (G.C. 26).</i></p>
+
+<p><i>Take the latter, which, on leaving Verzenay, rises fairly stiffly.</i></p>
+
+<p><i>At the top of the hill, on the right, begins the road leading to</i> <b>Verzenay Mill</b>,
+which crowns Hill 227 (<i>see Itinerary, p. <a href="#Page_166">166</a>, and photo above</i>).</p>
+
+<p>This mill, whence there is a fine panorama of the plain as far as the hills
+of Berru and Moronvilliers, was a military observation-post of the first order
+during the siege warfare.</p>
+
+<p><i>It belongs to the champagne-wine firm of Heidsieck Monopole, which allows
+tourists to visit it, as also their vineyards in the surrounding country.</i></p>
+
+<p><i>The road dips down to</i> Mailly-Champagne, <i>at the entrance to which village
+turn to the right into the Rue Gambetta, then to the left into the Rue de Ludes
+(G.C. 26)</i>. The road, cut out of the hillside, is very picturesque as far as Ludes.
+In the forest, on the left of the road, are numerous "<i>cendrières</i>," or quarries,
+from which volcanic sulphurous cinders, used for improving the vines, are
+extracted. Heaps of these valuable cinders (grey, white and black) are
+frequently encountered at the side of the road.</p>
+
+<p><b>Ludes</b> <i>is next reached by the Avenue de la Gare</i>.</p>
+
+<p>The region just passed through, including the villages of Verzenay,
+Mailly-Champagne and Ludes, as well as Verzy (<i>to the east</i>), and Rilly-la-Montagne
+and Villers-Allerand (<i>to the west</i>), are the wine-growing centres of
+the "Mountain of Rheims" properly so-called, the black grapes from which
+produce the best brands of Champagne. The villages are picturesquely
+situated at the edge of the forests which crown the hills, while the vineyards
+which cover the slopes of the latter descend to the chalky plain. These
+vineyards, divided into tiny plots, the ground of which before the ravages of
+the phylloxera cost as much as 93,000 francs per hectare (about 2-1/2 acres),
+constitute the principal wealth of the country. Here and there they have
+suffered from the war, but this has not prevented the vine-dressers from
+cultivating them (often with the help of the soldiers) or from gathering the
+grapes, under the continual menace of the German guns.</p>
+
+<div class="figcenter" style="width: 500px;">
+<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
+<img src="images/i181a.jpg" width="500" height="368" alt="PUISIEULX. THE CHURCH AND ROAD TO SILLERY" title="" />
+<span class="caption">PUISIEULX. THE CHURCH AND ROAD TO SILLERY</span>
+</div>
+
+<p>At <b>Ludes</b>, in the <i>Avenue de la Gare, turn to the right into the Rue de Cormontreuil,
+and again to the right, into the Rue de Puisieulx (G.C. 33)</i>.</p>
+
+<p><i>At the crossing, 1 kilometre beyond Ludes, go straight on. After passing
+on the right an avenue bordered with trees leading to the</i> <b>Château of Romont,
+Puisieulx</b> <i>is reached</i>.</p>
+
+<p><i>At the first crossing, on entering the village, keep straight on, then turn to the
+right as far as the</i> ruined church, with its curious loop-holed chevet. <i>Leave
+the church on the right and, at the end of the village, turn to the left.</i> There are a
+few graves <i>on the right of the road</i>. <i>After skirting a large estate, the trees of
+which were destroyed by shell-fire, the tourist reaches</i> <b>Sillery</b>.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i181b.jpg" width="400" height="562" alt="RUINED CHURCH OF TAISSY" title="" />
+<span class="caption">RUINED CHURCH OF TAISSY</span>
+</div><p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span></p>
+
+<p><i>Turn to the left into G.C. 8, at the entrance to the village. On the right are
+vestiges</i> of a small wood, known as "Zouaves Wood," which was the scene of
+many sanguinary fights after its capture by the French in 1914.</p>
+
+<p><i>The tourist next reaches</i> <b>Taissy</b>, whose ruined church <i>is on the right, by the
+side of the Vesle (photo, p. <a href="#Page_173">173</a>)</i>.</p>
+
+<p>This interesting church is largely Romanesque in style (tower, chevet and
+nave). The tabernacle, with altar-piece of carved wood, is Louis XIII. A
+fine wrought-iron railing encloses the sanctuary (<i>photo below</i>). The small,
+sonorous bell of the belfry is, strange to say, 13th or 14th century.</p>
+
+<p><i>Pass straight through Taissy, then follow the tram-lines.</i> <b>Cormontreuil</b> <i>is
+entered by the Rue Victor-Hugo.</i></p>
+
+<p><i>From Cormontreuil, the tourist may return to Rheims either by turning to
+the right in the village, beyond the tram station (in this case he will enter Rheims
+by the Rue de Cormontreuil which leads to the Place Dieu-Lumière) or by continuing
+straight ahead. In the latter case he will cross the Faubourg Fléchambault
+by the Rue Ledru-Rollin. At the end of the latter, turn to the right into the Rue
+Fléchambault which, after crossing the Vesle and the canal, leads to the Church of
+St. Remi.</i></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i182.jpg" width="400" height="579" alt="THE CHOIR OF TAISSY CHURCH" title="" />
+<span class="caption">THE CHOIR OF TAISSY CHURCH</span>
+</div>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span></p>
+<h2>CONTENTS</h2>
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="left">&nbsp;</td><td align="right">PAGES</td></tr>
+<tr><td align="left">Political History of Rheims</td><td align="right"><a href="#Page_3">3</a>-<a href="#Page_7">7</a></td></tr>
+<tr><td align="left">Military History of Rheims</td><td align="right"><a href="#Page_8">8</a> and <a href="#Page_9">9</a></td></tr>
+<tr><td align="left">The Battles for Rheims, 1914-1918</td><td align="right"><a href="#Page_9">9</a>-<a href="#Page_15">15</a></td></tr>
+<tr><td align="left">The Destruction of Rheims by the bombardments</td><td align="right"><a href="#Page_16">16</a>-<a href="#Page_21">21</a></td></tr>
+<tr><td align="left">Life in the bombarded City</td><td align="right"><a href="#Page_21">21</a>-<a href="#Page_26">26</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">I.&mdash;A Visit to the City</span></td><td align="right"><a href="#Page_27">27</a>-<a href="#Page_120">120</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">The Cathedral</span> (description of)</td><td align="right"><a href="#Page_28">28</a>-<a href="#Page_60">60</a></td></tr>
+<tr><td align="left">History of the Cathedral</td><td align="right"><a href="#Page_28">28</a>-<a href="#Page_30">30</a></td></tr>
+<tr><td align="left">The Cathedral during the War</td><td align="right"><a href="#Page_31">31</a> and <a href="#Page_32">32</a></td></tr>
+<tr><td align="left">Coloured Plan of Rheims</td><td align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;between <a href="#Page_32">32</a> and <a href="#Page_33">33</a></td></tr>
+<tr><td align="left">Plan of the Cathedral and Archi-episcopal Palace</td><td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="left">Exterior of the Cathedral</td><td align="right"><a href="#Page_34">34</a>-<a href="#Page_49">49</a></td></tr>
+<tr><td align="left">Interior of the Cathedral</td><td align="right"><a href="#Page_50">50</a>-<a href="#Page_60">60</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">First Itinerary&mdash;The City</span></td><td align="right"><a href="#Page_61">61</a>-<a href="#Page_94">94</a></td></tr>
+<tr><td align="left">The Place du Parvis</td><td align="right"><a href="#Page_62">62</a></td></tr>
+<tr><td align="left">The Archi-episcopal Palace</td><td align="right"><a href="#Page_63">63</a>-<a href="#Page_66">66</a></td></tr>
+<tr><td align="left">The Place Drouet d'Erlon and The Promenades</td><td align="right"><a href="#Page_70">70</a> and <a href="#Page_71">71</a></td></tr>
+<tr><td align="left">The Hôtel-de-Ville</td><td align="right"><a href="#Page_72">72</a></td></tr>
+<tr><td align="left">The Place des Marchés</td><td align="right"><a href="#Page_74">74</a></td></tr>
+<tr><td align="left">The Place Royale</td><td align="right"><a href="#Page_78">78</a></td></tr>
+<tr><td align="left">The Musicians' House</td><td align="right"><a href="#Page_80">80</a></td></tr>
+<tr><td align="left">The Mars Gate</td><td align="right"><a href="#Page_82">82</a></td></tr>
+<tr><td align="left">The Rue de Cérès</td><td align="right"><a href="#Page_87">87</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">Second Itinerary&mdash;The City</span> (<i>continued</i>)</td><td align="right"><a href="#Page_95">95</a>-<a href="#Page_120">120</a></td></tr>
+<tr><td align="left">The Rue Chanzy</td><td align="right"><a href="#Page_95">95</a>-<a href="#Page_97">97</a></td></tr>
+<tr><td align="left">The Lycée</td><td align="right"><a href="#Page_97">97</a> and <a href="#Page_98">98</a></td></tr>
+<tr><td align="left">The Abbey of Saint Pierre-les-Dames</td><td align="right"><a href="#Page_98">98</a></td></tr>
+<tr><td align="left">The Pommery Wine-Cellars</td><td align="right"><a href="#Page_101">101</a></td></tr>
+<tr><td align="left">The Church of St. Remi</td><td align="right"><a href="#Page_103">103</a>-<a href="#Page_116">116</a></td></tr>
+<tr><td align="left">The Hôtel-Dieu (Hospital)</td><td align="right"><a href="#Page_117">117</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">II.&mdash;A Visit to the Battlefield.</span><span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></td></tr>
+<tr><td align="left">&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">First Itinerary</span> (Morning)</td><td align="right"><a href="#Page_122">122</a>-<a href="#Page_133">133</a></td></tr>
+<tr><td align="left">Ormes</td><td align="right"><a href="#Page_124">124</a></td></tr>
+<tr><td align="left">St. Euphraise</td><td align="right"><a href="#Page_127">127</a></td></tr>
+<tr><td align="left">Coulommes-la-Montagne</td><td align="right"><a href="#Page_128">128</a></td></tr>
+<tr><td align="left">Gueux</td><td align="right"><a href="#Page_129">129</a></td></tr>
+<tr><td align="left">Thillois</td><td align="right"><a href="#Page_131">131</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">Second Itinerar</span>y (Afternoon)</td><td align="right"><a href="#Page_134">134</a>-<a href="#Page_159">159</a></td></tr>
+<tr><td align="left">Tinqueux</td><td align="right"><a href="#Page_135">135</a></td></tr>
+<tr><td align="left">Merfy</td><td align="right"><a href="#Page_137">137</a></td></tr>
+<tr><td align="left">St. Thierry</td><td align="right"><a href="#Page_138">138</a></td></tr>
+<tr><td align="left">Villers-Franqueux</td><td align="right"><a href="#Page_141">141</a></td></tr>
+<tr><td align="left">Cormicy</td><td align="right"><a href="#Page_144">144</a></td></tr>
+<tr><td align="left">Le Godat</td><td align="right"><a href="#Page_148">148</a></td></tr>
+<tr><td align="left">Loivre</td><td align="right"><a href="#Page_150">150</a></td></tr>
+<tr><td align="left">Brimont</td><td align="right"><a href="#Page_152">152</a></td></tr>
+<tr><td align="left">The "Cavaliers de Courcy"</td><td align="right"><a href="#Page_156">156</a></td></tr>
+<tr><td align="left">La Neuvillette</td><td align="right"><a href="#Page_158">158</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">Third Itinerary</span> (Morning)</td><td align="right"><a href="#Page_160">160</a>-<a href="#Page_165">165</a></td></tr>
+<tr><td align="left">Bourgogne&mdash;Fresnes</td><td align="right"><a href="#Page_161">161</a></td></tr>
+<tr><td align="left">Witry-les-Reims</td><td align="right"><a href="#Page_162">162</a></td></tr>
+<tr><td align="left">Nogent l'Abbesse&mdash;Beine&mdash;Berru</td><td align="right"><a href="#Page_164">164</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">Fourth Itinerary</span> (Afternoon)</td><td align="right"><a href="#Page_166">166</a>-<a href="#Page_174">174</a></td></tr>
+<tr><td align="left">The Butte-de-Tir</td><td align="right"><a href="#Page_167">167</a></td></tr>
+<tr><td align="left">The Fort de la Pompelle</td><td align="right"><a href="#Page_168">168</a></td></tr>
+<tr><td align="left">Alger Inn</td><td align="right"><a href="#Page_169">169</a></td></tr>
+<tr><td align="left">Verzenay</td><td align="right"><a href="#Page_172">172</a></td></tr>
+</table>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i183.jpg" width="500" height="378" alt="THE RUE DE LA GRUE, SEEN FROM THE RUE CÉRÈS" title="" />
+<span class="caption">THE RUE DE LA GRUE, SEEN FROM THE RUE CÉRÈS</span>
+</div>
+
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i184.jpg" width="500" height="364" alt="HERMONVILLE PORCH" title="" />
+<span class="caption">HERMONVILLE PORCH</span>
+</div>
+
+<div class="center"><br />PRINTED IN GREAT BRITAIN BY WILLIAM CLOWES AND SONS, LIMITED,<br />
+LONDON<br /><br />
+XII&mdash;2,116-8-19-25
+</div>
+
+
+
+<hr style="width: 65%;" />
+<h2>BEAUTIFUL FRANCE</h2>
+
+<h3>NORMANDY.</h3>
+
+
+<p>Land of rich pastures and fashionable watering-places,
+Normandy may truly be said to have been "favoured by
+the gods." Her fertile soil, famous breeds of horses and
+cattle, picturesque sites, and renowned sea-bathing coast have
+made Normandy one of France's most flourishing provinces.
+Numerous splendid monuments evoke in the tourist's mind
+reminiscences of a glorious past.</p>
+
+<p>No region has been more lavishly adorned by Nature.
+Its mountain landscapes have caused it to be surnamed
+"La Petite Suisse." Among the more interesting places
+may be mentioned <b>Bagnoles-de-l'Orne</b>, with its famous
+mineral-water springs; <b>Rouen</b>, with its celebrated cathedral,
+churches of St. Ouen and St. Maclou, Palais-de-Justice, and
+port (which the war has transformed into one of the most
+important in Europe); <b>Caen</b>&mdash;"Norman Athens"&mdash;with
+its Romanesque churches, Renaissance mansions, and ancient
+houses; the great cathedrals of <b>Sées</b>, <b>Evreux</b>, <b>Bayeux</b>,
+and <b>Coutances</b>; the feudal ruins of <b>Arques</b>, <b>Château-Gaillard</b>
+and <b>Falaise</b>; the Abbeys of <b>Jumièges</b> and
+<b>St. Wandrille</b>; the mediaeval narrow winding streets of
+<b>Lisieux</b>.</p>
+
+<p>Numerous sea-side resorts: <b>Dieppe</b>, <b>St. Valéry</b>,
+<b>Fécamp</b>, <b>Entretat</b>, <b>Le Hâvre</b>, and <b>St. Adresse</b>,
+<b>Honfleur</b>, <b>Trouville</b>, <b>Deauville</b>, <b>Villers</b>, <b>Houlgate</b>,
+<b>Cabourg</b>, <b>Cherbourg</b> and <b>Grandville</b> are too widely
+known to call for special mention.</p>
+
+<p>Lastly <b>St. Michael's Mount</b> (surnamed the "Marvel
+of the West"), with its extraordinary pyramid of superimposed
+Gothic monastery and Churches, built on a rock in
+the middle of a deep bay.</p>
+
+<hr style="width: 45%;" />
+
+<p><i>All enquiries with regard to travelling should be addressed
+to the "Touring Club de France," 65, Avenue de la Grande
+Armée 65, Paris.</i></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>MICHELIN TOURING OFFICES</h2>
+
+
+<div class="center">
+<b>MICHELIN TYRE Co., Ltd., LONDON</b><br />
+Touring Office :: 81, Fulham Road, S. W.<br />
+<br />
+<b>MICHELIN &amp; Cie, CLERMONT-FERRAND</b><br />
+Touring Office :: 99, Bd. Péreire, PARIS<br />
+</div>
+
+<div class="figcenter" style="width: 756px;">
+<img src="images/i186a.png" width="756" height="492" alt="Why ask the Way, when...." title="" />
+<span class="caption"><i>Why ask the Way, when....</i></span>
+</div>
+
+<div class="figcenter" style="width: 834px;">
+<img src="images/i186b.png" width="834" height="537" alt="... Michelin will tell you free of charge?" title="" />
+<span class="caption"><i>... Michelin will tell you free of charge?</i></span>
+</div>
+
+<hr style="width: 45%;" />
+
+<div class="blockquot">Drop a line, ring us up, or call at one of our
+Touring Offices and you will receive a carefully
+worked out description of the route to follow.</div>
+
+
+<hr style="width: 65%;" />
+
+<h2>Hotels and Motor-Agents</h2>
+<h3>at RHEIMS</h3>
+<div class="center">Information extracted from the MICHELIN GUIDE (1919)<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[1]</a></div>
+
+<hr style="width: 45%;" />
+
+<h4>Key to Arbitrary Signs</h4>
+
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="right">[.][.]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Comfortable hotels with modern&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="right">[.]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Repair shop.</td></tr>
+<tr><td align="right"></td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">or modernised installation.</td><td align="right"><i>Agt for</i></td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Manufacturer's agent.</td></tr>
+<tr><td align="right">[<b>CC</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Central Heating.</td><td align="right">[<b>3</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Garage and number of cars it will hold.</td></tr>
+<tr><td align="right">[<b>L</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Electric Light.</td></tr>
+<tr><td align="right">[<b>B</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Bath-room.</td><td align="right"><b>U</b></td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Inspection pit.</td></tr>
+<tr><td align="right">[<b>W</b>C]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Modern W.C.'s.</td><td align="right">[<b>E</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Petrol (gasoline) can be obtained here.</td></tr>
+<tr><td align="right">[<b>T</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">104 Telephone number.</td></tr>
+<tr><td align="right">Gar. [<b>2</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">{Accommodation for auto-</td><td align="right">[<b>E""</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Accumulators can be recharged here.</td></tr>
+<tr><td align="right">Shed [<b>3</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">{mobiles, and the number</td></tr>
+<tr><td align="right">Shelter[<b>4</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">{which can be put up.</td><td align="right">[<b>A-A</b>]</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">for the "British Automobile Association."</td></tr>
+<tr><td align="right">adj.</td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Adjoining the hotel.</td></tr>
+<tr><td align="right"><b>Compressed Air</b></td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">{Depôt for "bouteille</td></tr>
+<tr><td align="right"></td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">{d'air Michelin" for</td></tr>
+<tr><td align="right"></td><td>&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">{inflation of tyres.</td></tr>
+</table></div>
+
+
+<hr style="width: 45%;" />
+<h3>HOTELS</h3>
+<p>
+[.][.]&nbsp;&nbsp;&nbsp;&nbsp;Grand Hotel (Temporary Annex), <i>50, rue Clovis</i>, [<b>L</b>][<b>WC</b>].<br />
+[.][.]&nbsp;&nbsp;&nbsp;&nbsp;Hôtel du Nord, <i>73 and 75, Place d'Erlon</i>, [<b>L</b>][<b>WC</b>] adj. Shed [<b>3</b>] [<b>T</b>] <b>6-14</b>.<br />
+[.][.]&nbsp;&nbsp;&nbsp;&nbsp;Hôtel Continental,<i>93, Place d'Erlon</i>, [<b>L</b>][<b>WC</b>] Gar.[<b>2</b>] [<b>U</b>] Shelter [<b>4</b>][<b>T</b>] <b>147</b>.<br />
+</p>
+
+<hr style="width: 45%;" />
+<h3>REPAIR MECHANICS</h3>
+<p>
+ [.] STOCK MICHELIN (Compressed Air), <b>Vve. A. Mathieu</b>, <i>26, rue Buirette</i>.<br />
+ <span style="margin-left: 3em;"><i>Agt for</i>: de Dion, Renault, [<b>60</b>] [<b>U</b>] [<b>E</b>] [<b>E"</b>] [<b>T</b>] <b>5-06</b>.</span><br />
+ &mdash; STOCK MICHELIN (Compressed Air), <b>E. Devraine</b>, <i>Pl. Colin and 220, rue de</i><br />
+ <span style="margin-left: 3em;"><i>Vesle</i>, [<b>50</b>] [<b>U</b>] [<b>E</b>] [<b>E"</b>] [<b>A-A</b>] [<b>T</b>] <b>6-16</b>.</span><br />
+ &mdash; STOCK MICHELIN, <b>Auto-Electro-Mécanique Lemaire</b>, <i>10, rue</i><br />
+ <span style="margin-left: 3em;"><i>Hincmer, near the Cathedral</i>, [<b>20</b>] [<b>U</b>] [<b>E</b>] [<b>E"</b>] [<b>T</b>] <b>2-77</b>.</span><br />
+ &mdash; Garage Central, L. Jeannon, <i>57, rue des Capucins</i>, [<b>40</b>] [<b>U</b>] [<b>E</b>] [<b>E"</b>].<br />
+ &mdash; Jacques d'Anglemont de Tassigny, <i>181, rue de Vesle</i>, [<b>10]</b> [<b>U</b>] [<b>E</b>].<br />
+ &mdash; Auto-Palace (de Balliencourt), <i>35, rue de Bétheny</i>, [<b>10</b>] [<b>U</b>] [<b>E</b>] [<b>E"</b>].<br />
+ &mdash; Gaston Etienne, <i>11, rue Chanzy</i>, [<b>10</b>] [<b>U</b>] [<b>E</b>].<br />
+ &mdash; M. Triquenot &amp; C^{ie}, <i>9, rue des Moissons</i>, [<b>3</b>] [<b>E</b>].<br />
+ &mdash; E. Caënen, <i>8, rue Heidsieck</i>, [<b>3</b>] [<b>E</b>].<br />
+ &mdash; Brouard &amp; Colmart, <i>20, rue de Savoye</i>, [<b>4</b>] [<b>E</b>].<br />
+ &mdash; Dieudonné, Cycles, <i>53, rue de Mars</i>.<br />
+ &mdash; Doyen Fréres, Cycles, <i>52, rue de Céres</i>.<br />
+ &mdash; Guérard, Cycles, <i>81, rue de Neuchâtel</i>.<br />
+ &mdash; Boissel, Cycles, <i>122, bis rue de Gambetta</i>.<br />
+ &mdash; Siron, Cycles, <i>80, Avenue de Laon</i>.<br />
+</p>
+
+<hr style="width: 45%;" />
+<h3>CAR MANUFACTURERS</h3>
+<p>
+[.] Panhard-Levassor Works, <i>83, rue Ernest-Renan</i>.<br />
+&mdash; Société des Automobiles Brasier Works, <i>2, rue de Sillery</i>.<br />
+</p>
+
+<hr style="width: 45%;" />
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[1]</span></a>
+<i>The above information dates from June 1st, 1919, and may no longer
+be exact when it meets the reader's eye. Tourists are therefore recommended to
+consult the latest edition of the "Michelin Guide to France" (English or French),
+before setting out on the tour described in this volume.</i>
+</p></div>
+
+<hr style="width: 45%;" />
+<div class="bboxsmall">
+THE MICHELIN TOURING OFFICE
+at 81, Fulham Road, Chelsea, LONDON,
+S.W. 3, will be pleased to furnish
+motorists with advice and information
+free of charge.<br /><br />
+<div class="center">
+<i>Special itineraries free, on request.</i>
+</div>
+</div>
+
+<div class="figcenter" style="width: 1179px;">
+<img src="images/i187.png" width="1179" height="2124" alt="" title="" />
+</div>
+
+
+<hr style="width: 65%;" />
+<div class='tnote'><h3>Transcriber's Notes:</h3>
+
+<p>Click on the map following page 32 to display a high-resolution image.</p>
+
+<p>Errors of punctuation and diacritics have been repaired.</p>
+
+<p>Hyphens removed: "day[-]break" (page 32), "master[-]piece" (page 50),
+"net[-]work" (page 167), "wood[-]work" (pages 72,  144, 146).</p>
+
+<p>Hyphens added: "key-stones" (page 132), "pre[-]historic" (page 18),
+"timber[-]work" (page 85).</p>
+
+<p>The following words appear once each with and without hyphens
+and have not been changed: "day[-]break", "hand[-]rail", "iron[-]work",
+"stone[-]work".</p>
+
+<p>Page 9: "Witry-les-Rheims" changed to "Witry-les-Reims".</p>
+
+<p>Page 13: "seperate" changed to "separate" (On three separate occasions).</p>
+
+<p>Page 23: "helmet" changed to "helmets" (They were supplied with helmets).</p>
+
+<p>Page 55: "railling" changed to "railing" (wrought-iron railing).</p>
+
+<p>Page 79 (caption): "of" added (supposed to be likenesses of).</p>
+
+<p>Page 136: "roads" changed to "road" (The road turns abruptly).</p>
+
+<p>Page 147: "Villers-Farnqueux" changed to "Villers-Franqueux".</p>
+
+<p>Page 156: "Germas" changed to "Germans" (re-taken by the Germans).</p>
+
+<p>Page 157 (caption of photo): "BÉTHANY" changed to "BÉTHENY".</p>
+
+<p>Page 161: "earthern" changed to "earthen" (earthen ramparts).</p>
+
+<p>Page 164 (title), page 176 (TOC): "l'Abesse" changed to "l'Abbesse".</p>
+
+<p>Page 167: "per-war" changed to "pre-war" (retained its pre-war aspect).</p>
+
+<p>Page 172: "Heidsick" changed to "Heidsieck" (champagne-wine firm of Heidsieck).</p>
+
+<p>Note: All the above errors except for those on pages 9, 161, 172 were corrected
+in the 1920 edition of the book.</p>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Rheims and the Battles for its
+Possession, by Various
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+</pre>
+
+</body>
+</html>
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+Project Gutenberg's Rheims and the Battles for its Possession, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Rheims and the Battles for its Possession
+       Illustrated Michelin Guides to the Battle-Fields (1914-1918)
+
+Author: Various
+
+Release Date: July 29, 2011 [EBook #36885]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RHEIMS ***
+
+
+
+
+Produced by Moti Ben-Ari and the Online Distributed
+Proofreading Team at http://www.pgdp.net. (This file was
+produced from images generously made available by The
+Internet Archive.)
+
+
+
+
+
+
+
+    ILLUSTRATED MICHELIN GUIDES
+    TO THE BATTLE-FIELDS (1914-1918)
+
+    RHEIMS
+    AND THE BATTLES FOR ITS POSSESSION.
+
+    MICHELIN & Cie--CLERMONT=FERRAND.
+    MICHELIN TYRE Co. Ltd., 81, Fulham Road, LONDON, S.W.
+    MICHELIN TIRE Co., MILLTOWN, N.J., U.S.A.
+
+
+
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+=Michelin Map= (_Scale - 1:200,000_) (3.15 miles to the inch).
+
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+
+The tourist finds his way about easily =in town=, if he has a plan
+giving the names of the streets.
+
+He gets about with the same ease and certainty =on the road=, if he has
+a =Michelin map=, because it gives all the road numbers on the
+milestones and road-signs.
+
+
+
+
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+
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+SUBSCRIPTIONS:
+
+    The yearly subscription is:
+
+    6 francs for new Members of French nationality.
+
+    10 francs for new Members of other nationality, wherever their
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+    New subscriptions paid from October 1 are valid for the
+    following calendar year.
+
+    Life subscriptions may be effected in one payment of 120 francs
+    for persons of French nationality, or 200 francs if of other
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+    THE TOURING CLUB DE FRANCE,
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+
+    IN MEMORY
+    OF THE MICHELIN EMPLOYEES
+    AND WORKMEN WHO DIED GLORIOUSLY
+    FOR THEIR COUNTRY.
+
+    RHEIMS
+    AND THE BATTLES FOR ITS POSSESSION.
+
+    Published by
+    MICHELIN & CIE
+    Clermont-Ferrand, France.
+
+    Copyright by Michelin & Cie. 1919.
+
+    _All rights of translation, adaptation, or reproduction
+    (in part or whole) reserved in all countries._
+
+
+
+
+_On July 6th, 1919, the President of the French Republic conferred the_
+=Croix de la Legion d'Honneur= _on Rheims (fastening it personally on
+the City Arms), with the following_ "=citation=":--
+
+"_Martyred city, destroyed by an infuriated enemy, powerless to hold
+it._
+
+"_Sublime population who, like the Municipal Authorities--models of
+devotion to duty and despising all danger--gave proof of magnificent
+courage, by remaining more than three years under the constant menace of
+the enemy's attacks, and by leaving their homes only when ordered to do
+so._
+
+"_Inspired by the example of the heroic French maid of venerated memory,
+whose statue stands in the heart of the city, showed unshakeable faith
+in the future of France (Croix de Guerre)._"
+
+[Illustration: RHEIMS, AS SEEN FROM THE GERMAN LINES (_Photograph found
+on a German prisoner_)]
+
+
+
+
+=RHEIMS=
+
+=POLITICAL HISTORY=
+
+
+Rheims is one of the oldest towns in France, so old that legendary
+accounts, in an endeavour to outdo one another, carry back its
+foundation sometimes to 1440 B.C. after the Flood, sometimes to the
+siege of Troy. Lying at the intersection of the natural routes between
+Belgium and Burgundy, and between the Parisian basin and Lorraine,
+_i.e._ between political districts that long remained different in
+character, and regions having different commercial resources, it was at
+one and the same time the "_oppidum_" and _market-town_. Its military
+and commercial position destined it early to be a great city.
+
+It probably takes its name from the tribe of the _Remi_, who occupied
+almost the whole territory now forming the "_departements_" of the Marne
+and the Ardennes, and who were clients of the _Suessiones_ (Soissons)
+before the Roman conquest. It was already a prosperous town, under the
+name of "_Durocortorum_," when Caesar conquered Gaul. It freed itself
+from the yoke of the Suessiones by accepting the Roman domination. When
+the Belgians revolted in 57 B.C., the _Remi_ remained faithful to Caesar
+and received the title of "_friends of the Roman people_." Neither did
+they take any part in the general revolt of Gaul in 52 B.C. Under the
+Empire, Rheims was, with Treves, one of the great centres of Latin
+culture in "_Gallia Belgica_." On becoming a federated city, it retained
+its institutions and senate. A favourite residence of the Roman
+Governors, Rheims was embellished with sumptuous villas and magnificent
+monuments, and soon became one of the most prosperous towns in Gaul. At
+the beginning of the Germanic invasions Rheims drew in its borders and
+became a military town. Under _Diocletian_ it was the capital of
+_Belgica Secunda_.
+
+According to tradition, Christianity was first preached in Rheims by St.
+Sixtus and St. Sinirus, the first bishops of the city. However that may
+be, Christianity was firmly established there as early as the 3rd
+century. A bishop of Rheims was present at the Council of Arles in 314.
+The conversion of several great Roman personages (amongst others, the
+_Consul Jovinus_--see p. 118) favoured the progress of the Christian
+religion.
+
+In the 5th century, when Rome, otherwise occupied, was unable to hold
+back the barbarians, invasions interfered with the development of the
+city. The Frankish conquest marked the beginning of a new period of
+prosperity. In 486, after the victory of Soissons, _Clovis_ entered into
+negotiations with St. Remi, who, at the age of 22, had been elected
+Bishop of Rheims in 459, and whose long episcopate of seventy-four years
+is probably unique in history. On Christmas Day, A.D. 496,
+St. Remi, who had arranged the marriage of Clovis with the Christian
+princess Clotilde, baptized the Frankish king with his own hands in the
+Cathedral. This important event took place undoubtedly at Rheims and not
+at Tours, as a learned German, _Krusch_, has attempted to prove.
+
+Under the Merovingians and Carolingians, the history of Rheims became
+merged in that of the French monarchy. The possession of the city was
+disputed as fiercely as that of the throne. The city was mixed up in
+quarrels from which it suffered, without, however, losing its religious
+prestige. Pepin-le-Bref and Pope Stephen III., Charlemagne and Pope Leo
+III. had famous interviews there. When the Carolingians restored the
+religious hierarchy Rheims became one of the twenty-two chief cities of
+the Empire. From the time of Charlemagne, the Archbishop of Rheims ruled
+over twelve bishoprics, comprising the cities of the ancient Roman
+province of _Belgica Secunda_.
+
+From the 9th to the 11th century the history of Rheims is that of its
+church. The Counts of Vermandois, the Lords of Coucy and the archbishops
+first disputed, then divided its temporal possession, the latter falling
+eventually to the archbishops in the 11th century. After becoming
+Counts, with the right to coin money, and, from 940, powerful temporal
+princes, the archbishops played a great political part in the struggles
+between the Carolingian princes. Under _Charles-le-Chauve_, Archbishop
+Hincmar became the protector of the enfeebled monarchy. In 858 he
+prevented _Louis-le-Germanique_ from deposing his nephew and becoming
+King of France. In 987, Archbishop Adalberon, at the Meeting of Senlis,
+drove the legitimate heir, _Charles de Lorraine_, from the throne, and
+favoured the election of Hughes Capet. Although, under the Capetians,
+Paris became the political capital of France, Rheims became the
+religious metropolis of the kingdom. From the time when _Louis-le-Pieux_
+had himself consecrated emperor in the Cathedral, by Pope Stephen IV.,
+it was understood that every new king must be consecrated by the
+successor of St. Remi.
+
+
+=The Consecration of the Kings of France=
+
+In the 12th century, Popes and Kings formally acknowledged the right of
+the Archbishop of Rheims to consecrate and crown the kings of France. As
+a matter of fact, until the Revolution, all the kings, except Louis IV.
+and Henri IV., were consecrated at Rheims.
+
+The ceremony of consecration filled the Cathedral with a great crowd of
+people. Apart from the peers, numerous prelates, dignitaries of the
+Kingdom, the Court, the Chapter of the Cathedral and the populace
+crowded in. Staging was erected for the public in the transept ends and
+along the choir. Before the consecration took place, the archbishop, at
+the head of a procession, went to receive the _Sacred Ampulla_ at the
+threshold of the Cathedral, brought on horseback by the Abbot of St.
+Remi. Returning to the altar, the prelate received the King's oath and
+then consecrated him, anointing him with the holy oil on his head and
+breast, between and on his shoulders, on the joints of his arms and in
+the palms of his hands, each motion being accompanied with a special
+prayer. Then the Peers handed the insignia of royalty to the archbishop,
+who, surrounded by all the Peers, placed the crown of Charlemagne on the
+head of the King, _while the people shouted_ "_Long live the King_."
+
+The King was then led to a throne prepared for him at the entrance to
+the Choir, and mass was celebrated with great pomp. The King and Queen
+communicated in both kinds, and the royal party then went in procession
+to the archbishop's palace, where the _Feast of Consecration_ was held.
+
+In 1162, the Archbishopric of Rheims, until then a county, became a
+Duchy and the highest peerage in France, which explains why it was given
+to great personages, such as Henri-de-France and Guillaume-de-Champagne,
+brother and brother-in-law of Louis VII.
+
+In the 12th century the archbishops, freed from the feudal rivalries,
+were confronted by a new power, the _bourgeoisie_ or middle classes,
+born of the progress of industry and commerce, and whose importance was
+demonstrated by the great Champagne Fairs held sometimes at Rheims and
+sometimes at Troyes. The first _Company of Burgesses_, founded in 1138,
+soon became a "_Commune_." In 1147, the suburb of St. Remi, which the
+archbishop refused to allow to become attached to the "_Commune_" rose
+in revolt and was only appeased by the intervention of St. Bernard and
+Suger.
+
+In 1160, Archbishop Henri-de-France, with the help of the Count of
+Flanders, who was occupying Rheims with a thousand horsemen, suppressed
+the "_Commune_" whose independence was alarming him. In 1182 a royal
+charter, granting to the inhabitants the right to elect for a year
+twelve "_echevins_" (aldermen), re-established the _Commune_ in fact,
+if not in name, but the struggle between the _Commune_ and the
+archbishop still went on. In 1211, Philippe-Auguste compelled the
+aldermen to hand over the keys of the city gates to the archbishop.
+
+[Illustration: THE CONSECRATION CEREMONY OF THE KINGS OF FRANCE IN THE
+CATHEDRAL OF RHEIMS (_see p. 4_)]
+
+In 1228, Archbishop Henri-de-Braine, not feeling himself safe in the
+city, built the fortified castle of Mars-Gate (or old castle of the
+archbishops) outside the walls, but looking towards the city (_photo, p.
+6_). During the serious riots of 1235, the burgesses besieged the
+archbishop's castle, for which act they were excommunicated by Pope
+Gregory IX., and rebuked by St. Louis. In 1257, St. Louis intervened
+once more, to put an end to the fighting between the free Companies of
+the Burghers and the soldiers of the archbishop.
+
+In the 14th century the two adversaries frequently came to blows, until
+the king, in 1362, put an end to their quarrels by taking into his own
+hands the care and military government of Rheims.
+
+In spite of these local struggles the city developed in the course of
+the Middle Ages. With Chartres it had a well-attended episcopal school,
+long before Paris. Among the masters of this school were _Gerbert_, one
+of the most learned men of the Middle Ages, who became Pope under the
+name of Sylvester II., and _St. Bruno_, founder of the Carthusian Order.
+Among the pupils were _Fulbert_ (afterwards Bishop of Chartres), the
+historian _Richer_, _Guillaume de Champeaux_, and _Abelard_ (adversary
+of St. Bernard).
+
+During the Hundred Years' War (_see military section_) the Town Council
+of Rheims, which the Treaty of Troyes in 1420 had placed under the
+domination of the English, declared in favour of Charles VII., in spite
+of the Duke of Burgundy, who was residing at Laon, and notwithstanding
+the intrigues of the Bishop of Beauvais, Pierre Cauchon, who, profiting
+by the absence of the archbishop, went so far as to have a _Corpus
+Christi_ procession in the city, to call down the blessing of Heaven
+upon the English. On July 17th, 1429, Joan-of-Arc handed over the keys
+of the city to the king, and was present at the consecration, standing
+near the altar with her standard which, "after having been through much
+tribulation, was accounted worthy of a place of honour." Since the
+return of Charles VII. to Rheims, the city had never ceased to be
+French. After the departure of the king and Joan-of-Arc, a friend of
+Pierre Cauchon plotted to deliver the town into the hands of the Duke of
+Burgundy, to whom the English promised it, provided he could take it.
+The plot was discovered and failed.
+
+Under Louis XI. a serious revolt, known as the Micquemaque, broke out in
+the town. Louis, well received at the time of his consecration, had
+promised the people of Rheims (or so they believed) the abolition of the
+tax known as the "_taille._" When, therefore, in the following year, the
+collectors demanded payment, the people rose in revolt and drove them
+out.
+
+[Illustration: THE OLD CASTLE OF THE ARCHBISHOPS OF RHEIMS, RAZED TO THE
+GROUND BY HENRI IV.
+_The Archbishops of Rheims were formerly powerful temporal lords (see
+page 4)._]
+
+As usual, the king had recourse to treachery. Disguised as peasants, his
+soldiers entered the city unperceived. Once inside, they arrested those
+who were most deeply compromised, and carried out violent reprisals.
+Houses were plundered, many of the inhabitants banished, and nine put to
+death.
+
+During the War of Religion, Rheims sided with the Catholics.
+
+Under the influence of the _Guises_, five of whom were archbishops of
+Rheims (notably Cardinal Charles de Lorraine, the protector of Rabelais
+and Ronsard, and founder of the University of Rheims in 1547), the town
+espoused the cause of the League and opened its gates to the Duc de
+Mayenne in 1585. It submitted to Henri IV. only after the battle of
+Ivry, when the Castle of Mars Gate (stronghold of the archbishops) was
+razed to the ground. Henceforth the archbishops played no political
+part, and Richelieu put an end to strife by turning the _Guises_ out of
+the archi-episcopal see.
+
+In the 17th and 18th centuries the town lived in peace, with
+alternations of misery and suffering (caused by plague or famine) and
+commercial and industrial prosperity. It was at Rheims that the first
+French newspaper, the "Gazette de France," printed by Godard in 1694,
+appeared.
+
+During the Revolution, Rheims received the new ideas with enthusiasm. It
+furnished a great number of volunteers to withstand the invasion, and on
+August 14th, 1792, the Legislative Assembly proclaimed that the city
+"_had deserved well of the country_."
+
+Under the Restoration its industry developed. In August, 1830, the
+people, who were favourably to the Revolution of July, overturned the
+cross of the "_Calvaire de la Mission_," erected in 1821 by the
+ultra-Catholic party, and in its place set up a funeral urn with the
+inscription, "To the brave men who died for liberty on the 27th, 28th
+and 29th days of July, 1830." The population accepted the monarchy of
+July, but without enthusiasm.
+
+The Second Empire witnessed a remarkable development of business
+activity which, after the momentary stoppage caused by the War of 1870
+and the Prussian occupation (_see military section_), made of Rheims, at
+the end of the 19th century, one of the great commercial and industrial
+cities of France. The population increased from about 30,000 (in 1792)
+to 59,000 (in 1865) and to more than 115,000 in 1912.
+
+When the War of 1914 broke out, the rich and ancient city was still as
+_La Fontaine_ had described it:
+
+    "_No town is dearer to me than Rheims,
+    The Honour and Glory of our France._"
+
+[Illustration: RHEIMS, FROM AN OLD ENGRAVING (1622)]
+
+
+
+
+=MILITARY HISTORY=
+
+
+If the military and commercial situation of Rheims destined it, from
+early times, to be a great city, it also exposed it to the greed of
+ambitious foreigners, and opened the road to invasion.
+
+During the Hundred Years' War the city was fiercely disputed. On
+December 4th, 1359, Edward III. of England besieged it. On January 11th,
+1360, a sortie of the troops and burghers, under Remi Grammaire,
+compelled him to raise the siege, in recognition of which feat of arms
+Charles V. permitted the "_fleur-de-lys_" (emblem of the Royal House of
+France) to be emblazoned on the City's coat of arms. Since then the
+Shield of Rheims has been: In chief France ancient, in base argent Two,
+laurel branches in Saltire vert. In 1420 the English were more
+successful and entered Rheims, whose gates were opened to them by
+Philippe-le-Bon, Duke of Burgundy. Nine years later (July 16th, 1429)
+the Dauphin of France and Joan-of-Arc entered the town, then finally
+delivered, by the Dieu-Lumiere Gate (formerly the Gate of St. Nicaise).
+
+During the invasion of 1814, Marshal Marmont's troops retook Rheims on
+March 13th, after sharp street fighting, and Napoleon entered the city
+the same night.
+
+In 1870, after the investment of Metz, Rheims witnessed the departure of
+the army formed by MacMahon at Chalons-sur-Marne, for the relief of
+Marshal Bazaine. A few days later (September 4th) the Prussian troops
+entered the city at 3 o'clock in the afternoon by three different gates.
+On the 6th, the King of Prussia, accompanied by Bismarck and Von Moltke,
+made an imposing entry, and resided for some time at the archi-episcopal
+palace, in the apartments reserved for the Kings of France at the time
+of their consecration. Rheims was held to ransom, and a number of
+citizens shot for protesting against the German yoke, chief among whom
+was the Abbe Miroy, Cure of Cuchery, whose tomb (the work of the
+sculptor Saint Marceaux) is in the northern cemetery. Others were
+carried away prisoners to Germany. The Prussian troops evacuated the
+town on November 20th, 1872.
+
+
+=The Invasion of 1914=
+
+(_See map, p. 11._)
+
+Forty-four years later to a day (September 4, 1914), German advance
+troops again entered Rheims, as General Joffre's plans had not provided
+for defending the city. However, the Army detachments placed under the
+command of General Foch on August 29, and wedged in between the 4th and
+5th Armies, stayed the German advance for a few days. On August 30 the
+42nd Division from the East, detrained at Rheims and took up positions
+at Sault-Saint-Remy and Saint-Loup-en-Champagne on August 31, to the
+left of the 9th and 11th Corps.
+
+On September 1, General Foch resisted on the river Retourne but, in the
+evening, withdrew to the river Suippe, in conformity with the general
+orders. On the 2nd the town was still protected by the 10th Corps
+(elements of which occupied the Fort of St. Thierry), by the 42nd
+Division near Brimont and to the north of the Aviation ground, and by
+the 9th and 11th Corps to the east. On the 3rd, the French retreat
+towards the Marne became more rapid, and Rheims was abandoned. On
+September 5, Prince August Wilhelm of Prussia entered the town and took
+up his quarters at the Grand Hotel. The Germans at once requisitioned 50
+tons of meat, 20 tons of vegetables, 100 tons of bread, 50 tons of oats,
+15,000 gallons of petrol, besides straw and hay, and insisted on the
+immediate payment of a million francs as a guarantee that their
+requirements would be met.
+
+[Illustration: THE TEMPORARY GERMAN OCCUPATION OF SEPT. 1914
+_German troops in front of the Cathedral. The scaffolding of the latter
+was set on fire on Sept. 19._]
+
+This sum was paid in the course of the afternoon, under threats by the
+enemy. From the 6th onwards the German soldiers gave themselves up to
+plundering. The tobacco warehouse at 21 Rue Payen was ransacked, and
+more than 700,000 francs worth of cigars and tobacco stolen. On the
+following days pillaging, especially of the food-shops, continued. On
+the 9th, the Kommandantur requisitioned civilians to bury the dead in
+the Rethel, Epernay and Montmirail districts. On the 11th, the Crown
+Prince arrived and took up his quarters at the Grand Hotel, where he was
+joined by Prince Henry of Prussia, brother of the Kaiser. On the morning
+of the 12th, the Germans, alarmed at the approach of the victorious
+French troops from the Marne, arrested the Mayor (Dr. Langlet), Mgr.
+Neveux, coadjutor of Rheims, and the Abbe Camus. They then drew up a
+list of a hundred hostages and threatened to hang them at the first
+attempt at disorder. They also threatened to burn the city, wholly or
+partially, and to hang the inhabitants, if any of them molested the
+German soldiers. All that day the Germans, instead of organising
+defences, left the town in haste, after first pillaging it. In the
+afternoon the Crown Prince left the Grand Hotel with his suite. At 5
+p.m., after setting fire to the forage stores, the Kommandantur left
+Rheims by the Rethel road in drenching rain, followed by the hundred
+hostages, who were only released at the level-crossing at
+Witry-les-Reims. When the latter returned to Rheims, a patrol of French
+mounted Chasseurs had already entered the town by the suburb of St.
+Anne. The next morning, at about 6 o'clock, the French troops, with the
+6th mounted Chasseurs at their head, entered Rheims by the Rue de Vesle.
+At 1 p.m. General Franchet d'Esperey, commanding the French 5th Army,
+entered the city.
+
+
+=The Battles for Rheims, 1914-1918=
+
+Although evacuated by the Germans, Rheims had yet to remain for nearly
+four years under enemy fire. With equal obstinacy the adversaries
+disputed the town, the French seeking to disengage it and the Germans to
+recapture it.
+
+On September 12, on the approach of the victorious French Army from the
+Marne, the Germans entrenched themselves to the south-west of the town,
+and established a line of resistance passing through Thillois, Ormes,
+Bezannes and Villers-aux-Noeuds.
+
+In spite of the very unfavourable weather, the 3rd Corps (Gen. Hache)
+vigorously engaged the enemy at Thillois, and forced them to abandon the
+position in the evening. The 1st Corps (Gen. Deligny), on the right, had
+orders to push forward advance-guards into Rheims, but as a matter of
+fact they reached the suburb of Vesle. The 10th Corps (Gen. Defforges)
+attacked at Puisieulx and forced the enemy across the Vesle.
+
+On the 13th, the left of the 3rd Corps arrived in front of Courcy and
+Brimont, where the Germans were strongly entrenched. A desperate battle
+took place, with the result that Courcy was taken before noon. Loivre
+likewise fell into the hands of the French, but the passage of the Aisne
+Canal was fiercely disputed. The attack on Brimont failed, in spite of
+the great valour of the troops, who sustained heavy losses. Meanwhile,
+the 1st Corps crossed Rheims, with orders to debouch at Betheny. Just
+outside the town they were met with violent artillery fire, which,
+however, did not completely check their advance. La Neuvillette,
+Pierquin Farm and Betheny were occupied, and the 1st Corps linked up on
+its left with the 3rd Corps, on the outskirts of Soulain Woods. The
+advance continued during the night, and Modelin Farm was reached by
+advance-guards. General Deligny took up his headquarters in the suburb
+of Vesle. The 10th Corps crossed the Vesle, engaged the enemy at St.
+Leonard and reached the railway.
+
+On the 14th, the fighting greatly increased in violence. The 3rd Corps,
+in spite of repeated efforts, was unable to advance; on the left it
+failed to drive the enemy from the St. Marie Farm, while on the right it
+was held up before Brimont. The 1st Corps was likewise checked; the 1st
+Division (Gen. Gallet) attempted unsuccessfully to support General Hache
+in his attack on Brimont. The 10th Corps, although strongly engaged
+towards the Fort of La Pompelle, made but little progress. Farther away,
+on the right, the battle extended along the front of the 9th Army.
+
+On the 15th, at 5.30 a.m., the 5th Army resumed a general offensive.
+Fierce fighting took place at St. Marie Farm, to the left of the 3rd
+Corps, and also further north, near Hill 100. Despite heavy sacrifices,
+however, the enemy held their positions; but, on the right, the 36th
+Infantry Regiment captured the Chateau of Brimont at day-break. General
+Deligny, less fortunate, was driven out of Soulains Woods, but stood
+firm at the Champ-de-Courses and Betheny. The 10th Corps continued to
+advance slowly, and at certain points reached the high-road to Suippes.
+
+On the 16th, the 3rd Corps attacked Brimont again, but failed. At the
+chateau the situation became more and more critical, by reason of the
+retreat of the 1st Corps on the previous day. This Corps had again to
+face a powerful enemy counter-offensive, which, however, failed to drive
+it from the Modelin Farm and the "Cavaliers de Courcy."
+
+On the 17th, the Germans counter-attacked all along the line. In the
+afternoon the 3rd Corps, which stood firm at Godat Farm and Loivre, was
+elsewhere compelled to cross to the west bank of the canal and fall back
+on Courcy.
+
+After a heroic defence the isolated garrison of Brimont Castle, weakened
+by heavy losses, surrendered during the night, after having spent all
+its ammunition. The 1st Corps, the greater part of which had left for
+the region of Berry-au-Bac, held its positions with its last available
+units. The 10th Corps extended its front westwards to Betheny, while one
+of its regiments, the 2nd Infantry, occupied La Pompelle Fort.
+
+On the 18th, the enemy increased their efforts against the front held by
+the 3rd Corps and the reserve units further west. Loivre, which had so
+far resisted, fell. The French withdrew to the west of the road to Laon.
+The situation was considered critical at this point of the front. The
+10th Corps, which had been withdrawn from the east of Rheims, in favour
+of another sector, was stopped on the way and sent for a few days in
+support of the 3rd Corps.
+
+On the 19th, one of its brigades counter-attacked Courcy Mill. On the
+other side, the Moroccan Division (Gen. Humbert), which had relieved the
+10th Corps, continued to hold La Pompelle Fort.
+
+Gradually the front became fixed. Desperate, indecisive fighting still
+took place, but finally the front stabilised on the line extending from
+the foot of the Berru and Nogent-l'Abbesse Hills, along the road from
+Rheims to Suippes, on the east, and along the western bank of the Aisne
+Canal on the north.
+
+[Illustration: EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1914
+(_See pp. 9-11._)]
+
+
+=The French Offensive of April, 1917=
+
+The French offensive, planned by the then Commander-in-Chief, General
+Nivelle, and launched in April, between Soissons and Auberive, aimed at
+piercing the German front and disengaging Rheims.
+
+North-west of Rheims was the 5th Army (Gen. Mazel), of which the 38th
+Corps (Gen. de Mondesir) held the immediate approaches to the town,
+followed by the 7th Corps (Gen. de Bazelaire), 32nd Corps (Gen. Passaga)
+astride the Aisne, and, extending beyond Craonne, the 5th Corps (Gen. de
+Boissoudy) and the 1st Corps (Gen. Muteau).
+
+East of Rheims the 4th Army (Gen. Anthoine) was engaged only during the
+second stage of the battle.
+
+At 6 a.m. on the 16th, in drenching rain, the 5th Army attacked all
+along the front, in conjunction on the left with the 6th Army (Gen.
+Mangin), which undertook to storm the Chemin-des-Dames. The enemy was
+expecting the attack, and had concentrated very large forces and
+powerful artillery. Despite their bravery, the French were unable to
+break through.
+
+[Illustration: EXPLANATORY MAP OF THE MILITARY OPERATIONS IN 1917]
+
+In the Rheims sector, the 32nd Corps advanced three kilometers to the
+north of the Aisne. The 7th Corps crossed the canal at Loivre and
+captured Bermericourt in the morning, but was forced to give up part of
+the conquered ground in the afternoon, in consequence of a powerful
+German counter-attack. In front of Brimont a brigade of the 38th Corps
+failed to pierce the enemy's positions.
+
+On the 17th, while the army of General Mazel resisted a violent enemy
+counter-attack, General Anthoine attacked from the east of Rheims to
+Auberive with the 8th Corps (Gen. Hely d'Oissel), 17th Corps (Gen. J. B.
+Dumas), 12th Corps (Gen. Nourrisson). At 4.45 a.m., despite violent
+squalls of rain and snow, the French infantry rushed forward and carried
+the first German lines along a front of eleven kilometers. The 34th
+Division (Gen. de Lobit) carried the Mont Cornillet and Mont Blond
+hills, which the enemy attempted in vain to recapture.
+
+On April 18 and 19, and May 4 and 5, the fighting was spasmodic and
+finally ceased. On the whole, the French offensive failed, and Rheims
+continued to remain under enemy gun-fire.
+
+On the morning of May 27, 1918, the Germans commenced a powerful
+offensive between Vauxaillon (on the Chemin-des-Dames) and the Fort of
+Brimont. At the beginning of the attack, the French line passed through
+Betheny and along the Aisne-Marne Canal. In the evening, after the loss
+of the Chemin-des-Dames and the Aisne Canal, Rheims was no longer
+protected on the north-west, except by the St. Thierry Heights, which
+were soon turned. The Germans crossed the Vesle at several points,
+principally at Bazoches and Fismes, and advanced as far as Muizon.
+
+On May 29, the French line passed through La Neuvillette,
+Chalons-sur-Vesle, Muizon and Rosnay. On the 30th, it extended from
+Perquin Farm to Mery-Premecy, via Champigny. On the 31st, Tinqueux and
+Vrigny fell.
+
+Further to the south the Germans advanced along the valley of the Ardre
+towards the Chateau-Thierry--Epernay--Chalons railway, threatening
+Epernay (_see the Michelin Guide: "The Second Battle of the Marne"_).
+
+However, Rheims still held out. On June 1, the Germans attacked
+simultaneously, without success, to the south-east of the town (between
+Pommery Park and La Pompelle Fort), and on the west and south-west
+(between La Haubette and Ormes), while the French recaptured Vrigny. On
+three separate occasions--in the evening of the 1st, and on June 9 and
+18, the enemy's powerful and costly efforts to recapture this important
+position broke down. On the 18th, they delivered a fresh general attack
+from Vrigny to La Pompelle, gaining a footing in the Northern Cemetery
+of Rheims and in the north-eastern outskirts of Sillery, but everywhere
+else they were repulsed. On the 23rd and 29th, they rushed Bligny Hill,
+held by the Italians, only to lose it again shortly afterwards. Once
+again, Rheims had eluded the enemy's grasp.
+
+
+=July 15 to August 9, 1918=
+
+[Illustration: EXPLANATORY MAP OF THE MILITARY OPERATIONS DESCRIBED
+ABOVE]
+
+At dawn, on July 15, the Germans began a new offensive from
+Chateau-Thierry to La Main de Massiges. It was Ludendorf's much vaunted
+"Friedensturm" (peace-battle), and was expected by him to prove
+irresistible and decisive. Its purpose was to complete the encirclement
+of Rheims, carry the hills surrounding the town, crush the French 4th
+Army, and reach Chalons-sur-Marne (_see the Michelin Guide: "Champagne
+and Argonne"_). However, this time, there was no surprise, and the
+Allies held out victoriously.
+
+To the west, between Dormans and Rheims, Franco-Italian forces held
+their ground on the Chatillon-sur-Marne--Cuchery--Marfaux--Bouilly line.
+To the east, from La Pompelle to the Argonne, the army of General
+Gouraud, after voluntarily abandoning its first line previous to the
+enemy's attack, checked and decimated the armies of Von Einem and Von
+Mudra, on its second or battle-line. On July 16, 17 and 18, the enemy,
+now exhausted and incapable of resuming their general attack, attempted
+local attempts only, especially near Beaumont-sur-Vesle, to the north of
+Prosnes, and in the region of Trigny and Pourcy, to the west, all of
+which were repulsed. Once more Rheims escaped, and was destined from now
+on, to be gradually freed from the enemy's grasp. The French
+counter-offensive began on July 18, on the Aisne (_see the Michelin
+Guide: "The Second Battle of the Marne"_), extending shortly afterwards
+to the west of Rheims. On the 22nd, the army of General Berthelot
+captured St. Euphraise and Bouilly, and on the 23rd reached a point
+between Vrigny and the Ardre. A number of German counter-attacks on July
+24, 25 and 30 and August 1 failed to check its advance. On August 2,
+Gueux and Thillois were recaptured. On the 4th, the Vesle was reached to
+the east of Fismes, and the latter occupied, while a small force crossed
+to the north bank of the river. On the 7th, after fierce fighting, in
+which the French and Americans advanced foot by foot, the Vesle was
+crossed to the east of Bazoches and Braine. On the 9th, Fismette was
+taken.
+
+
+=September 26 to November 11, 1918=
+
+[Illustration (Map)]
+
+The disengaging of Rheims, which had begun slowly, was now rapidly
+accomplished. Two French offensives completely effected it in a few
+days--that of September 26 (_see the Michelin Guide: "Champagne and
+Argonne"_), under General Gouraud, and that of September 30, first by
+General Berthelot and then by General Guillaumat. The first of these
+offensives, to the east, brought about the fall of the Moronvilliers
+Heights, after outflanking them; the second, to the west, captured the
+Saint-Thierry Heights, the French troops crossing the Aisne-Marne Canal
+from Le Godat to La Neuvillette. This double manoeuvre forced the
+Germans, whose communications were threatened, to beat a hasty retreat
+on October 5 along a twenty-seven mile front. An important part of the
+old German front of 1914, and one of the most fiercely disputed,
+collapsed suddenly. The formidable forts of Brimont and
+Nogent-l'Abbesse, which had held Rheims under their guns for four years,
+fell. This time the deliverance of Rheims was complete and final.
+
+[Illustration: THE DISENGAGING OF RHEIMS
+
+The dotted lines show the Allied advance at the date indicated in the
+middle of each zone conquered. The line of departure is that of July 18
+(18/7). On the evening of Oct. 6 (6/10)--the upper thick dotted
+line--the town was completely disengaged. The Allied advance has the
+appearance of a fan spreading out west of Rheims until Oct. 5 (5/10),
+when the Germans were forced to make a deep retreat.]
+
+
+=The Destruction of Rheims=
+
+Being unable to capture Rheims, the Germans reduced it to ruins by
+bombardment. For four years (September 4, 1914, to October 5, 1918) they
+rained explosive and incendiary shells on it, almost without
+intermission.
+
+On September 3, 1914, at about 11 a.m., a German aeroplane dropped bombs
+on the town. A few of the inhabitants left, as the enemy approached, but
+the majority remained. A lady-teacher, sixty years of age, Mlle.
+Fouriaux (afterwards decorated with the Legion d'Honneur), who had
+charge of Hospital No. 101 (formerly a high-school for girls),
+transferred the wounded to Epernay and then returned on foot to Rheims.
+
+On September 4, at 9.30 a.m., when the enemy advance-guards were already
+in the town, and a German officer was making requisitions at the Town
+Hall, the bombardment began again. From 9.30 to 10.15 a.m., 176 large
+shells fell into the town, three of which tore open the great gallery of
+modern paintings in the Museum. Forty-nine civilians were killed and 130
+wounded, several of them mortally.
+
+The Germans, hard pressed by the French, evacuated Rheims on September
+12. Two days later, at 9 a.m., they bombarded the town. Their fire was
+especially directed against the headquarters of General Franchet
+d'Esperey, near the Town Hall. On the following days, firing was resumed
+at the same hour. On the 17th, the first fires broke out. Many civilians
+were killed or wounded. The vicinity of the Cathedral, which was
+believed to be specially aimed at, was among the places that suffered
+most. To protect the Cathedral, which the Germans had fitted up on the
+12th for the reception of their wounded, some seventy to eighty German
+wounded were accommodated on straw in the nave. The Red Cross flag was
+displayed on each tower, and notice given to the enemy.
+
+[Illustration: GERMAN SHELLS BURSTING IN A STREET OF RHEIMS]
+
+[Illustration: THE MONT DE PIETE]
+
+On the 18th, the bombardment began again at 8.15 a.m. In addition to the
+Sub-Prefecture, which was almost entirely destroyed, as were also many
+important factories, the Cathedral, in spite of the Red Cross flag, was
+struck by 8-in. shells, which damaged the outside sculptures of the
+lower windows of the main transept, smashing the 13th and 14th century
+stained-glass. Splinters of stone killed a French gendarme and two
+wounded Germans in the lower part of the south nave.
+
+On the 19th, the bombardment was intensified. The Town Hall, Museum,
+hospitals (including that of the Girls' High School), the south side of
+the Cathedral and the Archbishop's Palace were all hit. Towards noon,
+incendiary shells were rained on the centre of the town.
+
+At about 4 p.m., a shell fired the wooden scaffolding round the
+north-west tower which had been under repair since 1913. The fire spread
+quickly to the roof, the molten lead from which set fire to the straw in
+the nave.
+
+[Illustration: THE SAINT FRERES FACTORY IN RUINS (OCT. 1916)
+(_15 Rue de l'University_)]
+
+[Illustration: CENTRAL WOOL CONTROL OFFICE IN SEPT., 1915]
+
+In spite of a rescue party, who risked their lives in getting out the
+wounded, a dozen of the German wounded perished in the flames. The
+conflagration spread to the Archbishop's Palace, from which it was
+impossible to remove the tapestries or the pre-historic Roman and Gothic
+collections. The Protestant Church, the Offices of the Controller of
+silk and woollen cloths, and the Colbert barracks along the eastern
+boulevards were burnt. Everywhere new centres caught fire, and nearly
+thirty-five acres of buildings were destroyed. On the 20th, the
+bombardment continued with equal violence, then after a respite of two
+days began again. Of the Place Royale and the Rue Colbert nothing
+remained but a heap of ruins.
+
+[Illustration: THE PROTESTANT CHURCH IN AUGUST, 1917
+(_Boulevard Lundy_)]
+
+[Illustration: KINDERGARTEN SCHOOL IN THE BOULEVARD LUNDY]
+
+On November 1 the number of civilians killed by shell fire had increased
+to 282.
+
+From September 14, 1914, to the beginning of June, 1915, the town never
+remained more than four days without being shelled. Up to the end of
+November, 1914, the shells rarely went beyond the Cathedral and the
+theatre, falling mostly in the suburbs of Ceres and Laon. On November
+22, the suburb of Paris was struck, and from that time onwards there was
+no security for the inhabitants in any quarter of the city.
+
+As it would take too long to recount all the bombardments, only the most
+terrible ones are here mentioned. On November 26, 1914, the German guns
+fired all day, one shell alone killing twenty-three patients in the
+Hospital for Incurables. On the night of February 21 and on February 22,
+1915, more than 1,500 shells fell in the town, killing twenty civilians,
+setting on fire a score of houses and piercing the vaulting of the
+Cathedral.
+
+[Illustration: RUE GAMBETTA
+_The Cathedral is seen at the end of the street._]
+
+On March 8, terrifying fires broke out again. On April 29 and July 20
+more than 500 shells, many of them incendiary, were counted. In April,
+1916, more than 1,200 projectiles struck the different quarters of the
+town in one day. On August 13, whilst the town was being bombarded,
+seven German aeroplanes dropped incendiary bombs, which burnt the Hotel
+Dieu Hospital. On October 25, the Germans fired more than 600 shells
+into Rheims and more than 1,000 on the 27th.
+
+[Illustration: THE BOMBARDMENT OF THE CATHEDRAL QUARTER
+_Part of the striking-points of the shells which fell around the
+Cathedral, as noted by the architect of the latter (M. Sainsaulieu). The
+shells which struck the Cathedral were far too numerous to allow all of
+them to be shown on the above plan._]
+
+On April 1, 1917, more than 2,800 shells fell in the town, and on the
+4th, 2,121. According to the Official Communique, on the night of the
+5th and on Good Friday, the number of shells was 7,500. Easter-Day was
+likewise terrible. On April 15, 19 and 24 the town received large
+numbers of 8-in., 12-in. and 15-in. shells. On May 3 the Town Hall and
+108 houses were burnt. On the 4th the fires spread to fifteen
+neighbouring streets.
+
+From April 8 to the 15th the enemy rained incendiary shells on the town
+without respite, and completed their work of destruction, in the course
+of the afternoon of the 21st, by burning the centre of the town. Hardly
+anybody was left in the latter, except the firemen, who, despite their
+prodigious activity and valour, were unable to cope with the flames.
+
+Whole streets, often the finest, were burnt down, more than 700 houses
+being destroyed.
+
+When, on October 5, the Germans retreated, the havoc caused by this
+continual bombardment was incalculable. Of the town's 14,000 houses,
+only about sixty were immediately habitable when the people came back.
+
+In addition to the material losses, there were, unfortunately, numerous
+irreparable artistic and archaeological losses.
+
+
+=Life in Bombarded Rheims=
+
+[Illustration: THE DESTRUCTIONS, PHOTOGRAPHED FROM AN AEROPLANE (_Cliche
+Illustration_)
+    ND.--The Cathedral.
+    PR.--Place Royale.
+     D.--Hotel de la Douane.
+    SG.--Societe Generale Bank.
+     P.--General Post Office.
+     J.--Palais de Justice.
+     T.--Theatre.
+     M.--Museum.
+    GH.--Grand Hotel.
+    LO.--Hotel du Lion d'Or.
+    PA.--Archi-episcopal Palace.
+     A.--The Cardinal's House.
+    EP.--Professional School for Young Ladies.
+    SP.--Sub-Prefecture.
+    PG.--Place Godinot.
+     L.-Lycee.
+     C.--Colbert Barracks.
+]
+
+Although there were short respites, it may be said that for four years
+Rheims led the life of a besieged town, under the fire of the German
+guns and howitzers. The enemy increased the calibre of their shells and
+varied their modes of bombardment, sometimes firing for a few hours,
+sometimes all day long at the rate of one shell every three minutes, or
+again at night. Sometimes 3-in. shells would be used, at others "Jack
+Johnsons" of 8-in., 12-in. and 15-in. calibre; sometimes all four at the
+same time. Both explosive and incendiary shells were used, while
+aeroplane bombs, darts and asphyxiating gas were resorted to
+occasionally. Public holidays were the occasion of the fiercest
+bombardments, in the hope of increasing the number of victims. For
+instance, the shelling was particularly murderous on All Saints' Day of
+1914, when the eastern and southern cemeteries (generally crowded on
+this day) were especially aimed at. Easter Monday of 1916 and Good
+Friday of 1917 were similarly favoured.
+
+[Illustration: THE FIRST AND SECOND STORIES OF A HOUSE IN THE RUE
+D'ANJOU, AFTER THE BURSTING OF AN 8-IN. SHELL]
+
+After each check--at Verdun, in Champagne, on the Somme or wherever it
+might be--the Germans revenged themselves on Rheims. In this way the
+Cathedral was fired by incendiary shells after the defeat on the Marne
+in 1914. The awful fires of February 22 and March 8, 1915, were the
+German reply to their set-backs in Champagne and Argonne. The Hotel Dieu
+hospital was burnt down in August, 1916, the day after the
+Franco-British attack on the Somme. The Town Hall was reduced to ashes
+on May 3, 1917, after the French offensive on the Champagne hills. For
+the same reason the bombardments reached their maximum of intensity in
+April and May, 1918, _i.e._ after the enemy had lost all hope of
+crushing the Allies and taking Paris.
+
+At the beginning of the siege the population took refuge in the
+south-western districts, which were not as yet bombarded, but on and
+after November 22, 1914, when the German shells reached the suburb of
+Paris, a large number of the inhabitants left the town.
+
+[Illustration: THE EFFECT OF AN 8-IN. SHELL IN THE PREMISES OF "LA
+MUTUALITE," IN THE RUE DES ELUS (SEPT. 8, 1915)]
+
+In February, 1915, the exodus began again, but at the end of May in that
+year there were still some 26,000 people in the town. In February, 1917,
+after twenty-eight months of bombardment, there remained 17,100 people,
+or 100,000 fewer than in 1914. At the beginning of April in that year,
+the mayor and later the sub-prefect, requested all those who were not
+prevented by their duties to leave the town.
+
+This invitation not having the desired effect, the military authorities,
+in view of the increased intensity of the bombardment and the imminence
+of the French offensive, announced that they could not guarantee food
+supplies for the town, and decided that the civil population must leave
+not later than April 10. The evacuation was effected by carts and
+motor-vehicles to Epernay, where trains awaited the people.
+
+A part of the inhabitants returned to Rheims after the French offensive
+of April-May, but for a few months only, as, in February, 1918, the
+coming German offensive compelled the civil population again to leave
+the town.
+
+During the thirty-one months, during which a considerable portion of the
+population persisted in staying in Rheims (September, 1914, to April,
+1917), life and work went on in the bombarded city, the people adapting
+themselves courageously to their precarious existence and to the danger.
+They were supplied with helmets and gas masks, like the soldiers. Shell
+and bomb-proof shelters were organised, and the cellars, with which the
+city abounds, became the people's ordinary dwellings. The Town Council,
+with the exception of a few members who left on the approach of the
+enemy, remained at the Town Hall until it was destroyed, then installed
+themselves in a cellar, under the constant chairmanship of the Mayor,
+Dr. Langlet. The services rendered by the latter during these trying
+times were such that the French Premier decorated him personally in
+November, 1914, with the _Croix de la Legion d'Honneur_. The General
+Post Office had to change its quarters several times; but until the
+complete evacuation of the town the postmen went their rounds regularly.
+
+The Courts of Justice were set up in the cellars of the
+Palais-de-Justice.
+
+[Illustration: REMOVING THE WORKS OF ART IN JANUARY, 1918]
+
+The archbishop, Mgr. Lucon, was absent from Rheims in 1914, being
+retained in Rome by the Council. As soon as the latter was ended, he
+returned to Rheims and thereafter, like his coadjutor, Mgr. Neveux, and
+the unmobilized clergy, he remained at his post until the evacuation of
+April, 1917. The Cathedral architect, M. Sainsaulieu, who, like Mgr.
+Lucon, has been made a Chevalier de la Legion d'Honneur, remained
+constantly at his post, repairing from day to day, as well as might be,
+the damage caused to the Cathedral, and saving the art treasures spared
+by the German shells.
+
+[Illustration: SCHOOL CHILDREN WITH GAS-MASKS]
+
+The firemen, reinforced in March, 1915, by thirty-two of their comrades
+from Paris, devoted themselves, at the risk of their lives, to fighting
+the flames caused by the bombardments. Unfortunately, their courage and
+devotion were often unequal to their task. For instance, twenty-two
+separate fires occurred on the night of February 22, 1915. Their task
+was rendered still more difficult by the fact that the Germans often
+fired on the burning buildings to drive off the men who were trying to
+save them.
+
+On July 6, 1917, the President of the French Republic fittingly
+acknowledged the magnificent bravery of the firemen by personally
+decorating their flag with the Croix de la Legion d'Honneur. At the same
+time he conferred this dignity on the city (_see p. 2_).
+
+After remaining closed for several weeks, the schools re-opened. Until
+then, the children had been too much in the streets looking for
+aluminium fuses of shells, out of which they made rings, or for scraps
+of stained-glass from the broken windows of the Cathedral. The first
+school, called the "Maunoury" school, was installed on December 7, 1914,
+in a wine cellar of the firm Pommery, Boulevard Henri-Vasnier, near the
+Rond-Point St. Nicaise. On January 22, 1915, the "Joffre" school was
+opened in the cellars of Messrs. Mumm, 24 Rue du Champ-de-Mars. Then
+came the "Albert I." school, in the cellars of Messrs. Krug, 5 Rue
+Coquebert, and the "Dubail" school in those of Messrs. Champion, Place
+St. Nicaise. In addition to the underground schools, open-air classes
+were conducted. The underground schools, in which the teaching staff,
+exclusively voluntary, lived permanently, together with the
+school-children and their relatives, were situated in the most exposed
+and frequently bombarded districts. The "Dubail" school was struck three
+times: on March 6, 1915 (by an 8-in. shell), and on March 25 and October
+25, 1916. Luckily there were no victims.
+
+The schools were quite close to the enemy lines, the distance varying
+from about two-thirds of a mile to a mile and a half.
+
+In 1915 and 1916, the examinations for the "Elementary School
+Certificate" took place in July, as usual. In 1915, the ceremony of the
+Annual Prize Distribution, which had not taken place at Rheims for ten
+years, was restored, the book-prizes for the pupils coming from every
+corner of France.
+
+[Illustration: CARDINAL LUCON, ARCHBISHOP OF RHEIMS, COMING OUT OF THE
+CATHEDRAL]
+
+The victualling of the town, thanks to the co-operation between the
+Municipal and Military Authorities, was effected with regularity. There
+was never any shortage of bread. The butchers' and grocers' shops
+remained open. The milk-women and hawkers donned their helmets and
+continued to push their carts through the streets. The market-women
+remained at their stalls. The nuns of St. Vincent-de-Paul, whose convent
+had been largely destroyed, ensured the service of cheap meals,
+organised by the Municipality for the poor. The undaunted inhabitants
+had their daily paper ("_L'Eclaireur de l'Est_"), edited by M. Dramas, a
+courageous journalist, whose printing-house was early wrecked by
+shell-fire, but who continued almost single-handed to issue his paper.
+
+[Illustration: MILK-WOMAN, WITH HELMET, GOING HER ROUND]
+
+[Illustration: WINE-CELLAR OF MESSRS. POMMERY USED AS A DWELLING]
+
+[Illustration: PANORAMIC VIEW, SEEN FROM ST. NICAISE HILL (_p. 102_)]
+
+
+
+
+A VISIT TO RHEIMS
+
+(_pp. 28 to 120_)
+
+
+=THE CATHEDRAL= (_pp. 28 to 60_)
+
+
+=FIRST ITINERARY= (_pp. 61 to 94_)
+
+=The Archi-episcopal Palace, Museum, Church of St. Jacques, Promenades,
+Town Hall, Place Royale, Musicians' House, Mars Gate, Faubourg Ceres,
+Church of St. Andre, Palais-de-Justice, etc.=
+
+
+=SECOND ITINERARY= (_pp. 95 to 120_)
+
+=The Lycee, Abbey of St. Pierre-les-Dames, Rue Barbatre, Church of St.
+Maurice, Church of St. Remi, Hotel-Dieu Hospital, etc.=
+
+[Illustration: GERMAN PRISONERS CLEARING A STREET (OCT., 1918)]
+
+
+=The Cathedral=
+
+The Cathedral of Rheims, which Charles VIII. declared to be "pre-eminent
+among all the churches of the kingdom," and which a local poet in the
+reign of Louis XIII. extolled above the seven wonders of the world, is
+one of the most beautiful Gothic churches extant.
+
+Few edifices combine such grandeur, simplicity and grace; still fewer,
+its characteristic unity and symmetry.
+
+The work of at least four architects, the building operations extended
+over two centuries, yet it has retained rare unity both of plan and
+style. The whole is so harmonious as to give the impression of being the
+effort of a single master-mind.
+
+
+=Historical Account=
+
+The Cathedral stands on the site of former churches, successively
+erected between the 5th and 13th centuries. On the night of May 6, 1210,
+a terrible fire destroyed the then existing edifice, together with a
+portion of the city.
+
+[Illustration: THE CATHEDRAL BEFORE THE WAR]
+
+Exactly one year later, Archbishop Aubri de Humbert laid the first stone
+of a new edifice, which was destined to become the Cathedral of to-day.
+
+Begun in 1211, the building went on without pause for twenty years,
+after which, there was a slackening, followed by a vigorous resumption
+in 1299. Another pause occurred during the Hundred Years' War. The
+Cathedral, less the tower spires provided for in the plans, was finished
+in 1428. The spires were not yet built when the great fire of July 24th,
+1481, entirely destroyed the roof of the Cathedral, further deferring
+their construction, which was subsequently abandoned.
+
+The funds for this colossal work were furnished partly by the clergy and
+the people, partly by Papal Indulgences granted to donors, and by
+collections in Christian lands, especially in the ecclesiastical
+province of Rheims. The wonderful plans of the Cathedral were long
+believed to be the work of _Robert de Coucy_, whereas the original ones
+were in fact drawn by _Jean d'Orbais_, who began their execution between
+1211 and 1231. His work was continued with wonderful fidelity by
+_Jean-le-Loup_, from 1231-1247; by _Gaucher of Rheims_ in 1247-1255,
+_Bernard of Soissons_ from 1255 to 1290, _Robert de Coucy_ until 1311,
+and afterwards by _Maitre Colard_, _Gilles le Macon_, _Jean de Dijon_
+and _Colard de Givry_ in the course of the 14th and 15th centuries.
+
+[Illustration: THE CATHEDRAL AFTER THE FIRE OF SEPT. 19, 1914]
+
+In the 17th and 18th centuries only repairs rendered necessary by the
+wear of the stone were effected. In the 19th century, beginning in 1845,
+important restorations, principally by Viollet-le-Duc, were carried out
+with regularity.
+
+The Cathedral's approximate measurements are 480 feet long (it is the
+longest church in France), and 160 feet wide at the intersection of the
+transept. The vaulting, less lofty than that at Beauvais (156 feet) and
+Amiens (143 feet), is 123 feet in height. The towers are six in number
+(as in the cathedral at Laon), of which the four situated at the
+extremities of the transept have never had more than one storey. The
+principal towers are about 266 feet in height, or about 60 feet higher
+than those of Notre-Dame in Paris.
+
+The plan of the Cathedral is in shape a Latin cross, with radiating
+chapels. It is built entirely of stone from the neighbourhood of Rheims.
+Forty pillars support the vaults, which are further sustained by fifty
+buttresses. Three great doorways and eight secondary doors give access
+to the interior, which is lighted by a hundred windows and rose-windows;
+2,303 figures of all sizes decorate the exterior and interior.
+
+[Illustration: THE CATHEDRAL PHOTOGRAPHED FROM AEROPLANE IN 1916]
+
+
+=The Cathedral During the War=
+
+In revenging themselves on Rheims for their disappointments and
+failures, the Germans seem to have been particularly determined to
+destroy the building which is at once one of the most precious artistic
+treasures of France and one of the most ancient evidences of her
+history. In 1814 the then Allies bombarded Rheims but respected the
+Cathedral. It is true that there were Germans who found fault with this
+respectful forbearance. One of them, _Johann Joseph Goeres_, author of a
+voluminous work entitled "_Christian Mysticism_," dared to write in
+April, 1814: "_Destroy, reduce to ashes, this Rheims basilica, where
+Chlodoric was consecrated, and where was born that empire of the Franks,
+those turncoat brothers of the noble Germans; burn the Cathedral._" In
+the course of the recent war the Germans followed the vindictive advice
+of Goeres, although, less frank than he, they did not dare, in face of
+the indignation of Christendom and of the whole world, boast of their
+vandalism.
+
+[Illustration: THE PIERCED VAULTING AND TOWERS OF THE CATHEDRAL IN 1919]
+
+By way of excuse they alleged sometimes errors in firing, sometimes that
+the French had established a battery of artillery near the Cathedral and
+an observation-post in one of the towers (a projector was installed on
+the Cathedral, on September 13, 1914, _i.e._ the day that the French
+re-entered Rheims, and it remained there only one night).
+
+On November 9, 1914, General Rouquerol declared to the French
+Government, who had demanded an enquiry, that the nearest battery to the
+Cathedral was at that time more than 1,200 yards away; that on the day
+(September 19) the Cathedral was set on fire by the German shells, the
+nearest French batteries were still quite close to the spot occupied by
+the above-mentioned battery, whose position the French Premier verified
+personally. The General concluded that the German artillery could not
+have made an error of 1,200 yards in firing, but that they had
+deliberately aimed at the Cathedral.
+
+The Cathedral, though terribly shattered, is still standing. The
+description of the edifice (pp. 33 to 60) gives particulars of the
+damage and destructions which occurred principally in September, 1914,
+April, 1917, and July, 1918.
+
+On September 19, 1914, incendiary shells set fire to various portions of
+the building. The roof was burnt, but the vaulting escaped injury. The
+tambours of the side doors and the statues on the latter were destroyed
+by the flames. The 18th century stalls, consecration carpet of Charles
+X. and archi-episcopal throne were likewise burnt. The great rose-window
+of the western facade, together with several other stained-glass
+windows, were destroyed, as were also the "Angel" steeple and its
+caryatids above the chevet. The northern tower was seriously injured by
+the burning of the scaffolding around it (_see photo, p. 9_). The
+statues were eaten into by the flames and subsequently crumbled away,
+some of them being irrecoverably lost.
+
+In 1915 and 1916 the Cathedral was struck a hundred times, but it was
+during the bombardments of April 15, 19 and 24, 1917, that it suffered
+most. For seven consecutive hours, at the rate of twelve per hour, the
+Germans fired 12-in., 14-in. and 15-in. shells on the edifice, causing
+terrible havoc, especially to the south-western side.
+
+During the terrible bombardments of April, 1918, the Cathedral did not
+suffer--for once the Germans seemed to have decided to spare it; but,
+unfortunately, the truce did not last. In the following months the
+bombardment began again, and the ravages increased, especially in the
+two towers and the vaulting. However, both vaulting and towers, in spite
+of their injuries, have not been irreparably damaged in their vital
+parts, and are capable of restoration.
+
+That the damage is not more serious is due to the protective measures
+taken by the Cathedral architect and by the Department of Historical
+Monuments. As early as 1915, the doorways of the western facade were
+protected with beams and sand-bags (_see photo, p. 25_), while the
+Treasure was removed and placed in safety, together with the paintings
+and tapestries.
+
+In 1916 and following years masonry protections were placed around some
+of the more valuable statues. The fallen fragments of carvings and
+sculpture were carefully collected, with a view to future restoration.
+In this way the debris of the head of the beautiful statue of the
+"Visitation" Group, known as the "Smile of Rheims," on the left-hand
+side of the central doorway of the western facade, were saved.
+
+At the beginning of 1918, it was found possible to save the remains of
+the stained-glass of the windows, and other glass-work still
+intact--amongst which was some of the finest in the nave. The salvage
+was difficult, for scaffolding would have furnished the Germans with an
+excuse for further bombardments. Recourse was had to a small body of
+Paris firemen and two glaziers who, in foggy weather, and before
+daybreak, climbed up to the iron framework of the windows and
+accomplished their work at great heights with remarkable courage and
+skill.
+
+[Illustration: REIMS]
+
+      REIMS
+      SCALE.
+
+      -------------------------
+      0        500        1,000 M.
+
+      PORTE DE MARS                  A. D-3-4
+      MUSICIANS' HOUSE               B. D-4
+      BARRACKS                       C.
+    **CATHEDRAL                      D. D-4-5
+      ARCHI-EPISCOPAL PALACE         E. D-5
+      CHURCH OF ST. MAURICE          F. E-5-6
+      POLICE STATION                 G. D-2
+      HOTEL DE VILLE                 H. D-4
+      LAW COURTS                     J. D-4
+     *HOTEL DIEU                     K. E-6
+     *CHURCH OF ST. REMY             L. E-6
+      MUSEUM                         M. D-5
+      OCTROIS (Tolls)                O.
+      SUB-PREFECTURE                 P. E-4-5
+      THEATRE                        T. D-4-5
+
+      POPULATION                     115,178  H
+      ALTITUDE                            83  M
+
+      PLACES.
+
+     1.--Pl. Luton
+     2.--Pl. de la Republique
+     3.--Pl. du Boulingrin
+     4.--Pl. Betheny.
+     5.--Square Colbert
+     6.--Pl. St. Andre
+     7.--Pl. des Marches
+     8.--Pl. Colin.
+     9.--Pl. Royale
+    10.--Esplanade Ceres
+    11.--Place du Parvis
+    12.--Pl. Belle Tour
+    13.--Pl. de l'Hopital Civil
+    14.--Pl. St. Remy
+    15.--Pl. St. Nicaise
+    16.--Rond point St. Nicaise
+    17.--Pl. Dieu Lumiere
+
+      HOTELS.
+
+    Hotel Continental                 a C-4
+    Hotel du Nord                     b C-4
+    Temporary Annexe Grand Hotel      c D-5
+    Post Office Telegraph Telephone   f E-4
+
+    Roads and streets to be
+    avoided by motor cars.
+
+[Illustration: ENLARGED PLAN OF CENTRE OF TOWN]
+
+[Illustration: CATHEDRAL OF RHEIMS]
+
+    CATHEDRAL OF RHEIMS
+    Plan of Cathedral
+    and
+    Archi-episcopal Palace
+
+     1. Staircase of the Towers.
+     2. Site of the Labyrinth (p. 53).
+     3. Main Pulpit (p. 53).
+     4. Site of "La Rouelle de Saint-Nicaise"
+          (Flag-stone with memorial inscription) (p. 53).
+     5. Pillar supporting the "Vintage Scene" (p. 52).
+     6. Altar of the Rear Choir (p. 57).
+     7. 14th century Tombstones (p. 53).
+     8. Tomb of Cardinal de Lorraine.
+     9. The Treasure (p. 58).
+    10. Clock with Automatons (p. 55).
+    11. Tombstone of Hughes Libergier (p. 55).
+    12. Norman Door (p. 45).
+    13. Great Organ (p. 55).
+    14. Lady Chapel (p. 55).
+    15. Chapel of the Holy Sacrament (p. 56).
+    16. Rosary Chapel (p. 57).
+    17. Roman Mosaic (p. 57).
+
+
+
+=West Facade=
+
+(_See full views on pp. 28 and 29_).
+
+Better than any other, this part of the building reveals the desire for
+unity and harmony which guided the various builders of the Cathedral.
+The doorway, probably designed by Jean d'Orbais, was very likely not
+begun till about 1250, by Gaucher, of Rheims. Bernard of Soissons built
+the great rose-window and the facade as far as the Gallery of the Kings.
+The architects of the 14th century built the lateral parts forming the
+first storey of the towers, the Kings' Gallery and the gable. The upper
+storey of the towers was only finished in the 15th century. Except for
+slight modifications in detail, the original plan was respected. This
+facade, with its full open-work towers and immense rose-window,
+demonstrates that the architects knew how to obtain the maximum of
+resistance with wonderfully light construction.
+
+The =Western Doorway= (_photo below_) comprises three doors flanked by
+two full arcades, and surmounted by gables adorned with statues.
+
+Between the gables are pinnacles on small columns (the left-hand ones
+have been destroyed). At the foot of the pinnacles are statues of seated
+musicians, which recall those on the house in the Rue de Tambour (_see
+p. 80_), but which have been partly destroyed.
+
+The splaying of the doors is adorned with great statues backed up
+against columns and separated by smaller columns, the capitals of which
+are connected to a foliate frieze of elegant design. The bases are
+ornamented with carved drapery. The tympana of the doors contain
+window-lights, while five rows of statues, separated by lines of flowers
+and foliage, fill up the archings, which suffered severely in the
+bombardment of September 19, 1914. About a dozen subjects were destroyed
+or spoilt. During the subsequent bombardments, shell splinters did
+further damage.
+
+[Illustration: DOORWAY OF THE WEST FRONT BEFORE THE WAR]
+
+Generally the sculptural decoration on the ground-floor dates from the
+middle of the 13th century.
+
+In September, 1914, several of the great statues of the lateral
+splayings were completely destroyed and the others more or less
+seriously damaged. However, subsequent damage was slight, thanks to the
+protective measures taken in 1915.
+
+
+=Central Door=
+
+The lavish decoration of the central door suffered mutilations during
+the last three centuries. The inscription carved on the lintel dates
+from 1802 and replaced carving descriptive of the life of the Virgin,
+destroyed during the Revolution. The sculpture on the arches, especially
+that of the three upper lines, was partly restored in the 17th and 18th
+centuries.
+
+The beautiful statues in the splayings of the door represent: _to the
+right_ (_photo, p. 36_), the =Annunciation= and =Visitation= (the latter
+group is striking by reason of its inspiration from the antique); _to
+the left, the_ =Purification= (_photo, p. 36_).
+
+The Virgin of the Annunciation group was damaged by shell splinters on
+September 4, 1914.
+
+[Illustration: CENTRAL DOOR OF THE WEST FRONT BEFORE THE WAR (_Cliche
+LL._)]
+
+[Illustration: _The Annunciation._ _The Visitation._
+RIGHT-HAND SPLAYING OF CENTRAL DOOR]
+
+In the gable, a pretty group representing the =Coronation of the Holy
+Virgin= was injured by the fires of 1914.
+
+Of the two fine statues on the top of the buttresses framing the Central
+door, only the right-hand one (=Solomon=) exists to-day; the other,
+representing the =Queen of Sheba=, was destroyed by a shell in
+September, 1914, except the head, which was saved.
+
+[Illustration: LEFT-HAND SPLAYING AND LINTEL OF THE CENTRAL DOOR
+(_Cliche LL._)]
+
+
+=The Right-Hand Door=
+
+_See photograph on p. 25._
+
+On the lintel, =Saint Paul=, blind, is being led to Ananias, who
+restores his sight and baptizes him.
+
+On the jambs are pretty little figures which have been variously
+interpreted. The majority represent vices and virtues, _e.g. on the
+inner portion_: =Courage=, in knightly raiment; =Cowardice= fleeing
+before a hare; =Charity= holding out a purse; =Avarice= with a cash-box;
+_on the outer portion_: =Pride= blasted and overthrown with his horse;
+=Sloth=, represented as a man seated with his head resting on his
+elbows, in a stall; =Wisdom= seated, holding a book and a lighted lamp.
+On the same jambs other figures are supposed to symbolise the seasons:
+=Autumn= sitting on a vine-trellis; =Winter= standing before a fire
+place; =Spring= in the midst of flowers; =Summer= with bared chest.
+
+[Illustration: RIGHT-HAND SPLAYING OF THE RIGHT-HAND DOOR
+_The two central figures have been decapitated._]
+
+The six statues in the splaying on the right (_photo above_) represent:
+the aged =Simeon= holding Christ in his arms; =John the Baptist=,
+=Isaiah=, =Moses= with the brazen serpent and the tables of the Law;
+=Abraham= about to sacrifice Isaac; =Samuel= carrying a lamb (which has
+been broken). They differ by their more archaic style from the other
+sculptures of the lower facade, and closely resemble those of the
+central door of the north transept of the Cathedral of Chartres. Like
+the latter, they date without doubt from the beginning of the 13th
+century. Possibly they belonged to an earlier doorway, or were prepared
+in advance for a purpose not realised, being finally utilised in the
+place where they now stand.
+
+The =Last Judgment=, in the gable, was severely damaged by shell
+splinters.
+
+
+=The Left-Hand Door=
+
+This door, on account of the scaffolding which surrounded it, was
+seriously damaged by the fires of September, 1914 (_see p. 17_).
+
+On the lintel is =Saint Paul=, thrown from his horse at the gates of
+Damascus. On the outside of the jambs, fourteen seated figures
+meditating, are supposed by some to be embodiments of the arts and
+sciences, but represent more probably prophets or teachers. Along the
+splayings are eleven statues, which have not definitely been identified.
+
+In the left-hand splaying is =Saint Nicaise= between two angels. The
+right-hand angel, generally known as the "=Smile of Rheims=," was
+decapitated on September 19, 1914. Fortunately, the fragments of the
+head of this fine statue were saved.
+
+The sculptures in the archings depict scenes from the Passion, while the
+group which adorns the gable represents =The Crucifixion=.
+
+These archings and gable were greatly damaged by the fires of September
+19, 1914, and the bombardments.
+
+[Illustration: LEFT-HAND DOOR OF THE WEST FRONT
+_The headless angel on the left against the door was known as the "Smile
+of Rheims."_]
+
+[Illustration: LEFT-HAND SPLAYING OF THE LEFT-HAND DOOR, BEFORE THE WAR
+_St. Nicaise (between two angels) and St. Clotilda. The angel on the
+right, known as the "Smile of Rheims," was decapitated._ (_See photo, p.
+38._) _Cliche LL._]
+
+[Illustration: GABLE OF THE LEFT-HAND DOOR, WITH CRUCIFIXION
+(_Cliche LL._)]
+
+[Illustration: FIRST STOREY OF THE WEST FRONT]
+
+
+=The First Storey=
+
+In the centre is the great rose-window, best seen from the interior of
+the nave. The stained-glass is broken. On either side, against the
+arching which surmounts it, were two large statues. One of them, _David
+as a youth in shepherd's garb_ (also known as the _Pilgrim_), was
+destroyed by the bombardments. The other very fine statue is variously
+said to be _Saul_, _Solomon_ and _St. James_.
+
+The arching which begins above these statues was adorned with small
+groups of figures representing scenes from the life of Solomon. Most of
+them were destroyed at the same time as the Pilgrim statue.
+
+Above the arching, a gigantic statue (twice restored) represents _David
+challenging Goliath_. The bombardments of 1914 destroyed a similar
+statue on the left representing _David slaying Goliath with a stone from
+his sling_.
+
+The first storey of the towers flanking the rose-window is broken by
+lofty twin bays crowned with gables. The niches and pinnacles of the
+buttresses are identical with those of the nave, but the style of their
+decoration denotes a more recent period (early 14th century).
+
+The northern tower was badly damaged by the bombardment of September 19,
+1914, which fired the scaffolding around it (_see photo, p. 9_). Two of
+the pinnacled niches surmounting the buttresses were decapitated, while
+the flames completely disfigured the statues, including that of Christ.
+
+A large calibre shell burst in the southern tower on April 19, 1917,
+causing very serious damage.
+
+[Illustration: SECOND STOREY AND UPPER STOREY OF THE TOWERS]
+
+
+=The Second Storey=
+
+The second storey comprises a series of niches, surmounted by sharply
+pointed gables and adorned with gigantic statues, known as the _Kings'
+Gallery_.
+
+The central group, consisting of seven figures, commemorates the
+_Baptism of Clovis_. Clovis, standing in the baptismal font; between
+Saint Remi, receiving the Sacred Ampulla, and Clotilda.
+
+The balcony in front of the _Baptism of Clovis_ was formerly called the
+_Gloria Gallery_, as it was the custom for the choir-boys to sing the
+_Gloria_ there on Palm Sunday.
+
+
+=The Upper Portion of the Towers=
+
+The upper storey of the towers, built on an octagonal plan, is flanked
+with four open-work turrets, one of which contains stairs leading to the
+platforms.
+
+The northern tower, badly damaged by the fire of 1914, lost several of
+the fine colonnettes of its corner turrets in 1918.
+
+In the same year, the pierced staircase of the southern tower was almost
+entirely destroyed.
+
+At the time of the last restorations, the foundations of the spires
+provided for in the original plans, but which have never been built,
+were laid.
+
+In the belfry of the northern tower are two magnificent deep-toned
+bells. One of them is modern and was cast at Le Mans, and blessed in
+1849 by Cardinal Gousset. The other, one of the finest bells known, and
+presented to the church in 1570 by Cardinal Charles de Lorraine, is the
+work of the Rheims metal-founder, Pierre Deschamps.
+
+The scaffolding fire of 1914 reached the belfry, bringing down the
+bells, which were broken in the fall.
+
+
+=The Lateral Facades and Chevet=
+
+The lateral facades of the Cathedral are of rare beauty. Nowhere have
+abutments and flying buttresses been so harmoniously employed as here.
+They are not merely supports, but form part of the decorative scheme of
+the nave, and ensure the harmony of the whole. Buttresses, finished off
+with pinnacles, serve as points of support for two superimposed
+flying-buttresses. The octagonal pinnacles are flanked with four small
+triangular pyramids and supported in front by two slender detached
+columns. Between the latter, under canopies, angels with outstretched
+wings carry the instruments of the Passion and various other emblems
+(_see photo, p. 49_).
+
+_Skirt the Cathedral on the left, passing in front of the North Facade
+(see photo below), to reach the Northern Transept._
+
+[Illustration: THE NORTHERN TRANSEPT IN 1919]
+
+
+=The Northern Facade and Transept=
+
+The transept is pierced with broad bays, whose completion, as in all the
+windows of the Cathedral, consists of two twin arches surmounted by a
+six-leaved rose. The niches in the buttresses are ornamented with
+statues believed by some to represent Kings of France. At any rate, that
+of the buttress on the western front of the north-west tower greatly
+resembles the figure of St. Louis carved on the doorway of the church of
+St. Vincent at Carcassonne.
+
+The carvings of the lower windows were either destroyed or damaged on
+September 19, 1914, at the same time as the stained-glass. The two
+towers which flank the crossings were left unfinished.
+
+Before the fire of 1481, there was a lantern over the intersection of
+the transept.
+
+[Illustration: CENTRAL DOOR OF THE NORTHERN TRANSEPT]
+
+
+=The Central Door of the Northern Transept=
+
+The sculptural decoration, while rich, is more sober than that of the
+doorway of the western facade. It is commemorative of the glory of the
+Archbishops of Rheims.
+
+The statue of the Pontiff with a tiara, backing up to the
+dividing-pillar, is supposed to be that of St. Sixtus, first Bishop of
+Rheims. In the splaying, on the left, is St. Nicaise holding his head in
+his hands, between St. Eutropia, an angel and a figure improbably said
+to be Clovis.
+
+The pediment was pierced by a shell and scarred with splinters. It is
+divided into five tiers, and represent the life of St. Remi and St.
+Nicaise.
+
+Beginning at the bottom, the figures represent: _on the first tier_, the
+beheading of St. Nicaise by the Vandals and the Baptism of Clovis by St.
+Remi; _on the second_, St. Remi, as a child, restores sight to Montanus
+and, as a man, exorcises the demons who had set fire to Rheims; _on the
+third_, the story of Job; _on the fourth_, the restoring to life of a
+young Toulouse girl, and the miracle of the cask filled with wine by St.
+Remi; _on the fifth_, Christ between two angels.
+
+[Illustration: LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST
+JUDGMENT
+_The dead rise from their graves._]
+
+
+=The Left-Hand Door of the Northern Transept=
+
+This door, which has long been walled up, is called _The Doorway of the
+Last Judgment_, on account of the carving on the tympanum.
+
+In the upper part, Christ is supported on one side by the Holy Virgin,
+and on the other by John the Baptist. Below (_two rows_) the dead rise
+from their graves (_photo above_). Lower down, on one side are _The
+Virtues_, represented by seated women; on the other, _The Vices_,
+mutilated in 1780 on account of their realism. On the lowest tier, _to
+the left_, angels carry souls to Abraham's bosom: _on the right_, Satan
+leads a chain of damned souls to Hell (_photo below_), amongst whom are
+a king, a bishop, and a monk.
+
+In the arching are three rows of angels carrying books or blowing
+trumpets, and the wise and foolish virgins.
+
+Backing up to the dividing pillar is an exceedingly fine 13th century
+statue, which recalls the "_Beautiful God_" of Amiens Cathedral (_see
+the Michelin Guide: Amiens Before and During the War_); Jesus blessing
+with His right hand, holds the globe of the world in His left (_see
+photo p. 45_).
+
+This statue was decapitated by a shell which struck the doorway in 1918,
+also taking off the head of the first statue on the left-hand portion of
+the doorway.
+
+[Illustration: LEFT-HAND DOOR OF THE NORTHERN TRANSEPT: THE LAST
+JUDGMENT
+_Satan drags a chain of damned Souls to Hell._]
+
+On the plinth of the dividing pillar is a bas-relief, remarkable for its
+delicate carving.
+
+According to local tradition, this plinth was erected at the expense of
+a dishonest master-draper, convicted of selling by false measure.
+
+_On the left_, the merchant is seen in his shop. In front of the
+counter, customers of both sexes look at the outspread stuffs, while
+clerks write in books.
+
+_On the right_, the merchant kneels before a statue of the Virgin in
+penance.
+
+Near-by, burgesses talk together and seem to judge the delinquent's
+conduct severely.
+
+The six statues against the walls represent the apostles: _on the
+right_, St. John, St. James and St. Paul; _on the left_, St. Andrew, St.
+Peter and St. Bartholomew.
+
+The rose is carved in a voussoir; the uprights are decorated with
+statues of Adam and Eve in long tunics, and the arch with twenty-two
+groups of small figures depicting, _from left to right_, the story of
+Adam and Eve, the various tasks to which they and their descendants were
+condemned, and the story of Cain and Abel.
+
+[Illustration: DIVIDING-PILLAR OF THE LEFT-HAND DOOR OF THE NORTHERN
+TRANSEPT
+_The statue of Christ was decapitated by a shell._
+_On the plinth is the legend of the Master-draper_ (_see text
+opposite_).]
+
+Above the rose an open-work gallery contains seven statues of the
+prophets. The statues are 13th century, but the gallery was restored in
+1846.
+
+The balustrading and triangular gable flanked with pinnacles, which
+dominate the gallery, date from the beginning of the 16th century, but
+have been repaired in recent times. On the gable is a colossal
+=Annunciation=; the Archangel and Mary are under Flamboyant canopies.
+
+
+=The Right-Hand Door of the Northern Transept (Norman Door)=
+
+This little door formerly connected, by means of a vaulted passage, the
+Cathedral with the Cloister (no longer existing) of the Chapter.
+
+Its tympanum is a relic of the Cathedral built by Archbishop Samson. It
+depicts, in beautiful Romanesque relief, a majestic Virgin. The
+archivolt which frames it, doubtless belonged to a 12th century tomb. At
+the top of the arch, angels carry away a soul, while on the uprights,
+clerks officiate at a funeral service.
+
+
+=The Chevet=
+
+(_See photograph of Cathedral, taken from aeroplane, p. 30._)
+
+The Chevet, begun by Jean D'Orbais and finished by Jean Le Loup, was
+inaugurated by the Chapter about 1241. It is one of the finest 13th
+century chevets in existence.
+
+It is stayed by two rows of buttresses supporting double
+flying-buttresses. Like those of the nave, the buttresses are surmounted
+with pinnacles, beneath which niches shelter statues of flying angels.
+
+[Illustration: THE CHEVET BEFORE THE WAR
+_One of the finest 13th century Chevets._]
+
+All around the apse, between the windows of the radial chapels and on
+the main buttresses, are statues of angels, some of them of great
+beauty.
+
+The 13th century clerestory gallery, which surrounds the upper portion
+of the apsidal chapels, was restored by Viollet-le-Duc. It was partially
+destroyed by the bombardments. On April 19, 1917, three large calibre
+shells, which burst on the chevet, destroyed forty to fifty feet of it.
+At the same time, the buttress jutting on the centre of the destroyed
+gallery lost its pinnacle, and behind, an arch of the flying-buttress.
+The buttresses between the above-mentioned one and the corner of the
+South Transept Tower lost either a colonnette or their pinnacle with
+angel statue.
+
+The slender spire which, before the War, rose above the chevet, was
+known as the =Angel Spire=, on account of a bronze angel which
+surmounted it, and which was removed in 1860 as unsafe. This spire, the
+work of Colard le Moine, was built in 1485, after the fire of 1481. Its
+pierced base with balustrading was supported by eight leaden caryatids,
+some of which, in the popular costume of the Louis XI. period, became
+deformed in consequence of the rotting of their oaken core.
+
+The fire of September 19, 1914, caused by the German shells, entirely
+destroyed the spire and its caryatids.
+
+[Illustration: THE CHEVET IN 1919
+_The roof with the "Angel Spire" was destroyed._]
+
+The bombardments in the spring of the following year further damaged the
+gallery, also causing fresh mutilations to the flying buttresses and the
+pinnacles of the apse.
+
+A plain stone gallery with blind arcading, which formerly ran round the
+chevet on a level with the springing of the roof, was replaced by
+Viollet-le-Duc, with pierced battlemented arcading. Part of the original
+gallery which surrounded the entire building, level with the roof, still
+exists on the northern side.
+
+On October 12, 1914, a shell destroyed about twenty five feet of the
+gallery round the chevet, which later was further damaged by another
+shell.
+
+
+=The Lateral Facade and South Transept=
+
+This facade and transept (_which should be seen from the courtyard of
+the Archbishop's Palace_) are identical, as a whole, with the northern
+facade and transept (_see pp. 28 and 42_).
+
+The gallery at the springing of the roof of the nave was entirely
+rebuilt in 1878 by Architect Millet, in a style foreign to that of the
+Cathedral.
+
+Among the statues of the transept buttresses that at the corner of the
+south-western tower, bestriding a lion, is thought by some to represent
+=Pepin-the-Short=, and another near him, =Charlemagne=.
+
+[Illustration: THE LATERAL FACADE AND SOUTHERN TRANSEPT IN 1919]
+
+The facade of the transept has no doorway. Above the lower storey, the
+architectural arrangement is the same as that of the northern transept.
+At the base of the rose-window, on each side, are two very fine statues.
+
+_On the left_, =The Christian Religion=, symbolised by a crowned woman
+with chalice and standard. This statue was destroyed by a German shell
+in 1918, after being damaged in April 1917.
+
+_On the right_, =The Synagogue=, with eyes bandaged and a crown on one
+side, was not seriously damaged.
+
+In consequence of the fire of 1481, the gable of South Transept was
+rebuilt at the beginning of the 16th century by three master-masons, one
+of whom, Guichart Antoine, co-operated later with the building of =Notre
+Dame de l'Epine=. (_See the Michelin Guide: The Revigny Pass._) It was
+restored about 1888 in the original style. The subject sculptured on the
+pediment represents the =Assumption of the Virgin=.
+
+The =Sagittarius= which surmounted the gable was destroyed in 1914. It
+was a modern faithful copy of the old lead-covered wooden Sagittarius,
+which was carved, gilded and painted about 1503 by the Rheims sculptor,
+Jean Bourcamus. According to tradition, this Sagittarius, which appeared
+to be shooting its arrow at the bronze stag of the archi-episcopal
+palace, symbolised the rivalry between the Archbishop and the Chapter of
+the Cathedral.
+
+[Illustration: GABLE OF THE SOUTHERN TRANSEPT IN 1914]
+
+[Illustration: THE SOUTHERN LATERAL FACADE IN 1914]
+
+[Illustration: REVERSE SIDE OF THE CENTRAL DOOR IN 1914
+_See complete view on p. 52._]
+
+
+
+
+=THE INTERIOR OF THE CATHEDRAL=
+
+=The Inner Western Facade=
+
+(_See description of the Exterior on pp. 34 to 41._)
+
+This is a masterpiece. Its sculptural decoration is unique, and as rich
+as that of the outer facade.
+
+In the tympanum of the central door a sixteen-leaved rose-window, the
+stained-glass of which was made shortly before the Revolution, is faced
+with three small trefoil rose-windows.
+
+At the top of the dividing pillar St. Nicaise, headless, is between two
+angels and two armed men personifying the barbarians who killed him.
+
+The entire door, as far as the triforium, is framed by seven rows of
+superimposed niches separated by panels of sculptured foliage. The
+basements are covered with figured drapery, as on the outside. In each
+niche, under a trefoil arcade, is a statue. The subjects represented
+are, _from bottom to top_: _on the right_: =The Life of John the
+Baptist=; _on the left_: =The Fulfilment of the Prophecy= and =The
+Childhood of Christ=.
+
+[Illustration: STATUES ON REVERSE SIDE OF DOORS AFTER FIRE, SEPT., 1914]
+
+The first row on the right is known as "=The Knight's Communion="; a
+priest offers the Host to a knight wearing 13th century armour, and
+turns his back on another knight clothed in a leathern Carolingian tunic
+with iron scales, and armed with a small round buckler.
+
+Above the door, a gallery with nine openings lights the triforium.
+
+On the highest storey, the great rose-window occupies the whole breadth
+of the nave. It is the masterpiece of Bernard de Soissons (_see p. 40_).
+
+In the form of a gigantic flower with twelve petals, each of the latter
+is sub-divided by quatrefoils and trefoil archings. Its harmonious
+gracefulness and seeming lightness, in spite of the great thickness of
+its border (about 7 ft.), and mullions (about 2 ft. 6 in.), are very
+striking.
+
+The stained-glass, which, with the stonework, formed a harmonious whole,
+was restored in modern times. The subject represented was: =The Virgin
+surrounded by angels, kings and patriarchs=.
+
+The fire of 1914 destroyed the stained-glass.
+
+The side-doors have only a quatrefoil rose-window (_see pp. 25 and 34_),
+and their framework of niches consists only of four rows of two niches
+each. However, two lines of niches, in which are statues in demi-relief,
+form the contour of the arches which frame their top.
+
+The subjects of the sculptures are allied, in the case of each door, to
+those of the outer decoration, _i.e._ "=The Life of St. Stephen=."
+
+The wooden doors and their tambours were destroyed by the fire of
+September 19, 1914, which also disfigured or destroyed the statues
+framing them (_see photos above_).
+
+[Illustration: INTERIOR OF THE NAVE IN 1919]
+
+
+=The Great Nave=
+
+The fire of September 19, 1914, destroyed the framework of the Nave and
+its 15th century lead roof. In the following years a number of shells
+pierced the vaulting, without, however, damaging its vital parts. It
+will be possible to restore it.
+
+It seems to be clearly established that although the first four bays
+were built later than the others, the nave as a whole, like that of the
+Cathedral of Amiens, was completely finished before 1300 A.D. Vaulted
+throughout on diagonal ribs, the nave, which is perfectly regular, has
+three stories: the lowest, formed of great arches, rests on massive
+pillars; the triforium, formed of two, four, five, or six arcades,
+extends round the entire building; the high twin-bay windows are
+surmounted with a six-leaved rose-window.
+
+The pillars, which have been likened to a row of antique columns, are
+composed of a great cylindrical shaft, reinforced by four smaller
+engaged columns, standing on an octagonal base. The pillars which follow
+the first bay of the nave and carry one of the corners of the towers, as
+also the four pillars of the transept square, are more massive.
+
+[Illustration: CAPITAL IN THE NAVE]
+
+The capitals of the pillars and of the columns (_photo opposite_) are
+most beautifully decorated. The dominating subject of their decoration
+is natural foliage (vine, oak, thistle, ivy, ranunculus, fig-tree).
+Occasionally, human or animal figures or monsters, and scenes from
+nature, _i.e._ the dainty =Vintage scene= on the capital of the sixth
+pillar on the right of the nave, are interspersed. The ornamentation of
+the capitals of six pillars of the first bays is more elaborate and more
+recent in style. These capitals are not, like those of the other
+pillars, divided on the four flanking columns into two equal courses by
+an astragal, neither do they include, like some of the others, crockets,
+acanthus leaves and other conventional ornaments of an older and less
+realistic style.
+
+[Illustration: ROOF OF THE NAVE IN 1914
+_In the foreground on the right: Corner of the Southern Transept._]
+
+The 13th and 14th century stained-glass of the high windows represents,
+on two superimposed lines, figures of kings of France and archbishops of
+Rheims. Some of the glass was broken, but the finest was saved.
+
+In the third and fourth bays there was formerly a square =Labyrinth=,
+flanked at the corners by polygonal compartments. In the interior, a
+line of white tiles bordered with black stones ran from one side, and
+after complicated windings reached a central compartment. At the corners
+of the compartments were figures of the four first architects of the
+Cathedral: Jean d'Orbais, Jean le Loup, Gaucher of Rheims and Bernard of
+Soissons. The central figure is probably that of Archbishop Aubri de
+Humbert, who laid the first stone of the edifice. This Labyrinth, the
+drawings of which revealed the names of the builders of the Cathedral,
+was destroyed in 1778 by the Chapter, to prevent the children playing
+there.
+
+[Illustration: ROOF OF THE NAVE IN 1919
+_In the foreground, on the right: Corner of the Southern Transept._]
+
+Between the Labyrinth and the Choir are about twenty 14th century
+tombstones.
+
+The =great pulpit= set up against the fifth left-hand pillar was made,
+in the time of Louis XV., by a Rheims artist (Blondel). It comes from
+the old church of St. Pierre-le-Vieil.
+
+In the sixth bay, just before the entrance to the choir, the spot where
+St. Nicaise was beheaded, on the threshold of his church, was formerly
+indicated by a small circular chapel known as _La Rouelle de St.
+Nicaise_. The tiny building was replaced by a memorial inscription on
+the flagstone, supposed to have been stained with the blood of the
+martyr.
+
+
+=The Aisles of the Naves=
+
+The windows of the Aisles are similar to the lofty windows of the nave.
+The walls were formerly hung with valuable tapestries, which were taken
+down and evacuated by the _Historical Monuments Department_ at the
+outbreak of the War. The two oldest, dating back to about 1440, and
+known as the tapestries of the _fort roi Clovis_, were presented by
+Cardinal Charles de Lorraine, and depict the history of Clovis. Those of
+the Renaissance, given in 1530 by Archbishop Robert de Lenoncourt, who
+caused himself to be portrayed kneeling in the picture of the Birth of
+Christ, depict the _Life of the Virgin_. The most modern, presented in
+1640 by Archbishop Henri de Lorraine and worked by the Fleming, Daniel
+Pepersack, represent Jesus at the _Marriage at Cana in Galilee_ and
+_Jesus among the Doctors_.
+
+At the foot of the walls, three stone steps serve as seats.
+
+[Illustration: TAPESTRIES IN THE SOUTHERN SIDE AISLE, BEFORE THE WAR]
+
+
+=The Interior of the Northern Transept=
+
+(_See plan, p. 33, and the Exterior, p. 42._)
+
+The inner facade is partially hidden by the great organ, built about
+1487 and transformed several times since then. Of the original organ the
+loft only remains, the Gothic balustrading of which is pierced with
+Flamboyant arcading.
+
+[Illustration: THE NORTHERN TRANSEPT _(see p. 33)_]
+
+The facade originally consisted of three lofty bays with lancet-shaped
+windows surmounted by a gallery lighted by three rose-windows of six
+lobes each and one of twelve lobes. The subsequent addition of a doorway
+about the _middle_ of the 13th century caused the partial suppression of
+the bays, of which the transformed summits alone remain.
+
+Almost all the high windows of the transept contained 13th century
+_grisaille_ glass, which was damaged or broken by the bombardments, as
+was also the 13th century stained-glass of the great rose-window
+(repaired in 1869), which represented _The Story of the Creation_ and
+_The Fall of Adam_.
+
+The reverse side of the Central Door is bare, except the dividing
+pillar, the statue of which is hidden by the 18th century wooden
+tambour.
+
+The small western side-door, which formerly communicated with the
+cloister of the Chapter, is entirely covered with 18th century woodwork.
+The adjoining bay, closed in by a beautiful 13th century wrought-iron
+railing, is the old chartulary or muniment room of the Chapter. Near the
+railing, in the corner of the transept, is a clock with automatons,
+which come out when the hours strike. Its woodwork is 14th and 15th
+century and its works 17th and 18th century.
+
+To the right of the door of the organ stair, a =tombstone= to =Hugues
+Libergier= was set up against the wall. He was the architect who, in
+1231, commenced the abbatial church of St. Nicaise. The tombstone has
+been in the Cathedral since 1800. The altar in the Lady-Chapel,
+surmounted with a statue by Francois Ladatte (1742), replaced a Gothic
+altar-screen destroyed in 1739.
+
+The picture _The Washing of the Disciples' Feet_ is by Jerome Muziano.
+
+On the western walls of the transept is a fine tapestry, the pendant of
+which is in the south transept. These two great tapestries, made at the
+Gobelins, after cartoons by Raphael, represent the life of St. Paul.
+They were removed in 1914, at the same time as those in the aisles.
+
+[Illustration: THE VAULTING OF THE CHOIR FELL IN ON THE HIGH ALTAR
+_The photo on p. 31 shows the collapse, seen from above._]
+
+
+=The Choir=
+
+(_See the Chevet, p. 46._)
+
+The ambulatory with its radiating chapels is of incomparable beauty.
+Excepting the larger central chapel, known as the _Chapel of the Holy
+Sacrament_, which is nine-sided, each chapel has seven sides rising from
+a circular floor.
+
+In each chapel, three windows similar to those of the nave, light the
+three hindmost walls. Blind windows imitate the true ones on the side
+walls.
+
+At the base of the windows a narrow gallery, passing through the
+pillars, continues all along the side-aisles of the transept and nave--a
+peculiarity in Champagne architecture.
+
+The 13th century stained-glass of the high windows was destroyed by the
+bombardment of September 19, 1914.
+
+In April, 1917, part of the vaulting fell in on the High Altar (_photo
+above_).
+
+The costly marble High Altar was erected in 1747 by Canon Godinot, who
+spent considerable sums in making alterations to the Cathedral, not all
+of which were happy. Its six chandeliers date from the consecration of
+Charles X.
+
+The High Altar of the rear choir dates from 1764 and came from the
+Church of St. Nicaise. On either side of this altar are two 14th century
+tumulary stones. Behind is the tomb of Cardinal de Lorraine.
+
+The small pulpit of the rear choir, the medallions of which depict the
+life of St. Theresa, dates from 1678. It is a gift of the widow of M.
+Pommery (_photo below_).
+
+Twenty-two archbishops of Rheims were buried under the choir pavement.
+Their tombstones were removed in 1747. The present flag-stones came from
+the old church of St. Nicaise.
+
+[Illustration: THE SMALL PULPIT IN THE REAR CHOIR]
+
+The archbishop's throne, by Viollet-le-Duc, was destroyed by the fire of
+1914, together with the 18th century stalls.
+
+The railings (1826-1832) replaced, not very happily, an ancient stone
+rood-loft destroyed in 1761.
+
+
+=The Interior of the Southern Transept=
+
+(_See plan, p. 33, and the Exterior, p. 47_)
+
+A gap was made in the vaulting by the bombardment of April 19, 1917.
+
+The arrangement of the inner facade is similar to that of the northern
+transept, except that the three high bays with lancet windows, which are
+partially hidden in the northern transept, are here entirely visible.
+
+The stained-glass of the rose-window, destroyed by a hurricane in 1580,
+was replaced in 1581 by the Rheims artist Nicolas Derode. It represents
+the Eternal Father surrounded by the twelve apostles.
+
+In the Rosary Chapel is a Renaissance altar-screen (1541), attributed to
+the Rheims sculptor Pierre Jacques. The general scheme represents _The
+dead body of Christ on the knees of the Virgin_, and above, _Christ
+coming forth from the sepulchre_. It was a gift of Canon Paul
+Grandraoul, who is shown on his knees before Mary Magdalene.
+
+The Roman mosaic work in the centre of the chapel was discovered in the
+courtyard of the archbishop's palace in 1849. Among the most remarkable
+scenes are: _Christ appearing to Mary Magdalene_, attributed to Titian;
+_Christ with the angels_, by Thaddeo Zuccaro; _The Nativity_, attributed
+to Tintoret; _Manna in the Desert_, attributed to Nicolas Poussin.
+
+[Illustration: ST. REMI'S CHALICE. (_Cliche LL._)]
+
+
+=The Cathedral Treasure=
+
+This is kept in a sacristy built by Viollet-le-Duc, which is reached
+through a plain door in the southern facade of the transept.
+
+The treasure, which is very rich in precious reliquaries, chalices, and
+other pieces of goldsmith's work, was saved from the fire of September
+19, 1914, by the Cure of the Cathedral and one of his abbes. After being
+temporarily placed in the house of the Cardinal, it was evacuated in
+1915, at the order of the Historical Monuments Department.
+
+Among the best known of these art treasures are the Chalice of St. Remi
+and St. Ursula's Skiff.
+
+The =Chalice of St. Remi=, with its gold filagree work, six rows of
+chasing, and precious stones set in a _collier_, is a remarkable work of
+art. It was in this chalice that, by special privilege, the kings of
+France communicated in wine at the conclusion of their consecration.
+Tradition has it that the gold of which it is made was that of the
+Soissons Vase, whereas in reality it is 12th century. Confiscated in
+1793 and deposited in the _Bibliotheque Nationale_, it was restored to
+the Cathedral by Napoleon III.
+
+[Illustration: ST. URSULA'S SKIFF. (_Cliche LL._)]
+
+=St. Ursula's Skiff= is a reliquary given by Henri III. It represents a
+ship carved out of cornelian, floating on a sea of enamel. The ship,
+whose mast bears the royal crown, is adorned with the escutcheons of
+France and Poland, and contains eleven small figures. That of St. Ursula
+is said to be the portrait of the Queen of France.
+
+Amongst the other remarkable works of art in the Treasure are the
+following: the _reliquaries_ of Archbishop Samson, St. Sixtus (12th
+century), St. Peter and St. Paul (14th century), and the Holy Sepulchre
+(16th century); a _monstrance_ of gilt copper (13th century); a
+_liturgical comb_ of ivory, said to have belonged to St. Bernard (12th
+century); a rock-crystal _cross_, which formerly belonged to Cardinal de
+Lorraine; _orfrays_ embroidered with silver thread (13th century); the
+_credence_ and _oil vessels_ of Abbot de la Salle; a _fragment_ of a
+carved wood crozier (incorrectly said to be the crozier of St.
+Gibrien), two other fragments of which are in the Town Museum (12th
+century); the _vases_, _utensils_, and _sacred ornaments_ which were
+used at the consecration of Charles X.; the _reliquary_ of the Sacred
+Ampulla, designed by Lafitte for the consecration of Charles X. The
+original Sacred Ampulla was broken in 1793. The present one, which has
+only served for the consecration of Charles X., is a replica said to
+have been made with the few drops of balsam of the Clovis Ampulla, which
+pious hands saved from the broken fragments of the sacred vessel.
+
+[Illustration: CASKET OF THE SACRED AMPULLA. (_Cliche LL._)]
+
+[Illustration: FRAGMENTS SAVED FROM THE RUINS. (_Cliche LL._)]
+
+[Illustration (Map)]
+
+
+
+
+=FIRST ITINERARY FOR VISITING RHEIMS=
+
+=Starting-point: Place du Parvis Notre-Dame=
+
+     1. The Archbishop's Palace (p. 63).
+     2. The Theatre (p. 68)
+     3. The House of Levesque de Pouilly (p. 68).
+     4. The Stores: Galeries Remoises (p. 73).
+     5. The Maison Fossier (p. 75).
+     6. The House of J. B. de la Salle (p. 75).
+     7. The House of the Enfant d'Or (p. 75).
+     8. The Statue of Louis XV. (p. 79).
+     9. The Musicians' House (p. 80).
+    10. The House of De Muire (p. 83).
+    11. The House of Le Vergeur (p. 85).
+    12. A 16th Century House (p. 86).
+    13. The General Post Office and Chamber of Commerce (p. 87).
+    14. The Cloister of the Franciscan Friars (p. 90).
+    15. The House of Thiret de Prain (p. 89).
+    16. The House of de la Pourcelette (p. 92).
+
+[Illustration: REMOVING THE STATUE OF JOAN-OF-ARC IN MAY, 1918]
+
+
+=Place du Parvis=
+
+The Place du Parvis (_photo below_) is in front of the main facade of
+the Cathedral. The shells made enormous craters there.
+
+In the centre of the square stands an =equestrian 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_).
+
+[Illustration: THE PLACE DU PARVIS
+_On the right: The Law Courts. In the centre: The Theatre. On the left:
+The Grand Hotel. In centre of Square: Statue of Joan-of-Arc._]
+
+Looking towards the Cathedral, the tourist will see on the right the
+ruins of the _Hotel du Lion d'Or_ and of the _Hotel de la Maison Rouge_.
+
+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 Hotel du Lion d'Or (_photo opposite_) and at the Grand
+Hotel (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.
+
+[Illustration: INNER COURTYARD OF THE LION D'OR HOTEL. (_Cliche A.S._)]
+
+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.
+
+
+=The Archbishop's Palace=
+
+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 (Hotel-Dieu)--only the archbishop's palace
+existed at Rheims in 1914. It extended all along the south lateral
+facade 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 Archeveche=: 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 facade was
+rebuilt in the 17th century by Archbishop Maurice Le Tellier, from the
+plans of Robert de Cotte.
+
+[Illustration: THE SALLE DU TAU, BEFORE THE WAR]
+
+
+=The Salle du Tau (or Kings' Hall)=
+
+(_See plan, p. 33._)
+
+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 the =Salle du Tau=, in memory of the ancient
+palace which was shaped like the Greek letter _Tau_, or the Kings' Hall,
+on account of the portraits of the Kings consecrated at Rheims, received
+in 1825.
+
+Built by the Cardinal Archbishop Guillaume Briconnet between 1497 and
+1507, it comprised two stories.
+
+[Illustration: THE SALLE DU TAU IN 1918
+_Behind the ruined Hall are seen the Southern Transept and Chevet of the
+Cathedral._]
+
+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 Briconnet and Church of Rheims Arms is
+all that the fire of 1914 spared of the ancient decoration. It is
+visible in the photographs on page 64, at the bottom of the hall.
+
+[Illustration: ENTRANCE TO THE SALLE DU TAU (OR KINGS' HALL). (_See
+plan, p. 33._)]
+
+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.
+
+
+=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.
+
+[Illustration: ENTRANCE TO THE ARCHI-EPISCOPAL CHAPEL. (_See plan, p.
+33._)]
+
+[Illustration: THE ROYAL APARTMENTS IN THE ARCHBISHOP'S PALACE]
+
+
+=The Royal Apartments=
+
+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=, formerly =The Grand Seminaire=
+
+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.
+
+[Illustration: THE ENTRANCE TO THE COURTYARD OF THE OLD GRAND SEMINAIRE
+(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 Seminaire 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.
+
+[Illustration: THE OLD GRAND SEMINAIRE (MUSEUM)]
+
+[Illustration: THE BED IN WHICH NAPOLEON SLEPT IN 1814
+(_In ruined house at No. 18 Rue de Vesle._)]
+
+_Continue along the Rue Chanzy, which skirts the_ =Theatre= (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_).
+
+[Illustration: THE PARIS GATE]
+
+At No. 27 are vestiges of the old =Hotel 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 was _Levesque de Pouilly_, "lieutenant of the inhabitants." Among
+the celebrated guests received by him were Voltaire and Madame du
+Chatelet (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._"
+
+[Illustration: THE VAULTING AND BELFRY OF THE CHURCH OF ST. JACQUES
+(_Cliche LL._)]
+
+_On the right, between Nos. 44 and 46, is the Rue St. Jacques._
+
+_Follow the Rue de Vesle to the end, where the_ =Paris Gate= _stands,
+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 the _faubourg_
+about 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 the_ Church of St. Jacques.
+
+The =Church 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.
+
+[Illustration: THE INTERIOR OF THE CHURCH OF ST. JACQUES (_Cliche
+LL._)]
+
+[Illustration: THE PLACE DROUET D'ERLON, BEFORE THE WAR
+_On the right: Belfry of the Church of St. Jacques._]
+
+_The Rue St. Jacques leads to the long_ Place Drouet d'Erlon, which was
+much damaged by the bombardments of 1918 (_photo opposite_).
+
+Formerly known as _Place 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 the
+_Quartier 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 a =monumental fountain=, the gift of M. Sube.
+
+_Follow the Place Drouet d'Erlon to the Boulevard de la Republique,
+which skirts_ =The Promenades=.
+
+[Illustration: THE PLACE DROUET D'ERLON, AFTER THE WAR
+_The Belfry of the Church of St. Jacques no longer exists._]
+
+[Illustration: THE SUBE FOUNTAIN, IN THE PLACE DROUET D'ERLON
+_Seen from the Rue Buirette (in ruins)._]
+
+The Promenades, greatly damaged by the war, have sometimes been wrongly
+attributed to Le Notre. 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 called _Cours Le Pelletier_ (the name of the
+_Intendant of Champagne_, who approved the plans), then _Cours 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 the _Square
+Colbert_, laid out by the landscape gardener Vare in 1860, is a statue
+of Colbert.
+
+_Take the Rue Thiers, which begins at the Square Colbert and leads to
+the_ =Hotel-de-Ville=.
+
+[Illustration: THE "SQUARE COLBERT" IN THE MIDDLE OF THE "PROMENADES"
+_The Entrance to the Station is just opposite this "Square."_]
+
+[Illustration: THE TOWN HALL IN 1918]
+
+
+=The Hotel-de-Ville=
+
+This building, which was destroyed by shell-fire on May 13, 1917, was
+similar in many respects to the old Hotel-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 central _pavilion_
+and 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 facade, 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 Hotel-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'Hotel-de-Ville, between the Rue Thiers and the Banque
+de France, are two small streets: the Rue Salin and the Rue de
+Pouilly._
+
+[Illustration: THE GRAND STAIRCASE OF THE TOWN HALL]
+
+At No. 5 of the Rue Salin, the old 17th century _Hotel Coquebert_, which
+was destroyed by the shells, used to be the headquarters of the _Society
+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 Hotel-de-Ville, are the =ruins= of
+the _Galeries Remoises_ stores. These shops were partly housed in a
+Gothic building, of which only a few chimney-stacks remain (_see chimney
+in photo below_).
+
+_Opposite the Hotel-de-Ville take the Rue Colbert to the Place des
+Marches._
+
+[Illustration: THE RUE COLBERT, BETWEEN THE TOWN HALL AND THE
+MARKET-PLACE]
+
+[Illustration: 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 "Hotel de
+la Salle" and "Maison Fossier" (p. 76), on the right-hand side of the
+Square, are not visible in the above photograph._]
+
+
+=The Place des Marches=
+
+Built on the site of the ancient _forum_, 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.
+
+[Illustration: THE "HOTEL DE LA SALLE"
+_On the left: the Carriage Entrance with Caryatids: Adam and Eve._]
+
+[Illustration: THE COURTYARD OF THE "HOTEL 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'Arbalete_, is the house, dating
+from the middle of the 16th century, where =J. B. de la Salle= was 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 of =Le Vergeur's House= (_see p. 85_).
+
+The carriage entrance is flanked with two life-size caryatids, popularly
+called _Adam 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 Marches, the following must be mentioned: the =Maison Fossier=
+(_see p. 76_), which stood in the Square at the right-hand corner of the
+Rue de l'Arbalete, and especially the =Maison 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
+name _Golden_ or _Sleeping_ Child.
+
+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 Marches, follow the Rue Colbert to the_ =Place
+Royale=.
+
+[Illustration: BEFORE THE WAR
+_See text, page 75._]
+
+[Illustration: AFTER THE WAR
+THE "MAISON FOSSIER," BEFORE AND AFTER THE WAR
+_See Itinerary, p. 61 (No. 5 of Explanatory Notes)._]
+
+[Illustration: 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.)_]
+
+[Illustration: 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 WAR]
+
+[Illustration: BRACKET OF THE "MAISON DE L'ENFANT D'OR," REPRESENTING
+SAMSON SLAYING THE LION]
+
+[Illustration: THE PLACE ROYALE IN 1765
+THE INAUGURATION OF THE STATUE OF "LOUIS LE BIENAIME."
+_August 20, 1765; engraving by Varin. The original statue (by Pigalle)
+is in the middle of the Square._]
+
+
+=The Place Royale=
+
+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 Societe Generale Bank, during the bombardment of
+April 8-15, 1918.
+
+[Illustration: THE PLACE ROYALE IN 1918
+_The 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 the _Hotel des Fermes_) had a
+Doric front with a statue of Mercury surrounded by children arranging
+bales or carrying grapes to the wine-press. A =statue of Louis XV.=, in
+the middle of the Square, was protected from the bombardments by
+masonry-work (_photos, p. 78 and 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,
+symbolizes _gentleness of Government_; the other, a contented man
+resting in the midst of abundance, represents _the happiness of
+nations_. The wolf and the lamb sleeping side by side at their feet are
+symbolical of the Golden Age.
+
+[Illustration: 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._]
+
+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 the _Patrie_, 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.
+
+[Illustration: THE STATUES OF THE MUSICIANS' HOUSE
+_The 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 destroyed =Musicians' 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 facade 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_) represented _a tambourine and flute player_, _a piper_, _a
+falconer_ with crossed legs, _a harpist_ and _an organ-grinder_ crowned
+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.
+
+[Illustration: 14TH 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 facade.
+
+_At the end of the Rue de Tambour, take the Rue de Mars, on the right of
+the Hotel-de-Ville, at the end of which, on the left, stands the
+Triumphal Arch of the_ =Mars Gate=.
+
+[Illustration: THE RUE DE MARS. THE TOWN HALL IS ON THE LEFT]
+
+[Illustration: MARS GATE]
+
+
+=The Mars Gate=
+
+[Illustration: 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._]
+
+This monument was long believed to be a Roman =gate=--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 an _historical
+monument_ (thanks to Prosper Merimee), 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 Caesarean 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 facades 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 arch _Romulus and Remus_ are 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.
+
+[Illustration: HOTEL NOEL DE MUIRE
+_Note the curious masonry-work of the first storey, composed of
+polygonal stones in relief._]
+
+_Behind the Mars Gate is the Place de la Republique, containing_ a
+statue by Bartholdi, damaged by shell-fire. _In front of the Gate, take
+the Rue Henri IV., leading behind the Hotel-de-Ville, then turn to the
+left into the Rue de Sedan._ The house at No. 3 was destroyed by shells,
+except the =Louis XVI. front= with its gracefully carved garlands, which
+escaped injury.
+
+_Take the Rue du Grenier-a-Sel, on the right, to the_ =Hotel Noel 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 the _Maison des Petits Pates_, on account
+of the polygonal shape of the stones in relief. Theodore de Beze, one of
+the leaders of the Reformation in France, lived there with his friend,
+Noel de Muire.
+
+[Illustration: THE RUE DU MARC]
+
+_Take the Rue du Marc, which continues the Rue du Grenier-a-Sel (photo
+above)._
+
+The =Rue du Marc= was the quarter where the old noble families and the
+higher _bourgeoisie_ of 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 the
+=Hotel Nicolas le Vergeur= (No. 1), which, unfortunately, was partly
+destroyed by the shells (_see p. 85_).
+
+[Illustration: HOUSE DATING BACK TO THE REIGN OF HENRI IV. (1589-1610)
+AT NO. 3 RUE DU MARC]
+
+
+=The Hotel Nicolas Le Vergeur=
+
+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 with _collerettes_ and high head-dresses, gracious
+or haughty, standing well out in relief.
+
+[Illustration: HOTEL 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
+Francois I. and Henri II. fighting at tournaments with lance, sword, or
+pike.
+
+In one of the rooms overlooking the Rue Pluche were, a fine stone
+_mantelpiece_ decorated with graceful delicate foliage; a timber-work
+_ceiling_ with large and small beams, carrying panels decorated with
+scrolls, and 15th century _tile-flooring_ of 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. The
+_oaken ceiling_ of 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 Hotel Le Vergeur, turn to the right into the Rue
+Pluche, which leads to the Place des Marches. Skirt the Square on the
+left, then take the first street on the left_: =Rue Courmeaux=.
+
+[Illustration: HOTEL ROGIER DE MONCLIN, 18 RUE COURMEAUX]
+
+_At No. 18 are the_ ruins of the =Hotel Rogier de Monclin=, destroyed
+after April, 1918. This house dated back to the Louis XV. period, but
+had been disfigured by modern alterations. The facade overlooking the
+courtyard, the entrance-hall, and the staircase with ornamental
+balustrade, were interesting. At the time of the consecration of Louis
+XVI., one of the saloons was furnished for the King's brother, the Comte
+(or _Monsieur_) d'Artois, whence the name "_Rue de Monsieur_," formerly
+borne by the Rue Courmeaux.
+
+_At No. 30_ is a Renaissance door, almost intact (_photo below_). _At
+No. 34, at the corner of the Rue Legendre_, is a late 16th century
+house, whose interior arrangement and facade are intact, except for the
+woodwork of the windows, which was modernised in the 18th century. It
+was built on the site of the old wool-market, after Marshal de
+Saint-Paul, at the time of the League, had compelled the inhabitants of
+the Faubourg Ceres to destroy their houses.
+
+[Illustration: RENAISSANCE DOOR,
+_30, Rue Courmeaux_.]
+
+[Illustration: CERES ESPLANADE]
+
+_Return to the Rue Courmeaux and take the Rue Bonhomme on the left,
+which leads to the Rue Ceres._
+
+The =Rue Ceres= was totally destroyed by fire, from the Place Royale to
+the Post Office, which had to be given up in the autumn of 1914.
+
+_At No. 30_ is the =Chamber of Commerce=, one of the finest late 18th
+century buildings in Rheims. The magnificent Louis XVI. rooms escaped
+practically uninjured. The staircase leading to the first storey, with
+its delicate balustrade, is very remarkable.
+
+[Illustration: CHURCH OF ST. ANDRE,
+_Rue du Faubourg Ceres._]
+
+[Illustration: INTERIOR OF THE CHURCH OF ST. ANDRE]
+
+_The Rue Ceres ends at the Esplanade Ceres_ (_photo, p. 87_), which was
+made outside the old ramparts near the Ceres Gate. The name Ceres is
+derived from a tower that long served as a prison (_carcer_, whence by
+corruption _chair_, _cere_, and then by false mythological association,
+_Ceres_). It was in this tower (no longer existing, but famous as early
+as the 9th century) that, according to the _chansons de geste_, Ogier
+the Dane, handed over by Charlemagne to the custody of the Bishop of
+Rheims, was incarcerated.
+
+_From the Esplanade continue, if desired, by the Rue du Faubourg Ceres_
+(greatly damaged by the bombardments), to the =Church of St. Andre=, a
+modern building erected by the architect Brunette.
+
+It was struck several times by shells and will have to be rebuilt. As
+early as the first bombardment of September 4th, 1914, shell splinters
+damaged the doorway, transept, stained glass (part of which was 16th
+century and came from the old church), small organ, and the painting of
+the _Baptism of Clovis_. Subsequently, the vaulting and parts of the
+walls collapsed.
+
+The Church possesses a precious =reliquary= of copper (15th century) and
+a =statue of St. Andre= (patron of the church) of painted and gilded
+stone, attributed without authority, to Pierre Jacques.
+
+[Illustration: RELIQUARY OF ST. ANDRE]
+
+[Illustration: HOTEL THIRET DE PRAIN IN 1916
+_19 Rue Eugene Desteuque._]
+
+_Return to the Esplanade Ceres, turn to the left at the beginning of the
+Boulevard de la Paix, then to the right into the_ =Rue Eugene
+Desteuque=.
+
+_At No. 19 of this street_ are the ruins of the =Hotel Thiret de Prain=.
+
+
+=The Hotel Thiret de Prain=
+
+This was a mansion in the days of Henry IV. and Louis XIII. Richelieu
+stayed there in 1641.
+
+[Illustration: HOTEL THIRET DE PRAIN IN 1918
+_These two photographs illustrate the systematic destructions practised
+by the Germans._]
+
+An imposing building, bordered with streets on its four sides, it had
+retained its original appearance. The carriage-entrance in the Rue
+Eugene Desteuque alone had been rebuilt in 1697. The principal entrance
+was surmounted with a gallery, the walls, ceiling and beams of which
+were covered with delicate decorative paintings.
+
+On the first floor one of the corner rooms, looking east, contained a
+large Henry IV. mantelpiece, above which were the arms of the nobles of
+Prain. Only the metallic portion remains.
+
+[Illustration: INTERIOR FACADE OF THE CLOISTER OF THE FRANCISCAN FRIARS
+_In the courtyard of No. 9, Rue des Trois-Raisinets._]
+
+The dove-cot of the Hotel, a massive square tower with pent-house roof,
+overlooking the Rue d'Avenay, was destroyed by the bombardments.
+
+_On the left of the Rue Eugene-Desteuque, opposite the Hotel
+Thiret-de-Prain, is the_ Rue des Trois-Raisinets. At No. 9 are the ruins
+of a Franciscan Cloister (_photo above_).
+
+This street (_photo below_), like the Cloister, suffered severely from
+the bombardments.
+
+[Illustration: RUINS OF THE MARGOTIN FACTORY
+_14, Rue des Trois-Raisinets._]
+
+_Return to the Rue Eugene-Desteuque and follow the same as far as the_
+Rue de la Grue (_on the right_). This street was badly damaged by
+shell-fire and is impracticable for motor-cars.
+
+It was named after the sign carved on a stone (_photo, p. 91_) of the
+house at No. 5 (entirely destroyed by the shells). At the end stood the
+house where J. B. Colbert was born (at the corner of the Rues Ceres and
+de Nanteuil, _photo below_).
+
+[Illustration: THE SIGN WHICH GAVE ITS NAME TO THE RUE DE LA GRUE
+_It was at No. 5, but has been destroyed._]
+
+_Return to the Rue Eugene-Desteuque, follow it as far as the_ Rue de
+l'Universite. _Turn into the latter on the left._
+
+This street was destroyed as early as September, 1914. At No. 25 are the
+ruins of a Professional School for Girls, formerly the St. Martha
+Hospital. The latter, also known as the "Hopital des Magneuses," was
+founded in the 17th century by Mesdames de Magneux, and rebuilt in the
+18th century in the Louis XVI. style.
+
+[Illustration: RUINS OF THE HOUSE WHERE COLBERT WAS BORN
+_At the corner of the Rues Ceres and de Nanteuil._]
+
+At No. 40, opposite the Sub-Prefecture, now in ruins, is the =Maison de
+Jean Maillefer=, named after the rich merchant who built it in 1652. It
+was scarcely finished, when it was chosen--and this was a source of
+pride to its owner--as an abode for Anne of Austria, at the time of the
+consecration of Louis XIV. The inside of the courtyard alone has
+retained practically its ancient appearance. The front looking on the
+street had recently been put back and altered. Some of the sculpture
+which adorned it came from another house.
+
+_A short distance farther on, on the left, is the_ Place Godinot, named
+after a canon of the 18th century, who caused numerous alterations to be
+made in the decoration of the choir and sanctuary of the Cathedral.
+
+_Take the Rue St. Just on the right, and follow its continuation_ (_the
+Rue des Anglais_) as far as the Rue d'Anjou, _which take on the right_.
+
+The =Hotel de la Pourcelette= (No. 7) evokes memories of _Mabillon_, who
+lived there when a young student at the University of Rheims.
+
+_At the end of the Rue d'Anjou, turn to the left into the Rue du
+Cardinal de Lorraine, and follow the same to the short_ Rue des
+Tournelles _on the left_.
+
+In the house at No. 3 of this street were incorporated the turret and
+two principal windows of an old Gothic 16th century structure, situated
+at No. 18 of the Rue des Anglais, and in ruins since 1898. The
+drawing-room likewise contains a large stone chimney-piece, which
+formerly stood in the great hall of the old house.
+
+[Illustration: LOUIS XIII. DOOR
+_At No. 20 Rue du Carrouge._]
+
+_At the end of the Rue des Tournelles, turn to the right into the Rue
+des Fusiliers, which leads to the Place du Parvis. Cross the latter to
+the Rue Tronson Ducoudray. Follow this street, which runs between the_
+Palais de Justice _and_ _the_ Theatre, _turn to the left, in front of
+the latter, into the Rue de Vesle, and take the first street on the
+right_, the Rue de Talleyrand.
+
+_Follow this street_, the greater part of which was destroyed by fire
+during the bombardments of April, 1918. It suffered further damage in
+the months that followed, and a number of interesting old houses were
+destroyed.
+
+_Turn into the first street on the right (Rue du Cadran St. Pierre), and
+follow the same as far as the Rue de la Clef. Take the latter on the
+right._
+
+Before doing so, however, take a look at the =fine Louis XIII. entrance=
+(_photo, p. 92_) of the house at No. 20 of the Rue du Carrouge opposite.
+
+_At No. 4 of the Rue de la Clef are the_ ruins of the former =Hotel de
+Bezannes=, partly built by Pierre de Bezannes, Lieutenant of Rheims in
+1458 This house contains some fine 16th and 18th century woodwork.
+
+_The Rue des Deux Anges, which continues the Rue de la Clef, leads to
+the_ Place du Palais, destroyed during the bombardments of April, 1918.
+_In this square stands the_ =Palais de Justice=. The _Palais_ replaced
+the old Hotel-Dieu, but has been almost entirely rebuilt. It is a
+building of little note, the principal entrance in particular being
+stiff to excess.
+
+[Illustration: RUE CARNOT
+_The Place Royale is seen in the background._]
+
+Its only interest is provided by two relics of the past: the vast
+cellars or subterranean vaults with pointed arches supported by columns
+with Gothic capitals; and the facade of the Audience-Chamber, formerly
+the principal ward of the old Hotel Dieu, the exterior of which has
+retained its venerable appearance and the interior, vestiges of its
+lofty timber-work and wainscoted vaulting.
+
+The ground-floor of the _Palais_ alone escaped damage from fire and the
+shells, thanks to a terrace of reinforced concrete.
+
+_On the left of the Palais take the Rue Carnot_, destroyed by the
+bombardments of April, 1918.
+
+The Rue Carnot communicates with the courtyard of the Chapter-House,
+also burnt, by a great gate and passage which pass right through a
+house.
+
+This entrance was built about 1530, in the transition style between the
+Gothic and Renaissance. Its elliptical arch bears a scutcheon with the
+arms of the Chapter. Consoles, decorated with grotesque figures, support
+the beams. The points of the turrets have disappeared, a supporting
+shaft has been mutilated, and the carved wooden leaves of the door have
+been removed to the Lycee, yet the gate is still imposing.
+
+It is the last remaining vestige of the Chapter buildings which, with
+their gates closing at the same time as those of the city, at the sound
+of the bell, formed a "city within a city." In point of fact, the
+Chapter was once lord of that part of the city which lies around the
+Cathedral, and which it administered. The canons, jealous of their
+prerogatives, were often in conflict with the archbishops.
+
+[Illustration: DOOR OF THE CHAPTER-HOUSE COURTYARD
+_The Northern Transept of the Cathedral is seen in the background._]
+
+A few capitals and shafts of the ancient cloister of the Chapter,
+adjoining the Cathedral, were recently discovered and placed under one
+of the penthouses built between the buttresses of Notre-Dame.
+
+_Go through the gate, cross the Place du Chapitre, follow the Rue du
+Preau towards the Cathedral, then turn to the right into the Rue Robert
+de Coucy, which leads back to the Place du Parvis Notre-Dame._
+
+
+=SECOND ITINERARY FOR VISITING RHEIMS=
+
+[Illustration (Map)]
+
+_Starting from the Place du Parvis-Notre-Dame, take the Rue Libergier,
+opposite the Cathedral. Turn to the left into the_ Rue Chanzy, which was
+destroyed by the bombardments of April-August, 1918.
+
+[Illustration: RUE CHANZY]
+
+[Illustration: DOOR AND BALCONY OF THE HOTEL DE COURTAGNON, (_18th
+Century_), _at No. 71 Rue Chanzy_]
+
+The ruins of the 18th century =Hotel Lagoille de Courtagnon= may be seen
+at No. 71 of this street. It was destroyed by the bombardments of April,
+1918, with the exception of a part of the front. The finely carved door
+and remarkable ironwork of the balcony are visible in the above
+photograph.
+
+[Illustration: ORNAMENTAL RAIN-WATER PIPE-HEAD OF LEAD UNDER THE ROOF OF
+THE HOSPICE NOEL CAQUE (_see p. 97_)]
+
+[Illustration: GALLO-ROMAN BAS-RELIEF _at No. 65, Rue de l'Universite.
+This bas-relief and the one opposite, on the wall of the Lycee, are the
+last remaining vestiges of a Gallo-Roman gate_.]
+
+The =Hospice Noel Caque= (formerly Hospice St. Marcoul), _on the right_,
+was seriously damaged by the bombardments of April, 1918. It dated from
+the middle of the 17th century, and was well preserved, with the
+exception of the chapel, rebuilt in 1873.
+
+_Take the Rue de Contrai, on the left, which leads to the_ Rue de
+l'Universite. Inserted in the facade of the house at No. 65 (_on the
+right_), and in the wall of the Lycee (_on the left_), are two stone
+=bas-reliefs= ornamented with trophies of arms and Roman insignia, the
+sole remaining vestiges of the _Porte Basee_ (_from Basilea_) which
+formerly stood there on the Caesarean way, at the southern extremity of
+the Gallo-Roman town. (_See photo above of the right-hand bas-relief._)
+
+[Illustration: THE FACADE OF THE LYCEE DESTROYED BY THE BOMBARDMENTS]
+
+_Follow the Rue de l'Universite and skirt the_ =Lycee de Garcons=, of
+which only the chapel and one of the buildings are left. The rest was
+burnt or destroyed by shell-fire.
+
+[Illustration: DOOR OF THE PETIT LYCEE, _5, Rue Vauthier-le-Noir_. _On
+either side of the arcade are heads of "Jean qui rit" and "Jean qui
+pleure."_]
+
+The Lycee replaced the old _College des Bons Enfants_, founded in the
+Middle Ages, and rebuilt in the 16th century by the Cardinal de
+Lorraine, founder of the University of Rheims.
+
+Of the old _College_, only the central part remained, in the second
+court built by Archbishop Charles Maurice Le Tellier in 1686 and the
+following years.
+
+The gate of the _Cour des Etudes_ dates from 1688.
+
+The ancient door of the College--the tympana of whose arcading contain
+two laughing and crying heads--was transferred to the entrance of the
+_Petit Lycee_, at No. 5 of the street on the right of the Lycee (Rue
+Vauthier-le-Noir) (_photo above_).
+
+_Shortly after the Lycee, turn to the right into the Place Godinot, then
+take the Rue St. Pierre-les-Dames on the right._ At No. 8 are the ruins
+of the =Abbey of St. Pierre-les-Dames=.
+
+Of this celebrated Abbey, where several royal persons stayed: _Mary
+Stuart_ twice, in her childhood and after she was widowed; _Henry IV._,
+on a visit to his cousin, the Abbess Renee II.; _Anne of Austria_, of
+whom the _Congregation_ library contains a portrait; there remains
+hardly anything but two 16th century _pavillons_ belonging to the period
+when Renee de Lorraine, sister of the Queen of Scotland and aunt of Mary
+Stuart, was abbess of the convent. Built of stone and brick with marble
+incrustations, and adorned with beautiful carvings, these _pavillons_
+were pure Renaissance in style. The head of an angel with unfolded wings
+and the head of a grinning demon surmounted the two windows of one of
+the ground-floors. On the first floor of the same _pavillon_ the window,
+framed with delicate ornaments, opened above a cornice, the principal
+sculptural subject of which was a nude woman, helmeted, suckling two
+children.
+
+[Illustration: RUINS OF THE ABBEY OF ST. PIERRE-LES-DAMES, _8, Rue St.
+Pierre-les-Dames_.]
+
+_The Rue St. Pierre-les-Dames leads to the Rue des Murs, into which turn
+to the right, then to the left into the Rue du Barbatre. Follow the
+latter to the end._ This street suffered greatly from the early
+bombardments, and was almost entirely destroyed in the summer of 1918.
+
+_At Nos. 137 and 139, at the corner of the Rue Montlaurent_, are the
+ruins of the =Hotel Feret de Montlaurent=.
+
+
+=Hotel Feret de Montlaurent.=
+
+[Illustration: GALLERY FACING THE COURTYARD OF THE HOTEL FERET DE
+MONTLAURENT
+_The statues in the niches represent the sun and planets._]
+
+This large building, occupied by the _Cercle Catholique_, was commenced
+about 1540 by Hubert Feret, a _Lieutenant_ of the people, and the most
+celebrated member of a family which played an important part at Rheims
+in the 15th, 16th, and 17th centuries. The outside facade has been
+greatly altered. At No. 137 it was entirely rebuilt under Louis XVI. At
+No. 139 the ground-floor openings have been modified.
+
+As in many of the mansions of the 16th century, most of the decoration
+is on the inner facades. Inside the courtyard, on the ground-floor of
+the wing abutting on the Rue Montlaurent, there is a six-arched gallery
+which was damaged but not destroyed (_photo,_ p. 99). Between the
+arch-centres and at the ends of the gallery are seven niches, three feet
+high, enclosing stone statues of the sun and the six planets known in
+the 16th century.
+
+Taken in their order they are: =Saturn=, with a scythe in his hand and
+serpent round his arm, devouring a child, and the zodiacal signs
+Aquarius and Capricornus at his feet; =Jupiter=, holding a lighted
+torch, with Sagittarius at his feet; =Mars=, armed from head to foot,
+surmounting Cancer and Aries; the =Sun=, personified by Phoebus with
+flowing mantle, a lion at his side; =Venus=, clothed only in her hair,
+surmounting Taurus and Baloena; =Mercury=, with wings on his head and
+heels, the caduceus in his hand, Virgo and Gemini at his feet; the
+=Moon=, represented by Diana bearing a crescent; below her Scorpio.
+
+The escutcheons on the wall at the back of this facade bear the initials
+of Regnault Feret, who completed the mansion. In the second court there
+are still vestiges of the chapel of this family.
+
+_At No. 142 of the same street_, the entrance to the =Cour Maupinot=
+(one of the numerous _cours_ which have survived in Rheims) is framed in
+pilasters, the carved entablature of which supports a triangular
+pediment (_photo below_).
+
+_The Rue Barbatre is continued by the Rue des Salines, which leads to
+the Place St. Nicaise._
+
+[Illustration: ENTRANCE TO MAUPINOT COURT. THE DOORWAY IS RENAISSANCE,
+_142, Rue du Barbatre. See Itinerary, p. 95_]
+
+The Place St. Nicaise was destroyed by the bombardments of April-August,
+1918. It took its name from the celebrated Bishop of Rheims, who, with
+his sister St. Eutropia, was put to death by the Vandals in 407.
+
+The Church of St. Nicaise, rebuilt in the 13th century by Libergier and
+Robert de Coucy, was destroyed at the time of the Revolution. Amongst
+other curiosities it contained a loose pillar, which Peter the Great had
+pointed out to him at the time of his journey through Rheims.
+
+At the corner of the Place St. Nicaise, between the Boulevard
+Victor-Hugo and the Rue St. Nicaise, is the entrance to the =Champion
+Cellars=, in which the _Dubail_ school was installed during the war
+(_see p. 24_).
+
+_Take the Rue St. Nicaise to the Boulevard Henry Vasnier (photo below),
+turn into the latter, on the right, and follow same as far as the_
+=Rond-Point St. Nicaise=.
+
+All this part of the town, which was quite close to the German lines,
+was constantly under the fire of their guns. It was violently bombarded
+during the German offensives of May, June and July, 1918.
+
+_Near the Rond-Point de St. Nicaise are the_ =Pommery Cellars=, which
+gave shelter to many citizens and school-classes during the war (_see p.
+24_).
+
+
+=The Pommery Cellars=
+
+These cellars are among the finest in Rheims, and form, with their
+eleven miles of streets, squares and boulevards lighted by electricity,
+rail-tracks, waggons, lifts, electric pumps and siphons, quite an
+underground city. A visit to them will give the tourist an idea of the
+importance and complexity of the Champagne wine industry in Rheims.
+
+[Illustration: THE "HENRY VASNIER," SEEN FROM THE "ROND-POINT ST.
+NICAISE"]
+
+[Illustration: TRENCHES AND SHELTERS IN THE SQUARE ST. NICAISE
+_See Itinerary, p. 95, and panorama seen from the top of St. Nicaise
+Hill, p. 27._]
+
+_The Boulevard Diancourt, which skirts the Square St. Nicaise, begins at
+the_ Rond-Point St. Nicaise.
+
+This square was much cut up by the bombardments, and by the trenches and
+defensive works made there during the war (_photo above_).
+
+The square contains two eminences, from the top of which there is a fine
+panoramic view of Rheims.
+
+The photograph on page 27 was taken from the eminence nearest the
+Rond-Point St. Nicaise.
+
+The other eminence is crowned by a limestone tower--all that remains of
+the ancient city ramparts.
+
+_Follow the Boulevard Diancourt to the Place Dieu-Lumiere._
+
+The name _Dieu-Lumiere_, borne by the old gate through which Joan-of-Arc
+and the Dauphin entered Rheims, was not derived, as supposed at the
+Renaissance, from the Sun-God Apollo, but from the old Gate
+_Dieu-li-Mire_ (God the Physician), so called in the Middle Ages on
+account of the proximity of a Cistercian hospital.
+
+_Cross the square and take the Rue Dieu-Lumiere on the right to the_
+Place St.-Timothee. The wood-panelled houses, whose _loges_ faced the
+Place St.-Timothee, were destroyed by the bombardments of
+April-September, 1918, except the one at the corner of the Rue St.
+Julien. This house, though severely damaged, has retained its butcher's
+stall with 17th century wooden balustrading.
+
+_Take the Rue St. Julien on the left to the Place St.-Remi, in which
+stands the_ =Church of St. Remi=.
+
+
+=The Church of St. Remi=
+
+The Church of St. Remi is the oldest church in Rheims, and one of the
+oldest in all France. Although it is not certain that it replaced a
+Roman basilica, said to have stood on the site of the present transept,
+there is no doubt that Gallo-Roman building materials, taken from
+neighbouring edifices, were used in its construction or restoration.
+
+To-day, the church covers a ground-space of about an acre and a quarter.
+In shape a Latin cross, it measures inside about 450 feet in length, 98
+feet in breadth and 124 feet in height under the vaulting. Only the
+southern facade shows to advantage, but in spite of its varied styles,
+which mark the different stages of its growth, the church realises to
+the full the purpose of its founders. Its architecture and decoration,
+especially in the interior, make it, as was intended, a grand and
+dignified depository for sacred remains.
+
+The Church of St. Remi stands on the site of a former cemetery, in the
+middle of which was the Chapel of St. Christopher, where St. Remi was
+buried. The chapel soon became popular and grew rapidly, especially
+between the 6th and 9th centuries, when it became a great fortified
+church. The present church, which replaced it, is not only one of the
+finest Romanesque churches in the north of France, but also forms a
+curious epitome of the history of architecture for several centuries.
+Begun in 1039 under Abbot Thierry, it was still far from finished when
+consecrated in 1049 by Pope Leo IX. Building was continued in 1170 by
+Abbot Pierre de Celle, the future Bishop of Chartres, whose restorations
+were the first application of the Gothic style to a great building in
+Rheims; in the 13th and 14th centuries, under Abbot Jean Canart, and in
+the 15th century, under Abbot Robert de Lenoncourt. Partially
+transformed at the end of the 16th century, it has been restored and
+partly rebuilt at intervals since 1839.
+
+
+=The Church of St. Remi during the War=
+
+The Church of St. Remi escaped severe damage until the middle of 1918.
+The bombardment of September 4, 1914, injured one of the tapestries
+depicting the life of St. Remi, and destroyed a fine painting: _The
+Entry of Clovis into Rheims_. The bombardment of November 16, 1914,
+wrecked the apsidal chapel of the Virgin, bringing down the vaulting,
+destroying the key-stone and pointed arches, crushing the altar beneath
+a heap of ruins, smashing the magnificent windows of the apsidal
+gallery, and destroying the priceless 12th century stained-glass
+depicting _Christ crucified between the Virgin and St. John_. The Church
+narrowly escaped destruction when the Hotel-Dieu Hospital was burnt down
+in 1916. From April, 1918, it was marked down by the German batteries.
+The roof was entirely burnt, and the dummy vaulting of the nave
+collapsed. Of the fine 15th century timber-work nothing remains, but
+parts of the lofty 13th century vaulting over the choir and transept
+withstood the bombardment. The treasure, tapestries, sacristy doors,
+storied tile-flooring of the chapel of St. Eloi, the old stained-glass
+of the lofty windows, and the apsidal windows round the gallery of the
+first storey, were saved by the Historical Monuments Department.
+
+The tomb of St. Remi is intact. The relics of the saint which, at the
+request of the Archbishop of Rheims had not been disturbed, were removed
+by the vicar of the parish at the time of the final evacuation of the
+town. The reliquary was taken away by officers at a later date, while
+the church was burning.
+
+
+=The Apse of St. Remi Church=
+
+The Apse was rebuilt under Pierre de Celle in 1170, in early Gothic.
+Five three-sided radiating chapels arranged in three stages, one behind
+the other, have flowing and elegant lines, broken by the enormous
+projections of the buttresses which were added at a later period.
+
+This apse is one of the earliest religious edifices in France, in which
+flying buttresses were employed.
+
+The latter, very simple in design, rest on outside fluted columns
+detached from the wall of the apse. This is one of the last examples of
+fluting, as applied to columns, the process disappearing generally with
+the introduction of pointed architecture, only to reappear at the
+Renaissance.
+
+The persistence of this fluting is doubtless explained by the influence
+of the many specimens of Roman architecture which Rheims had preserved.
+
+
+=The Doorway of the Southern Transept=
+
+Although the transept dates from the 11th century, its southern facade
+was built in 1480 by Robert de Lenoncourt.
+
+The doorway, which bears the Lenoncourt arms, comprises only one door,
+divided by a pillar with statues of St. Remi and the Virgin.
+
+The deep vaulting of the door is ornamented with vine-foliage. At the
+base, in the supporting walls, are statues of St. Sixtus and St.
+Sinicius (the first missionaries to Rheims) bare-footed, clothed in long
+embroidered mantles and holding books. In the vaulting above the
+head-covering of the missionaries are eight groups of statuettes
+representing episodes in the Life and Passion of Jesus.
+
+Tourists who follow the Itinerary on page 95, come out by the Rue St.
+Julien, in front of the doorway of the south transept. The latter is
+between the ruined apse (_on the right_) and the south lateral facade
+(_on the left_).
+
+[Illustration: SOUTHERN TRANSEPT OF ST. REMI CHURCH]
+
+[Illustration: DOORWAY OF THE SOUTHERN TRANSEPT (_see photo, p. 104_)]
+
+The 15th century leaves of the door are composed of wood panels in blind
+arcading, ornamented with flowering clover.
+
+On the buttresses which frame the doorway are five statues of saints,
+including St. Remi, St. Benedict, and St. Christopher carrying a
+kneeling Jesus on his shoulder.
+
+The tympanum of the gable above the great flamboyant window is arranged
+on a Gothic pediment. Its decoration represents the _Assumption of the
+Virgin and her crowning in Heaven_.
+
+On the top of the pediment, and crowning the whole, is St. Michael
+trampling Satan underfoot.
+
+The whole of the doorway is a beautiful example of Flamboyant Gothic.
+Its rich carvings and delicate ornamentation are in striking contrast
+with the severity of the rest of the building.
+
+At the intersection of the transept, there was formerly a wooden spire,
+built in 1394, which was pulled down as unsafe in 1825, by order of
+those who had charge of the arrangements connected with the consecration
+of Charles X.
+
+On the right-hand side of the transept, and also in the north transept,
+are small semi-circular chapels.
+
+
+=South Lateral Facade=
+
+This front has the bare, massive appearance of the 11th century
+buildings. The remarkable Roman arches, massive buttresses and blind
+doorway, framed by two primitive capitals with a wreath-shaped astragal,
+are apparently vestiges of constructions of an earlier date than those
+of Abbot Thierry.
+
+The semi-cylindrical abutments are among the oldest of mediaeval
+buttresses. They are crowned with cones or capitals, the greater part of
+which are devoid of decoration.
+
+
+=The West Front of St. Remi Church=
+
+[Illustration (St. Remi Church)]
+
+Between its two towers, this gabled facade, the recesses and blind
+arcading of which form almost its sole decoration, is in strong contrast
+with the principal facade of the Cathedral. At once elegant and severe,
+like most of the monastic buildings of the 12th century, it lacks unity.
+All that part situated above the five windows of the first storey,
+including the rose-window, has been rebuilt in modern times. The very
+simple rose-window, between two lines of superimposed arcading, is
+protected, in the Champagne style, by a relieving-arch. The northern
+tower (_on the left_) was almost entirely rebuilt in the 19th century,
+on the lines of the old one. The simpler southern tower (_on the
+right_), with its arched windows and loopholes, is Roman of the 11th or
+12th century. The pointed part of the facade is late 12th century, and
+dates from the time of the restorations by Pierre de Celle.
+
+Three doors open on the nave. The central one is flanked by two columns
+with statues of St. Peter and St. Remi. The marble and granite columns
+came, no doubt, from some neighbouring Gallo-Roman building. These
+statues, with arms pressed close to their sides in the ancient stiff
+manner, are probably from the original basilicas.
+
+
+=The Inner Side of the Western Doorway=
+
+Here, the architecture is peculiar. Pierced columns form a gallery
+connecting the upper courses. The galleries of the first storey are
+supported by two great columnar shafts, each formed of two portions
+joined by a stone ring and surmounted by bell-shaped marble capitals.
+The columns and capitals are Gallo-Roman.
+
+
+=The Nave=
+
+[Illustration: THE NAVE (_seen from the Choir_) (_Cliche LL._)]
+
+Alterations were made at different times to the nave which, in the 11th
+century, had a timber-work roof. Pierre de Celle lengthened it by two
+bays, the pointed arches of which contrast with the circular ones of the
+lower bays, and also increased its height. _Note the ogives above the
+round arches._ The visible timber-work was replaced with vaulting on
+diagonal ribs sustained by clusters of small Gothic columns backing up
+against the Roman piers, the latter being still visible. These heavy
+piers (composed of fourteen small columns) which surround the central
+nave, and whose capitals (_photo, p. 108_), with Barbaric wreathed
+astragals and foliage, recall the Carolingian period, contrast
+strikingly with the lightness of the apse. They are undoubtedly 11th
+century. All the stone vaulting of the nave, as far as the transept,
+was replaced after 1839 with wood and plaster, which collapsed under the
+bombardments of 1918, when the roof was burnt.
+
+[Illustration: ROMAN CAPITAL IN THE NAVE]
+
+[Illustration: THE NAVE AND CHOIR IN 1914 (_Cliche LL._)]
+
+The pulpit, with its Benedictine monogram, is late 17th century. It is
+ornamented with three bas-reliefs: _St. Remi receiving the Sacred
+Ampulla_, _St. Benedict imploring the Holy Spirit_, and _St. Benedict
+giving the Injunction to his monks_. As far as the pulpit, on both sides
+of the nave, the granite columns resting on the piers date from the
+Gallo-Roman period.
+
+[Illustration: TRIFORIUM OF ST. REMI CHURCH (_seen from entrance_)]
+
+The side-aisles of the nave are surmounted with a triforium (_photo
+above_) with semi-circular vaulting at right-angles to the nave. The
+south aisle is almost entirely in ruins (_photo, p. 107_).
+
+[Illustration: THE NAVE AND CHOIR IN 1919]
+
+
+=The Tapestries=
+
+The priceless tapestries which, before the war, decorated the tribunals
+of the side-aisles, were saved.
+
+[Illustration: THE TENTH TAPESTRY OF ST. REMI, DAMAGED BY
+SHELL-SPLINTERS ON SEPT. 4, 1914
+(_See description, pp. 110, 111._)]
+
+Those given by Robert de Lenoncourt and restored by _Les Gobelins_, are
+rich in composition and decorative effect. In an architectural frame of
+the Renaissance period, they represent the following legendary scenes
+from the life of St. Remi, the costumes belonging to the period of
+Francois I.:--
+
+1. The blind hermit Montanus visits the new-born Remi, who, touching him
+with his fingers wet with milk, restores his sight.
+
+2. The hermit St. Remi, called by the people to the bishopric, receives
+the mitre.
+
+3. Four miracles are performed by the saint: he extinguishes a fire
+lighted by demons in the city; he restores life to a girl; he is served
+at table by angels; when wine ran short at the table of his cousin
+Celsa, he blessed an empty cask, which was immediately filled.
+
+4. The Battle of Tolbiac; Clovis instructed and baptized by Remi; the
+miraculous dove and an angel bring from heaven the Sacred Ampulla and
+the fleur-de-lys scutcheon.
+
+5. Remi gives Clovis a cask of wine, telling him that he will always be
+victorious so long as the cask remains full; a miller who refused to
+give his mill to the Church, sees his wheel turn the wrong way and his
+mill fall down; St. Genebaud, Bishop of Soissons, punished by Remi for
+his sins, is afterwards delivered from his fetters by the saint.
+
+6. The miracle of Hydrissen: Remi raises a man from the dead, who
+confirms his wish to leave a portion of his wealth to the Church, to the
+confusion of his son-in-law who contested the will.
+
+7. Remi contemplating a heap of corn which he had collected to provide
+against famine, and which some drunkards had burnt. At a Council, Remi
+paralyses the tongue of a heretic priest, and then restores speech to
+him after repentance.
+
+8. Remi, singing Matins in the chapel of the Virgin, is assisted by St.
+Peter and St. Paul and blessed by Mary. Remi, blind, dictates his will
+in the presence of St. Genebaud and St. Medard. Remi recovers his sight,
+celebrates mass and gives the Communion to his clergy. Remi dies and
+four angels carry away his soul.
+
+9. Remi's funeral; the procession goes towards the church of St.
+Timothy, where it is proposed to bury the saint, but in front of St.
+Christopher's, on the site of the present basilica, the saint, by making
+it impossible to lift his coffin, manifests his desire to be interred in
+this chapel. The saint's winding-sheet, carried in procession, dispels
+the plague that had been ravaging the city.
+
+10. Angels transfer the relics of the saint to his mausoleum. A soldier
+who had tried to break in the door of the church, cannot withdraw his
+foot. Remi punishes the Bishop of Mayence, guilty of theft. Remi reveals
+himself with the Virgin and St. John. The Archbishop of Rheims, Robert
+de Lenoncourt, kneeling, presents the ten pieces of tapestry to the
+saint.
+
+The latter tapestry was riddled with splinters (_photo, p. 110_) during
+the bombardment of September 4, 1914.
+
+
+=The Treasure=
+
+This was kept in the sacristy, the 15th century carved wood doors of
+which have Flamboyant style frames.
+
+Formerly the richest of all the church treasures of France, it was
+impoverished in the course of the centuries, through wars and
+revolutions.
+
+The =enamels= by Landin of Limoges (1633), dedicated to the lives of St.
+Timothy and St. Remi, a 12th century abbot's =crozier=, =reliquaries=
+and =sacerdotal ornaments= are noteworthy.
+
+The treasure was removed, together with the doors of the sacristy, by
+the Historical Monuments Department.
+
+
+=The North Transept=
+
+Three small white marble Gallo-Roman or Carolingian capitals crown the
+colonnettes of the triforium.
+
+Formerly, the church contained several tombs. Let into the wall of the
+north transept is a Latin epitaph, praising the virtues of a woman named
+Guiberge, who seems to have combined in her person the perfections of
+six women, _i.e._ the beauty of Rachel, the fidelity of Rebecca, the
+modesty of Susanna, the piety of Tabitha, the warm affections of Ruth,
+and the high morals of Anna.
+
+[Illustration: THE RUINED TRANSEPT
+_In the foreground: Renaissance Balustrade round the Choir (see p. 115),
+at the intersection of the Northern Transept. At the back: Inner side of
+the South Transept Door._]
+
+
+=The South Transept=
+
+The first chapel on the right of the apse, against the transept, is the
+chapel of St. Eloi.
+
+In 1846, forty-eight storied flag-stones, taken from the flooring of the
+sanctuary of the church of St. Nicaise and collected by the architect
+Brunette, were placed there.
+
+These 14th century lozenge-shaped stones are engraved in black, the
+hollowed-out portions being filled with lead. Each stone has a pretty
+border with a square medallion, in the middle of which two or three
+figures represent a scene from the Old Testament, from Noah to Daniel in
+the lions' den.
+
+This chapel also contained two very expressive mediaeval statues of
+painted wood and a 14th century Christ, all of which came from the old
+church of St. Balsamic.
+
+The second chapel on the eastern side of the south transept contained an
+Entombment dating from 1531. In this group, which belonged to the old
+church of the Commandery of the Temple of Rheims, Joseph of Arimathea
+and Nicodemus hold the winding-sheet. Salome, and Mary the mother of St.
+James, stand near the tomb, while the Virgin, overcome with grief, is
+supported by St. John.
+
+[Illustration: THE SIXTEENTH CENTURY ENTOMBMENT, FORMERLY IN ONE OF THE
+CHAPELS OF THE SOUTHERN TRANSEPT (_Cliche LL._)]
+
+Facing this Burial Scene was the Altar-screen of the Three Baptisms, the
+work of Nicolas Jacques and the gift of Jean Lespagnol in 1610. This
+screen, which formed the background of the baptismal fonts, represented
+in three bas-reliefs: The baptism of Clovis (_on the right_), the
+baptism of Jesus by John the Baptist (_in the centre_), and the baptism
+of Constantine (_on the left_).
+
+The railing round the baptismal fonts belongs to the second half of the
+18th century, and was taken from the church of St. Pierre-le-Vieil.
+
+
+=The Choir of St. Remi Church=
+
+[Illustration: SCULPTURED CONSOLES OF COLONNETTES IN THE CHOIR]
+
+The Choir was rebuilt by Pierre de Celle. The plan is very like that of
+the choir of the Cathedral, of which it is the prototype.
+
+As in the Cathedral, it intrudes upon the nave, of which it occupies the
+three last bays. In the latter, the columns placed against the six piers
+were removed. The groups of small columns which support the ribs of the
+vaulting rest upon a corbel-table carried by three consoles (_photo
+above_), which in turn rest on colonnettes with crocketed capitals. The
+central consoles are ornamented with figures of angels and symbolic
+animals, while under the lateral consoles are statuettes of prophets
+holding scrolls, on which their names are inscribed in painted letters.
+
+Five circular radiating chapels open out on the vast ambulatory. The
+plan of the latter, like that of Notre-Dame-de-Chalons, evokes all that
+is most original in the Gothic architecture of Champagne. The bays with
+their alternations of square-ogival and triangular vaulting do not
+correspond with the breadth of the radiating chapels, which are
+connected to one another by three arcades resting on light columns. In
+the lower nave, from the curiously large number of points of support, it
+would seem that the builders had doubts as to the strength of the
+pointed style and, by way of precaution, greatly increased the number of
+points of support inside the church and of the exterior buttresses. The
+tribunes rising above the arcades are surmounted with a triforium
+lighted by high windows, which still retain their beautiful early 18th
+century stained-glass. The somewhat stiff figures stand out on a
+uniformly blue ground. In the upper part, apostles, evangelists, and the
+sixteen greater prophets are grouped around a stately Virgin. In the
+lower part, the principal archbishops of Rheims on thrones are seated
+round St. Remi who occupies the place of honour below the Virgin. In the
+two last windows are effigies of Archbishops Samson (_deceased in 1161_)
+and Henry of France, during whose episcopate Pierre de Celle caused the
+apse to be built.
+
+[Illustration: FRAGMENT OF PASCHAL CHANDELIER DESTROYED BY THE
+BOMBARDMENTS OF 1914]
+
+The choir is surrounded by a Renaissance railing which is out of harmony
+with the general scheme. It was erected between 1656 and 1669, at the
+joint expense of the widow of the famous barrister Omer Talon, the Town
+Council, the Duke of Longueville, and the Grand Prior of St. Remi. The
+sculptor Francois Jacques seems to have co-operated therewith.
+
+The great _crown of light_ hanging at the entrance to the choir was an
+imitation of the original crown, destroyed in 1793, and which was
+garnished with ninety-six candles, symbolizing the ninety-six years of
+St. Remi's life (_see p. 108_).
+
+The 18th century high-altar of red marble which, like the cross and the
+six chandeliers, came from the church of the Minims, was crushed beneath
+the falling vaulting.
+
+At the time of the Revolution (1792) the chandelier (masterpiece of the
+old Rheims metal-founders), which adorned the centre of the Sanctuary,
+was broken and melted down, with the exception of a portion of one of
+the feet. This fragment (_photo above_), preserved in the Archaeological
+Museum, was destroyed by the bombardment of 1914.
+
+
+=The Tomb and Reliquary of St. Remi=
+
+[Illustration: TOMB AND RELIQUARY OF ST. REMI]
+
+The present tomb, erected in 1847, is only a memorial of the sumptuous
+mausoleum, profusely decorated with gold medals, diamonds and sapphires,
+which was destroyed at the time of the Revolution.
+
+It is a Renaissance chapel, ornamented with the statues of the original
+tomb, which form by far the most interesting part of the monument. The
+twelve Peers are represented in their coronation robes: the Archbishop,
+Duke of Rheims, carries the Cross; the Archbishop, Duke of Laon, the
+sceptre; the Bishop, Count of Beauvais, the royal mantle; the Bishop,
+Count of Chalons, the ring; the Bishop, Count of Noyon, the girdle; the
+Duke of Burgundy, the crown; the Duke of Aquitaine, the standard; the
+Duke of Normandy, a second standard; the Count of Flanders, the sword;
+the Count of Toulouse, the spurs; the Count of Champagne, the military
+standard of the King.
+
+The Reliquary of St. Remi, which is in the mausoleum, dates from 1896.
+It was bought by national subscription and presented to the church on
+the occasion of the centenary of the baptism of Clovis. In the niches of
+the lower part of the reliquary are statuettes of the twelve apostles.
+Higher up, in the recesses of the long sides, enamels illustrating
+episodes in the life of St. Remi are imbedded. On the two ends, two
+enamels represent the Battle of Tolbiac and the Baptism of Clovis.
+
+_Leave the Church of St. Remi by the western doorway, which faces the
+Place de l'Hopital civil, cross the square, then turn to the right into
+the Rue Simon. The entrance to the_ Hotel-Dieu Hospital _is on the
+right_.
+
+
+=The Hotel-Dieu=
+
+This hospital is installed in the buildings of the ancient Abbey of the
+Benedictine monks of St. Remi who, for centuries, were the guardians of
+the relics of the famous Bishop of Rheims.
+
+During the invasion, at the time of the Revolution, the Abbey was
+transformed into a military hospital, but it was only in 1827 that it
+became officially the _Hotel-Dieu,_ in place of the old Municipal
+Hospital (_see "Palais de Justice" p. 93_). The furnishings of the
+latter were then transferred to the Abbey buildings, disaffected since
+the Restoration.
+
+Of the ancient abbey, where _Charles-le-Simple_ and the _Duc Robert_
+were proclaimed king, and where several archbishops were elected, only a
+few vestiges remain. Damaged by the fires of 1098, 1481, and 1751, it
+was completely destroyed by the great conflagration of January 15, 1774.
+The present abbey, rebuilt by Duroche, the King's architect, was
+scarcely finished when the Revolution broke out.
+
+Incendiary bombs dropped by German aeroplanes in August, 1916, destroyed
+most of the buildings.
+
+The monumental facade which faces the Court of Honour is Louis XVI. in
+style.
+
+The second court, that behind the main buildings, is bordered by a
+cloister built by the Rheims architect, Nicolas Bonhomme, in the first
+part of the 18th century, in place of the 13th and 14th century cloister
+destroyed in 1707. The buttresses of the side which abuts on the church
+of St. Remi, and those of the opposite side, are 12th century.
+
+The marble fountain with bronze furnishings, in the centre of the court,
+was formerly in the Place St. Nicaise. It was erected in 1750 from
+designs by _Coustou_.
+
+[Illustration: THE CLOISTER AND FOUNTAIN OF THE HOTEL-DIEU]
+
+[Illustration: THE GRAND STAIRCASE OF THE HOTEL-DIEU
+_Through the windows is seen the North Front of St. Remi._]
+
+_At the back of the court, on the left_, is an exceedingly fine Louis
+XVI. staircase with wrought-iron handrail (_photo above_).
+
+The =Lapidary Museum=, which was formerly in the crypt of the
+archi-episcopal chapel (_see p. 65_), was installed under one of the
+galleries of the cloister in 1896. Of the tombstones, storied
+floor-tiles, and various carvings which it contains, the most remarkable
+is the =Tomb of Jovinus=.
+
+Consul in 367, Jovinus commanded the armies in Gaul, under the Emperor
+Julian, and successfully resisted three attempts at invasion by the
+Alemanni. As a Christian, he founded a basilica at Rheims.
+
+The white marble tomb with carvings is apparently Graeco-Roman of the 3rd
+century, and dates back before the time of Jovinus, who died in 370. It
+is possible that Jovinus had the first occupant of the tomb ejected, or
+that he bought an old sarcophagus and had his own portrait affixed to
+it.
+
+The chapel installed in the old library of the abbey contained some fine
+Louis XVI. wood carvings (_see photo below of the ruins of the chapel_).
+
+[Illustration: CHAPEL OF THE HOTEL-DIEU IN 1919]
+
+[Illustration: THE OLD CHAPTER-HOUSE OF THE ABBEY]
+
+The =chapter-house= of the abbey, which served as a refectory, was
+rebuilt about the end of the 12th century. With its pointed arches, it
+belonged to the early period of Gothic architecture. The most remarkable
+portion was the vestibule facing the cloister. The decoration of the
+lateral arcades of the vestibule included Roman capitals, nearly all of
+which are intact (_photo below_), and which are of great value from the
+standpoint of the history of art and costumes. In the refectory were the
+_Godard_ tables made out of a single branch of a gigantic oak-tree from
+the forest of St. Basle. They were given to the old _Hotel-Dieu_ by
+Canon Godard, whose name is incrusted in lead in the wood, as a rebus:
+_Go_, followed by the figure of a dart (French: _dard_).
+
+Near the chapter-house, a round-arched chamber was all that remained of
+the early portion of the abbey.
+
+[Illustration: ROMAN CAPITALS IN THE VESTIBULE OF THE CHAPTER-HOUSE]
+
+[Illustration: THE GRAND STAIRCASE OF THE HOPITAL GENERAL]
+
+_After visiting the Hotel-Dieu, follow the Rue Simon, which skirts the
+Ecole de Medecine, then turn to the right into the Rue St. Remi. At the
+end of same, take the Rue Gambetta on the left, and follow it as far as
+the_ =Hopital General= _on the right._
+
+
+=The Hopital General=
+
+This is the old Order-House of the Jesuits, built at the beginning of
+the 17th century. The =refectory= is ornamented with rich woodwork and
+paintings, by the Rheims artist Helart. Of greater interest is the
+_library_, situated under the gables, and which is reached by a fine
+staircase. The room is adorned with a profusion of wood-carvings and
+mouldings. Exceedingly fine consoles carry the ceiling, whose carved
+panels are profusely ornamented with crowns, polygons, florets and heads
+of angels. The oaken pilasters which separate the bookshelves are
+decorated with a variety of leaves and flowers. In spite of this wealth
+of ornament, the general effect is harmonious. The recesses in the
+woodwork, opposite the dummy dormer-windows, were for reading.
+
+Ancient vines cover the walls of the chapel, near the entrance to the
+_hopital_.
+
+_At the side of the Hopital General stands the_ =Church of St. Maurice=.
+
+This church was entirely rebuilt by the Jesuits after the destruction of
+the ancient edifice, which was one of the oldest in Rheims. Here may be
+seen the _Eagle Reading-Desk_, a fine piece of 17th century
+wood-carving; two _Louis XIV. portable iron desks_ and the _paschal
+chandelier_ of carved wood; the _17th century confessionals_ of the
+lateral chapels, and in the sacristy remarkable _Louis XIII.,
+hand-embroidered guipures_ of open-work designs, after the style of the
+models by the Rheims artist, Georges Baussonnet.
+
+_Return to the Place du Parvis, in front of the Cathedral, via the Rue
+Gambetta and its continuation, the Rue Chanzy._
+
+
+
+
+A VISIT TO THE BATTLEFIELDS AROUND RHEIMS
+
+
+[Illustration (Map)]
+
+A thorough visit can be made in two days.
+
+The Itinerary for each day is divided into two parts, to allow tourists
+to return to Rheims for lunch.
+
+    =First Day=  { Morning    pp. 122-133.
+                 { Afternoon  pp. 134-159.
+
+    =Second Day= { Morning    pp. 160-165.
+                 { Afternoon  pp. 166-174.
+
+
+
+
+FIRST DAY
+
+MORNING
+
+=THE MOUNTAIN OF RHEIMS=
+
+(_See the complete Itineraries on p. 121, and the summary of the war
+operations on p. 131._)
+
+[Illustration (Map)]
+
+This part of the Itinerary will take the tourist to the most important
+points of the last German offensive of 1918, which aimed at the capture
+of Rheims.
+
+_Starting from the Place du Parvis Notre-Dame, take the Rue Libergier,
+opposite the Cathedral, turn to the right into the Rue Chanzy, follow
+same as far as the Rue de Vesle, take the latter on the left, and follow
+it to the end._
+
+_After the_ =Porte de Paris= _(see p. 68) the Rue de Vesle becomes the
+Avenue de Paris. Take same, but after passing under the railway bridge,
+turn to the left into the Avenue d'Epernay (R. N. 51, see plan, p.
+121)._
+
+_Take the second street on the right (Rue de Bezannes), which passes in
+front of the_ =Western Cemetery=, devastated by the bombardments.
+
+The road crosses numerous lines of trenches and boyaux, which defended
+the immediate approaches to Rheims.
+
+_Before reaching Bezannes village, leave on the right, two roads which
+skirt a large estate enclosed with railings, go straight on to the
+ruined railway-station of Bezannes, then turn to the right._
+
+
+=Bezannes=
+
+(_See Itinerary, p. 122._)
+
+_Cross the first group of half-ruined houses, then, on reaching a second
+group, which forms the main part of the village, turn to the left into
+the first street encountered, where the_ partially destroyed church
+_stands_.
+
+The round-vaulted apse, tower, nave and aisles all belong to the
+Romanesque period. The Gothic doorway is 13th, and the spire of the
+belfry 15th century.
+
+The square tower greatly resembles the old belfry on the doorway of St.
+Remi Church in Rheims, and, like the latter, dates apparently from the
+middle of the 11th century.
+
+The Gothic doorway of the west front is set up against a Romanesque
+wall. The gable has been rebuilt in modern times. Vestiges of an ancient
+portal are to be found on each side of the doorway. The key-stones of
+the arch above the tympanum, like those of the upper arching, are
+numbered in Roman figures, a peculiarity rarely to be found.
+
+Facing the doorway of the church, on the left of the great entrance-door
+to a court, is a niche containing a 16th century stone =statue=
+representing a bishop wearing a chasuble.
+
+In the court of the same house, over the door of the main structure, on
+the right, in an arched Renaissance niche, hollowed out and ornamented
+with marble incrustations, is the =statue= of a canon with folded hands
+kneeling at the foot of a crucifixion.
+
+A shell-splinter took off the head of the bishop's statue, but the other
+group is intact.
+
+Those interested in things pre-historic, may visit the =Pistat
+Collection= at Bezannes, which contains a great number of interesting
+specimens belonging to the stone and neolithic ages, and to the Gallic
+and Roman periods of the region.
+
+Of the old castles of Bezannes, nothing of interest remains.
+
+On September 11, 1914, during the Battle of the Marne, the German Staff
+took up their quarters in the house of M. Poullot. On the 12th, the
+battle attained the vicinity of the village.
+
+_Skirt the church, and at the cross-roads at the end of the village,
+keep straight on, past the cemetery on the right._
+
+[Illustration: CHURCH OF BEZANNES IN 1914]
+
+_The road climbs a small hill lined with trenches, then descends to the
+village of_ =Les Mesneux=.
+
+_At the entrance to this village (which is of no particular interest)
+turn to the right, and at the fork about fifty yards farther on, to the
+left, leaving the unmetalled road on the right._
+
+_About half-a-mile from Les Mesneux and shortly before reaching the
+crossing with the road to Rheims (G. C. 6)_, there is a small wood at
+the place called =Le Champ Clairon=. It was from here that German
+batteries under Colonel von Roeder fired on Rheims on September 4, 1914,
+in spite of the protestations of the Mayor of Les Mesneux, who assured
+the German commander that the French troops had completely evacuated the
+town.
+
+_At the crossing with G. C. 6, keep straight on to Ormes_, whose church,
+at the entrance to the village, was almost entirely destroyed.
+
+
+=Ormes=
+
+(_See Itinerary, p. 122._)
+
+This village, in addition to numerous subterranean passages and
+chambers, possesses the interesting 12th century =Church St. Remi=
+(_photo below_).
+
+Its circular apse with cornice resting on corbels is barrel-vaulted.
+Colonnettes in the great bays of the steeple (in ruins) carry carved
+12th century capitals.
+
+The pointed vaulting of the southern transept is 12th century, and the
+ogival groining rests on Norman capitals. The doorway of the western
+facade dates from the second half of the 12th century, and although its
+porch was destroyed in 1853 it is still remarkable.
+
+[Illustration: THE CHURCH OF ORMES]
+
+[Illustration: THE INSIDE OF ORMES CHURCH]
+
+It comprises three tierce-pointed arcades surmounted by a line of
+billet-moulding. The lateral arcades are blind, while the higher central
+arcading around the door is surmounted with three receding _tori_
+resting on crocketed foliate capitals. The lateral arcades have similar
+capitals but only one _torus_.
+
+Inside the church are interesting =16th century statues=: _St. Barbara_
+in stone and _St. Catharine_, painted and decorated, face the altar;
+_St. Remi_ in stone, remarkable for its costume and decoration, stands
+above the altar of the northern chapel; a wooden _Virgin_ surmounts the
+inner doorway.
+
+[Illustration: ALTAR-SCREEN OF THE CHOIR]
+
+[Illustration: THE ROAD FROM RHEIMS TO JOUY, NEAR THE LATTER VILLAGE
+_Note the camouflaging._]
+
+_Return by the same road to the crossing with the road to Rheims (G. C.
+6), where, opposite the_ =Cafe du Joyeux Laboureur=, _turn to the
+right._
+
+The road rises towards the Mountain of Rheims. Of the _camouflaging_
+seen in above photograph, only traces remain.
+
+_Shortly after, the tourist passes between the villages of_ =Jouy= _and_
+=Pargny=, _whose houses border the road._ Jouy (_on the left_) and
+Pargny (_on the right_) were bombarded by the Germans in June, 1915.
+
+The =Church of Jouy=, visible from the road to Rheims, was almost
+entirely destroyed.
+
+_To visit the church of Pargny, turn to the right opposite the grocery
+stores, No. 262, then take the second street on the left_ (near a fine
+mansion partly in ruins).
+
+_About 100 yards farther on is_ the church, the belfry of which was
+destroyed. _Return to the crossing with the main road to Rheims, where
+turn to the right._
+
+The road continues to climb the northern slopes of the Mountain of
+Rheims. On a hill to the left, the =Chapel of St. Lie= dominates the
+surrounding plain. There is a very fine view of Rheims from here.
+
+_The top of the rise is reached soon afterwards. Descend the southern
+slopes, passing between the sidings of an_ important material and
+ammunition depot situated on the reverse side of the mountain out of
+sight of the enemy's observation-posts. _On reaching the crossing
+half-way down the hill, leave on the left the two roads leading
+respectively to_ =Ville Dommange= _and_ =Courmas=.
+
+_A short distance further on, after passing the road to Onrezy (on the
+left), take the following narrow road on the left_, which passes between
+clumps of trees that were cut to pieces by shell-fire.
+
+_A little further on, on the right, is a_ cemetery containing the graves
+of some two hundred French, British and Italian soldiers.
+
+_Turn to the right after the cemetery._ The road crosses a fine avenue
+bordered with shell-torn poplar trees, leading to the =Castle of
+Commetreuil= _on the left_. _The village of_ =Bouilly= is reached soon
+afterwards.
+
+
+[Illustration: THE END OF BOUILLY VILLAGE
+(_going towards St. Euphraise_).]
+
+
+=Bouilly--St. Euphraise--Clairizet=
+
+(_See pp. 131-132, and Itinerary, p. 122._)
+
+Bouilly was burnt by the Germans on September 12, 1914, under the
+pretext that the inhabitants had caused the death of two _Uhlans_ killed
+the day before by French _Chasseurs_.
+
+_Turn to the right opposite the Church of Bouilly._ There is a small
+cemetery on the right, just outside the village, containing several
+German graves.
+
+_On reaching G.C. 6, leading to Rheims, turn to the right. Take the
+first road on the left_, which passes through a small devastated wood,
+where batteries of guns were posted. _Cross a small stream, and
+immediately afterwards the railway, then turn to the left into the
+village of_ =St. Euphraise=.
+
+_Turn to the right in the village, opposite the church._ The road rises
+steeply to the hamlet of =Clairizet=, which was almost entirely
+destroyed. _Pass by a_ "Calvary," composed of four large trees
+surrounding a cross, _then turn to the left into a small narrow street_.
+
+[Illustration: RUINED CHURCH OF ST. EUPHRAISE]
+
+[Illustration: COULOMMES VILLAGE SEEN FROM THE CHURCH]
+
+
+=Coulommes-la-Montagne--Vrigny=
+
+(_See Itinerary, p. 122._)
+
+_The road rises, then descends to_ =Coulommes-la-Montagne=. _Turn to the
+right at the entrance to the village._ The church, in ruins, is on the
+left.
+
+_At the cross-roads just outside the village take G.C. 26 on the left.
+At first, the road dips rather abruptly, then rises to_ =Vrigny=.
+
+The Church of Vrigny, entirely in ruins, is on the right at the entrance
+to the village. _Pass the Town Hall, leaving a public washing-place on
+the left, then turn to the right._
+
+_On leaving the village, take G.C. 26 on the left to the village of_
+=Gueux=.
+
+[Illustration: RUINS OF THE CHURCH AT VRIGNY]
+
+[Illustration: RUINS OF THE CHURCH OF GUEUX IN 1918]
+
+
+=Gueux=
+
+(_See pp. 131-132 and Itinerary, p. 122._)
+
+Gueux is a small old-world village, with ancient houses, castle and
+church.
+
+At the entrance to the village, a large square with trees, cut to pieces
+and devastated by the bombardment.
+
+_From the square, go to the_ =Church= _on the right_, now a heap of
+ruins. Seen through the trees from the square it forms a pitiful sight.
+
+In the chapel, on the left of the main entrance, there was a fine piece
+of Renaissance carving.
+
+[Illustration: GUEUX CHURCH IN 1917
+_Cardinal Lucon coming out of the Church (see above.)_]
+
+It was to Gueux that the Archbishop of Rheims, Mgr. Lucon, betook
+himself after the bombardments of April, 1917. The village cemetery
+contains many soldiers' graves. The Cardinal-Archbishop of Rheims
+presided at a pathetic ceremony held during the War in honour of the
+dead.
+
+[Illustration: THE ANCIENT CASTLE OF GUEUX]
+
+_To visit the_ =Castle=, _cross the square and take a small street on
+the left, which leads to the road to Rosnay (G.C. 27)_.
+
+_Turn to the left, and fifty yards further on take on foot the narrow
+street on the left, which leads to the old castle._
+
+This ancient castle, where the Kings of France, on their way to Rheims
+to be consecrated, used to dine, suffered severely from the
+bombardments. Outwardly it has, however, retained its general appearance
+(_photo above_).
+
+_Return to the car, and go straight on to the fork in the roads to
+Rosnay and Premecy. Facing the fork is the entrance_ to the park and
+=modern Castle of Gueux=, belonging to the Roederer family, which was
+completely destroyed (_photo below_).
+
+_Turn the car round at the above-mentioned fork and continue straight
+along G.C. 27._
+
+_Beyond the village of Gueux_ the road crosses numerous lines of
+trenches. Many shelters and ammunition depots can still be seen along
+the road. _The National Road from Rheims to Soissons (N. 31) is reached
+soon afterwards. Near the cross-ways are the_ ruins of an inn.
+
+_At this crossing, leave the National Road on the left and take the
+narrow road on the right which leads to_ =Thillois=.
+
+[Illustration: THE MODERN CASTLE OF GUEUX]
+
+[Illustration: CROSSING OF THE THILLOIS AND RHEIMS ROADS]
+
+
+=Thillois=
+
+(_See Itinerary, p. 122._)
+
+The =Church of Thillois= (late 12th century), now a heap of ruins, stood
+at the entrance to the village.
+
+In 1914 it was still intact in all its vital parts. Its vaulting was
+pointed, with groining resting on columns, whose capitals were either
+Romanesque or Gothic. The nave had a timber roof.
+
+The high-altar screen was a fine piece of sculptured stone-work of late
+16th or early 17th century. In a niche above the altar, the Virgin,
+sitting on an X-shaped seat, was holding Jesus, clothed in a tunic and
+standing on her knee.
+
+_Leaving the church behind on the right, turn to the left, to reach the
+National Road. On the right is a_ small 18th century castle, behind a
+clump of fine stately trees, known as the _Bosquet de Thillois_. It was
+destroyed by shells.
+
+_Return to the National Road, turn to the right at the cross-roads,
+leaving on the left the road to Champigny, then return direct to Rheims,
+entering the city by the Avenue and Porte de Paris._
+
+
+=The Mountain of Rheims Battles=
+
+(_See p. 14 and p. 122._)
+
+The fighting known as the _Battles of the Mountain of Rheims_ took place
+in 1918 over the whole of the area described above, _i.e._ from Bouilly
+to Thillois, _via_ St. Euphraise, Coulommes, Vrigny and Gueux (_see the
+Michelin Illustrated Guide: The Second Battle of the Marne_).
+
+The Mountain of Rheims prolongs the region of Tardenois to the east. It
+is an important military position between the Vesle and the Marne, as it
+dominates the plain of Champagne. The higher part of it is finely
+wooded, while on the lower slopes and eastern and southern edges are the
+famous Champagne vineyards (_see Verzenay, pp. 171-172_).
+
+[Illustration (Map)]
+
+During the year 1918 the Germans made tremendous efforts to carry this
+position, the loss of which would have meant the fall of Rheims, leaving
+Epernay and Chalons-sur-Marne unprotected.
+
+Although held to the east of Mountain, they obtained important successes
+on the west, where they reached the Marne, while in May they occupied
+the Woods of Courton and Le Roi. In July they crossed the Marne and
+advanced as far as Montvoisin, on the road to Epernay. Very fierce
+fighting took place, especially to the north-west of the Mountain at
+=Bouilly=, =Bligny=, =St. Euphraise= and =Vrigny=. These positions, and
+Hill 240 to the west of Vrigny, were several times lost and recaptured
+by the Allied troops under General Berthelot, French, Italian and
+British, who fought there side by side.
+
+Vrigny was taken by the Germans on May 30, but retaken by the Allies on
+June 1 at the point of the bayonet. The same evening, four German
+regiments, after progressing slightly in the direction of Hill 240, were
+first checked, then driven back after bitter hand-to-hand fighting.
+
+On June 9, the Germans were repulsed around Vrigny, after having
+sustained severe losses. On the 23rd, they rushed Bligny Hill, held by
+Italian troops, reaching the summit, but were shortly afterwards driven
+back. On the 29th, they sustained a like check at the same place.
+
+In July they advanced their lines slightly towards Marfaux, Pourcy and
+Cuchery, but were unable to hold the captured ground. On the 18th, the
+Italians advanced in the region of Bouilly. On the 19th, Franco-British
+troops progressed towards St. Euphraise. On the 21st, the Allies carried
+Bouilly and St. Euphraise. On the 24th and 25th, in spite of desperate
+repeated efforts, the Germans were unable to hold Hill 240 which they
+had temporarily captured. On August 1 further enemy efforts to carry
+the Bligny uplands failed.
+
+The region of Gueux--Thillois--Champigny was terribly ravaged by the
+war.
+
+On September 11th, 1914, the French 5th Division, under General Mangin,
+drove the enemy from these positions, which remained in the French lines
+until May 30, 1918. Occupied by the Germans on May 31, after fierce
+fighting, they were completely devastated by artillery fire. Retaken by
+the French, then lost again in July, Thillois was finally recaptured on
+August 2, at the same time as Gueux.
+
+On August 4, after having reached the Vesle at several points east of
+Fismes, French troops engaged a vigorous battle between Muizon and
+Champigny, and some of them succeeded in crossing the river the same
+day.
+
+
+=Champagne Wine=
+
+Wine-growing has always been a favourite industry in this part of
+France. The vineyards extend over the Rheims hills and along the valley
+of the Marne. In the hilly country around Rheims there are two distinct
+growths of wine: the _Montagne_ proper, with its famous _Verzy_,
+_Verzenay_, _Mailly_, _Ludes_, _Rilly_ and _Villers_ "crus," and the
+_Petite Montagne_ with its secondary "crus" of the _Tardenois Valley_,
+_Hermonville Hills_, _St. Thierry_, _Nogent l'Abbesse_ and
+_Cernay-les-Reims_. The _Montagne_ produces more especially black grapes
+for white wines.
+
+Champagne wines were famous as far back as the 16th and 17th centuries.
+Henri IV. had a marked preference for the wines of _Ay_. The magnitude
+of the cellars still to be seen in the 16th and 17th century houses
+testifies to the importance of a trade, whose main outlets were Paris,
+Flanders, Belgium and Germany.
+
+The Champagne wines of that period were red, and rivals of the famous
+Burgundy wines.
+
+The vogue of Champagne wines as understood to-day dates back to the end
+of the 17th century. It was Dom Perignon, cellarer of the Abbey of
+Hautevillers, near Epernay, who, if not actually the inventor of
+sparkling wines, first undertook to perfect them by blending the "crus"
+and preparing them with greater care.
+
+In the last years of the reign of Louis XIV., and still more so under
+the Regency, the use of Champagne at Court gained ground, especially at
+the tables of the _Duc de Vendome_ and the _Marquis de Sillery_.
+
+At that time Champagne was merely a "creamy" wine, _i.e._
+semi-sparkling. The low breaking strain of the glass of those days would
+not have allowed of the higher pressure (six atmospheres) of the
+present-day wine. The discovery of the chemist Francois, who in 1836 at
+Chalons invented a special "densimeter," made it possible to calculate
+the amount of carbonic acid gas contained in the must, and to proportion
+the expansive force of the wine to the strength of the bottles, thus
+reducing losses by breakage, which for long had been very serious.
+
+From the 19th century onwards, the production of Champagne wine has
+grown unceasingly. The number of bottles of sparkling Champagne placed
+on the market for sale in France and abroad rose from 19,145,481 (of
+which 16,705,719 went abroad) between April, 1875, and April, 1876, to
+33,171,395 (of which 23,056,847 went abroad) between April, 1906 and
+April, 1907. During the first ten months of 1915, the exports of
+Champagne and sparkling wines were 630,140 wine-quarts, as against
+1,092,660 wine quarts in 1914.
+
+
+
+
+FIRST DAY
+
+AFTERNOON
+
+=ST. THIERRY HEIGHTS--LE GODAT--THE GLASS-WORKS OF LOIVRE--BRIMONT--THE
+"CAVALIERS DE COURCY"=
+
+(_See complete Itineraries, p. 121, and summary of the military
+operations, pp. 147 and 154._)
+
+[Illustration (Map)]
+
+
+_Starting from the Place du Parvis-Notre-Dame, follow the morning's
+Itinerary (p. 122) as far as the railway bridge, then continue straight
+along the Avenue de Paris (N. 31). Before leaving Rheims the tourist
+can, if desired, visit_ =Haubette Park=. _In this case, turn to the
+left, opposite No. 10, Avenue de Paris, into the Rue Flin des Oliviers.
+The entrance to_ Haubette Park (an annex of the Calmette Dispensary)
+_stands at the beginning of this street, on the right_.
+
+Napoleon I. bivouacked in this park while his troops attacked Rheims in
+1814. A monument and a small museum commemorate the event. At the end of
+1914 Haubette Park was a favourite recreation ground and refuge for the
+inhabitants of the city during the bombardments.
+
+_Return to the junction of N. 31 (which leads to Fismes) with G. C. 6
+(the road to Ville-en-Tardenois). Take N. 31 on the right. About 1 km.
+from the fork take the first road on the right._
+
+_On reaching_ =Tinqueux= _turn to the left at the entrance to the
+village, and follow the main road_.
+
+
+=Tinqueux--Mont St. Pierre=
+
+The church of Tinqueux (St. Peter's) was entirely destroyed. It
+contained, on the left side of the nave, a remarkable 16th century
+painting on wood, representing the _Adoration of the Shepherds_, with a
+frame of the same period.
+
+_Near the church, between the Vesle and the main street of the village_,
+stood an old baronial mansion, in front of which was a building with
+turreted facade known as the =Maison de la Salle=. Inside the buildings
+which, in later years, served as a farm, there was a curious old wooden
+staircase with railed balustrade. The whole was destroyed by the shells.
+
+In September, 1914, at the beginning of the bombardment of Rheims, many
+of the people took refuge at Tinqueux.
+
+[Illustration: THE MAIN STREET OF TINQUEUX VILLAGE]
+
+_At the end of the main street of the village, opposite a kind of
+observation-post with ladder in a tree, turn to the right. The road
+passes at the foot of_ =Mont St. Pierre=, whose village and church
+entirely disappeared in the 17th century. It was to replace the church
+of Mont St. Pierre that the church of St. Pierre de Tinqueux was built
+at the end of the 17th century.
+
+_The road turns abruptly and nears the Vesle. Turn to the right and
+cross the river to reach_ =St. Brice=.
+
+
+=St. Brice--Champigny--Merfy=
+
+(_Itinerary, p. 134._)
+
+_Turn to the right at the entrance to the village and take the first
+street on the right, which leads to the church._
+
+[Illustration: THE RUINED CHURCH OF CHAMPIGNY]
+
+The Church of St. Brice was almost entirely destroyed. In style, it is
+Romanesque, with Renaissance doorway and aisles. The door of the west
+front contains interesting carvings--unhappily much mutilated.
+
+_Return by the same way to the cross-roads in front of the bridge over
+the Vesle, turn to the right, then, about 150 yards further on, to the
+left. Continue straight ahead, cross the railway (l.c.) and follow the
+railway on the left._
+
+_About half a mile further on an avenue on the right leads to the_
+=Chateau de la Malle=. Both the castle and grounds were badly damaged by
+the bombardment.
+
+Standing in the park with magnificent avenues of beech-trees, the castle
+is one of the most ancient manors in the vicinity of Rheims. It was
+rebuilt in one storey at the beginning of the 14th century on the old
+foundations. The decoration of the interior (Louis XVI.) is interesting.
+The drawing-room has retained its old wainscoting and paintings. A
+carved shield bearing the arms of the Cauchon family, a member of
+which, the Bishop of Beauvais, sided with the English and the Duke of
+Burgundy against the Dauphin of France and Joan of Arc during the
+Hundred Years' War, is still to be seen over a door of one of the
+out-buildings.
+
+_Return by the same road to the Vesle. Cross the river and follow it (as
+per Itinerary, p. 134), to the village of Champigny._
+
+_Cross straight through the village by the main street, at the end of
+which stands the church in a narrow by-street near the entrance to a
+park (photo, p. 136)._
+
+The little church of St. Theodule is 12th century, except the wooden
+belfry, which was modern. The belfry and roof were destroyed.
+
+[Illustration: MERFY CASTLE, CONVERTED BY THE GERMANS INTO A BLOCKHOUSE
+_General Foch had his Headquarters there in 1914._]
+
+_On leaving the village, go straight ahead. The road (G.C. 75) follows
+the railway on the left. Cross the railway (l.c.). The road passes along
+the marshy valley of the Vesle, then rises towards the_ St. Thierry
+Heights.
+
+_At the cross-roads of_ the hamlet of Maco, _keep straight on along G.C.
+26_. The road runs between two fairly high embankments containing
+numerous shelters. Slightly before entering the village of =Merfy= is a
+cemetery containing graves of French, British and German soldiers.
+
+_At the entrance to the same village, on the right, stands_ a castle,
+severely damaged, which, early in September, 1914, served as
+headquarters to General Foch (_photo above_).
+
+_A little farther_ is the church, almost entirely destroyed.
+
+_At the church, turn to the right and follow the main street_, which is
+lined with houses in ruins.
+
+_On leaving Merfy, cross the railway (l.c.). The village of_ =St.
+Thierry= _is reached shortly afterwards._
+
+[Illustration: ENTRANCE TO ST. THIERRY VILLAGE
+_The sign and camouflaging are German._]
+
+[Illustration: ST. THIERRY CHATEAU IN 1914]
+
+[Illustration: ST. THIERRY CHATEAU IN 1919]
+
+[Illustration: ST. THIERRY CHURCH
+_See other photos, p. 140._]
+
+
+=St. Thierry=
+
+(_See Itinerary, p. 134, summary of the Military Operations, p. 147._)
+
+This village was frequently bombarded by the Germans from 1914 to 1918.
+_It is crossed by a narrow, winding street containing several sharp
+turnings. Shortly before the end of the village, the street widens
+abruptly. About a hundred yards further on is the church, while on the
+right a monumental door gives access_ to the =Chateau of St. Thierry=
+(_photos, p. 138_).
+
+This castle was built in 1777 by Mgr. de Talleyrand-Perigord, Archbishop
+of Rheims. It replaced the ancient abbey founded in the 6th century by
+St. Thierry, a disciple of St. Remi. Remains of the 12th century
+chapter-house ogives, colonnettes and capitals, as well as an old
+chimney-piece, have been rebuilt into the kitchens. The spacious Louis
+XVI. drawing-room and the dining-room were likewise remarkable.
+
+The church (_see photos above and on p. 140_) possessed certain
+remarkable features, _e.g._ the porch, nave and organ-loft. The 12th
+century porch had a 17th century pent-house roof.
+
+Inside the church were Gothic stalls, and a 16th century bas-relief
+depicting _The Martyrdom of St. Quentin_.
+
+The church is now in ruins.
+
+_Opposite the castle gate turn to the left into G.C. 26._
+
+In the embankments along the road are numerous shelters, posts of
+commandment, ammunition depots, etc.
+
+[Illustration: ST. THIERRY CHURCH
+(_see p. 139_)]
+
+[Illustration: RUINED PORTAL OF ST. THIERRY CHURCH]
+
+[Illustration: RUINS OF CHOIR, ST. THIERRY CHURCH]
+
+[Illustration: RUINS OF THIL CHURCH]
+
+
+=Thil--Villers-Franqueux=
+
+(_See Itinerary, p. 134._)
+
+_On reaching Thil, turn to the left at the entrance to the village. Go
+straight through._
+
+The church, entirely in ruins, _stands at the end of the village, on a
+small eminence to the right_.
+
+_Half-way through the village, on the left, is a road which leads to the
+St. Thierry Fort, via the village of Pouillon._
+
+The road from Thil to Cormicy was the starting-point of the
+communicating trenches which led to the first lines along the National
+Road No. =44= and along the canal from the Aisne to the Marne, during
+the long stabilisation period of the Berry-au-Bac--Rheims front. All
+along the road can still be seen, practically intact, the military works
+which were in the immediate rear of the front lines, viz., posts of
+commandment, depots, shelters, etc. At the present time, close to the
+destroyed villages, these shelters are being used by the people as
+habitations.
+
+_Beyond Thil, the road passes between two embankments._
+=Villers-Franqueux= _is soon reached_. The ruined village and church
+_are somewhat to the right_.
+
+[Illustration: RUINS OF VILLERS-FRANQUEUX]
+
+[Illustration: RUINED CHURCH OF HERMONVILLE]
+
+
+=Hermonville=
+
+_Follow the rails, straight ahead, to_ Hermonville.
+
+_Turn to the left, at the entrance to the village, into the large
+square, on the opposite side of which stands the_ =Town Hall=, partially
+destroyed. The =Church= _is on the right_.
+
+This remarkable church is 12th century. The pointed vaulting of the nave
+was raised in 1870, but this had been provided for in the original
+plans. At the intersection of the transept the pointed vaulting is
+lower. The capitals with their finely carved palm-leaves appear to be
+rather more recent than those of the nave, and extend frieze-like round
+the pillars. The bays of the transept-arms and of the two square eastern
+chapels are round-arched and surmounted with a quatrefoil--an
+arrangement frequently met with in the vicinity of Rheims.
+
+The outer porch, like that of Cauroy-les-Hermonville and St. Thierry, is
+a 12th century addition. The depressed arch of the entrance is 17th
+century.
+
+The square tower at the corner of the nave and south transept has cubic
+capitals in the twin bays of the second storey.
+
+The ancient =cemetery=, which used to surround the church, is bordered
+by old houses. Entrance was gained by a little gate facing the porch, in
+which are incrusted fragments of a 15th century altar-screen
+representing a horseman and a group of persons.
+
+The village was frequently bombarded by the Germans after the Battle of
+the Marne. In 1916 several inhabitants were killed by shells.
+
+_Leave the church on the right, and follow the Rue Sebastopol, at the
+end of which is an abrupt turning to the left. The road skirts a large
+house and garden surrounded by a wall. At the end of the latter, turn to
+the right into the Rue de Sommerville. On leaving the village, turn to
+the left, then go straight on to_ =Cauroy-les-Hermonville=.
+
+[Illustration: CAUROY CHURCH IN 1914]
+
+
+=Cauroy-les-Hermonville=
+
+_Turn to the right at the entrance to the village, then into the first
+street on the left, where stands the_ half-destroyed =Church of
+Notre-Dame=.
+
+This Church (_historical monument_) has an original 12th century porch,
+which was mutilated by the bombardments.
+
+Romanesque in style, it stands out from the remainder of the building
+and extends over the whole breadth of the west front. Its tile-covered
+roof rests on a timber-work frame, whose beams appear to be 16th
+century. Two round-arched openings in the ends of the porch serve as
+entrances. The front is pierced with a number of round arcades. The
+central door giving access to the church is of a later date (16th or
+17th century). The capitals of the arcadings are 12th century. Their
+curious decoration represents figures of men, animals, birds, scrolls,
+etc.
+
+The ruined tower and nave were likewise 12th century. The side-chapels,
+transept-crossing and choir were rebuilt in the 16th century.
+
+[Illustration: CAUROY CHURCH IN 1918]
+
+[Illustration: STREET IN CAUROY VILLAGE
+(_Seen from the Porch of the Church. To go from Cauroy to Cormicy, take
+this street opposite the Church._)]
+
+In the interior of the church, the wooden altar-screen over the
+high-altar dated from 1616. The painting which decorated its central
+panel, and the side woodwork of the choir were removed in 1888. The
+altar-screen (1547) of the southern side-chapel was composed of an
+assemblage of stone statues representing _The Virgin carrying Jesus, St.
+Roch, a pilgrim_, and _St. Stephen, a deacon, with the donor kneeling at
+his feet_.
+
+Under several of the houses in the village are subterranean passages,
+the most noteworthy being that under the old presbytery on the left of
+the church, to which access is gained by a stair of fifty-one steps.
+
+_Leave the village of Cauroy by the street (photo, p. 145) which opens
+up opposite the church._
+
+_The road passes through clumps of_ devastated trees. _On the left side
+of the road is_ a cemetery, containing numerous well-organised shelters.
+_The village of_ =Cormicy= _is next reached._
+
+
+=Cormicy=
+
+(_See Itinerary, p. 134._)
+
+_Turn to the right at the entrance to the village. On either side are_
+tree-lined boulevards, which were made on the ancient ramparts. The
+trees have been cut to pieces by the shells.
+
+Cormicy was formerly a small fortified town with turret, gates, ramparts
+and moats, all of which have disappeared except one gate. The site was
+planted with trees, which surround practically the whole town. The town
+was destroyed in the time of Charles VI., during the Hundred Years' War.
+
+The present village suffered severely during the German bombardments,
+most of the houses being damaged. In June, 1916, only eighty-three
+inhabitants remained in their homes.
+
+[Illustration: CORMICY CHURCH IN 1914]
+
+The ancient =Church= was likewise badly damaged (_photos above and
+below_). While the tower, west front, and the two first bays of the nave
+are late 15th or early 16th century, the greater part of the nave is
+11th or 12th century. The chevet and the transept-crossing are early
+13th century, while the transept ends probably date from the middle of
+12th century.
+
+[Illustration: CORMICY CHURCH IN 1918]
+
+The portal comprises twin doors surmounted with a broad flamboyant
+recess. The doors have been partially mutilated. Above the window runs
+a balcony, the Gothic balustrade of which, known as the _Gloria
+Gallery_, was modern. This balustrade was destroyed by the bombardments,
+which also brought down the steeple.
+
+[Illustration: G.C. 32 ROAD ON LEAVING CORMICY
+(_See Itinerary, p. 134._)]
+
+The west front has two Gothic doors with 16th century iron-work, at the
+extremity of the aisles. The tympana of these doors, formerly lighted,
+have been bricked up. The lintels have three consoles ornamented with
+fantastic animals and banderoles. The three statues which carried the
+consoles have long since disappeared.
+
+In the south transept, on the left, behind the altar, is an interesting
+small door surmounted with a square lintel of the 11th or 12th century.
+Two figures of winged monsters with heads of a man and a woman and fish
+tails, stand out in high relief, framed and separated by a belt, on
+which are carved _florets_ mingled with fantastic figures.
+
+The three remarkable 18th century marble altars of the choir and
+transept chapels come from the Church of the Nuns of Longueau, the abbey
+of which, in the Rue du Jard at Rheims, was sold in 1790. The high-altar
+occupies nearly the whole of the chancel. Over the tomb, six columns of
+grey Dinant marble, crowned with Corinthian capitals, support an oval
+marble cornice with richly carved and gilt consoles of wood. The very
+large, white and gilt tabernacle is a fine example of 17th or 18th
+century woodwork. Its door, decorated with symbolic attributes, is
+surrounded by statuettes depicting, _in the lower part_, St. John the
+Evangelist and a holy woman wearing crowns; _above each of these
+figures_, an angel; _at the top_, The Resurrection of Christ.
+
+The sixteen carved oak stalls of the choir, as well as the wrought-iron
+reading-desk on a marble pedestal, also came from the former Abbey of
+Longueau.
+
+Near the choir, on a pillar of the nave, is an inscription to the effect
+that the chronicler _Flodoard_, who died in 966, was _Cure_ of Cormicy.
+
+The modern =Town Hall=, built by the Rheims architect, Gosset the elder,
+which faced the church, was entirely destroyed.
+
+[Illustration (Map)]
+
+All the places visited since leaving Merfy, _i.e._ St. Thierry, Thil,
+Villers-Franqueux, Hermonville and Cormicy, border the St. Thierry
+Heights. The latter are commanded by the fort of the same name and the
+Chenay Redoubt, with altitudes of about 670 and 620 feet respectively.
+They were recaptured from the Germans after the Battle of the Marne on
+September 11, 1914, by the French 3rd Corps.
+
+After the loss of the Chemin-des-Dames and the Aisne Canal on May 27,
+1918, this position, which with its guns commands the road and railway
+from Rheims to Soissons and the road from Rheims to Laon, remained the
+sole protection of Rheims to the north-west.
+
+It was defended by the French 45th Infantry Division (General Naulin),
+composed of Algerian Sharp-shooters, Zouaves and African Light Infantry,
+who held their ground on May 27-28, after which they were reinforced by
+battalions of Singalese and Marines drawn from the sector east of
+Rheims.
+
+The struggle was a fierce one, and hand-to-hand fighting frequent.
+Finally the constant inflow of German reserves forced back the French
+who, on May 29, had to abandon the position, to which the enemy
+afterwards clung for four months. On October 1 the Germans, beaten on
+the previous evening by the French 5th Army on the high ground between
+the Aisne and Rheims, was forced to retreat. The French regained
+possession of Merfy and St. Thierry, and advanced as far as the
+outskirts of the Fort of St. Thierry, which, with Thil and
+Villers-Franqueux, Hermonville, Courcy and Cormicy, fell into their
+hands in the course of the next few days (_see map above_).
+
+[Illustration: DESTROYED BRIDGE OVER THE CANAL, NEAR LE GODAT]
+
+
+=From Cormicy to Godat Farm=
+
+(_See Itinerary, p. 134._)
+
+_Pass straight through Cormicy, leaving the church on the left. Take
+G.C. 32 to the Rheims-Laon road (N. 44), where turn to the right. Rather
+less than a mile further on, near the_ Maison Blanche, _is a road
+leading to_ =Godat Farm=. _Cars can only go as far as the canal_, the
+destroyed bridge (_photo above_) not having yet been rebuilt. The
+lock-keeper's house _seen in the photograph below_ was completely
+destroyed.
+
+[Illustration: THE LOCK-KEEPER'S HOUSE AT LE GODAT
+(_Now destroyed._)]
+
+_Cross the canal on foot to reach Godat Farm, situated about 300 yards
+further on._
+
+=Le Godat=, formerly a small fief with a castle and chapel (destroyed
+during the Revolution in 1793), was merely a farm and a plain country
+house when the war broke out. By reason of its position, north of the
+Aisne Canal, this bridgehead was, throughout the war, one of the most
+fiercely disputed points in the sector north-west of Rheims, even during
+the period of trench-warfare. At the time of the French offensive of
+April, 1917, the 44th Infantry Regiment advanced beyond Le Godat, where
+the French held their ground until the powerful German push of May 27,
+1918.
+
+[Illustration: RUINS OF LE GODAT FARM]
+
+The farm is now a mere heap of ruins. Shelters still exist in the
+basements.
+
+_Return to the National Road, and turn to the left._
+
+_The road crosses_ numerous boyaux which provided access to the
+front-line trenches down the hill on the right.
+
+_Follow the National Road to_ =Chauffour Farm= (in ruins), _where take
+the road on the left to_ =Loivre=.
+
+[Illustration: EMPLACEMENT OF GERMAN HEAVY GUN AT LOIVRE]
+
+_On nearing the canal_, the ruins of the village of Loivre (entirely
+destroyed) _become visible_.
+
+[Illustration: RUINS OF THE CHURCH AT LOIVRE]
+
+
+=From Loivre to Brimont=
+
+=Loivre.=--_Visit the village on foot. The canal can only be crossed
+near the lock south-east of the village._ The destroyed bridge has been
+replaced by a temporary footway across the bed of the canal, which
+necessitates climbing down and up the banks by steep paths.
+
+_After crossing the canal the tourist passes by the_ ruins of the Loivre
+Glass-Works, founded in 1864 by the descendants of the noble house of
+Bigault de Grandrupt, glass manufacturers of Argonne.
+
+[Illustration: GENERAL VIEW OF THE RUINS AT LOIVRE IN 1919]
+
+Loivre and its glass-works were occupied in September, 1914, by the
+Germans, who deported the inhabitants to the Ardennes. The village and
+works were re-captured during the offensive of April 16, 1917, by the
+French 23rd and 133rd Infantry Regiments, surnamed _Les Braves_ and _Les
+Lions_ respectively. Whilst other battalions outflanked the village and
+crossed the canal, the third battalion of _Lions_ attacked it in front.
+The position, powerfully organised, was stoutly defended. The attacking
+troops were obliged to come to a halt in front of the cemetery (a
+veritable bastion with concrete casemates), and before the ruins of the
+mill, both of which bristled with machine-guns. Withdrawing slightly to
+allow of a barrage of 75's, they rushed forward again under the
+protection of the latter. The site of the mill and the cemetery were
+captured, together with numerous prisoners (122 were taken in one
+machine-gun shelter). The ruined village was next carried in a bayonet
+charge, to the sound of the bugles. The captures were considerable, one
+battalion of 500 men alone taking 825 prisoners.
+
+[Illustration: SEPULCHRE IN THE CEMETERY AT LOIVRE, USED BY THE GERMANS
+AS A PHOTOGRAPHIC DARK-ROOM]
+
+In March and May, 1918, two violent attacks were made on Loivre by the
+Germans, but without success. They took it on May 27, only to be driven
+out on October 4.
+
+_Before the war, a road_, which has since completely disappeared, _led
+direct from Loivre to Brimont. To reach the latter it is now necessary
+to go farther north, via Bermericourt and Orainville, returning
+southwards by the Neufchatel to Rheims road (see Itinerary, p. 134)._
+
+=Bermericourt.=--This hamlet, of Gallo-Frankish origin, was formerly
+more populous. The bombardments have literally wiped it out.
+
+_From Bermericourt the tourist reaches_ =Orainville= _by G.C. 30, which
+becomes I.C. 2 after crossing the boundary line between the
+"departments" of the Marne and the Ardennes. At the entrance to the
+ruined village, near the church, turn to the right into I.C. 12, which,
+1 kilometre further on, joins the road from Neufchatel to Rheims (G.C.
+9), where turn to the right._
+
+_Follow this road for four and a half kilometres to the ruins of_
+=Landau Farm=, _turn to the right, then, about 200 yards further on,
+take the road on the left to the_ village of Brimont, entirely
+destroyed.
+
+[Illustration: ALL THAT REMAINS OF BERMERICOURT VILLAGE]
+
+
+=Brimont Fort and Chateau=
+
+(_See Itinerary, p. 134, and summary of the Military Operations, p.
+154._)
+
+Situated to the west of the road from Rheims to Neufchatel (formerly a
+Roman causeway which crossed the hill at _Cran de Brimont_) Brimont was
+already important in Roman times. It was fortified in the Middle Ages,
+and traces of its ancient fortifications are still to be found on the
+hill. The discovery of a Roman tomb in 1790 caused considerable
+excitement in archaeological circles, as it was believed to be the
+burial-place of the Frankish Chief _Pharamond_ who, according to one
+chronicler, had been buried on a hillock near Rheims.
+
+In 1339, during the siege of Rheims by the English, the Duke of
+Lancaster had his camp at Brimont.
+
+[Illustration: RUINS OF BRIMONT VILLAGE
+_In the foreground, on the left: Road to Brimont Fort. On the right:
+Beginning of the road to the Chateau (entirely destroyed)._]
+
+[Illustration: RUINS OF THE CHURCH OF BRIMONT]
+
+On several occasions, since September, 1914, the Germans deported the
+inhabitants of Brimont and Coucy to the Ardennes. The village is now
+destroyed and its church a heap of ruins.
+
+The church was built at the beginning of the 15th century.
+
+The four last bays of the nave, which was partly Romanesque, were
+altered in the middle of the 16th century.
+
+The sacristy occupied the lower storey of the square, pointed-arch
+tower.
+
+Several ancient statues were placed at the entrance to the Choir: _St
+Remi_, with a woman in late 15th century dress kneeling at his feet; a
+_Virgin_ offering grapes to the Infant Jesus in her arms (late 15th
+century) and a large _Christ Crucified_, dated from the middle of the
+16th century. A beautiful 18th century _lectern_ of carved wood,
+representing an eagle standing on a massive three-sided pedestal of red
+and white marble, stood in front of the Choir.
+
+[Illustration: BRIMONT FORT]
+
+_To visit the_ =Fort of Brimont=, _skirt the church on the side of the
+portal staircase, then take the road seen on the photograph on p. 152.
+The Fort is about 400 yards further on._
+
+
+=The Defences North of Rheims and the Fighting in that Sector=
+
+The =Fort of Brimont=, completed by the =Battery of the Cran de Brimont=
+about a mile to the east, and on the west by the =Loivre Battery=,
+mentioned on page 151, sweeps the whole country north of Rheims as far
+as the banks of the Aisne, Suippe, Retourne and the Aisne-Marne canal,
+the Rheims-Neufchatel, Rheims-Vouziers, Rheims-Rethel and Rheims-Laon
+roads, and the Rheims-Laon and Rheims-Charleville railways. About five
+miles east of Brimont and four miles east of Rheims is the position of
+=Berru= (_see p. 165_), extending along a front of about six miles,
+_via_ the hills of Berru and Nogent l'Abbesse. Intended by those who
+planned it to guard the valley of the Suippe, the Rheims-Rethe and
+Rheims-Vouziers roads, as well as the Rheims-Charleville and
+Rheims-Chalons-sur-Marne railways, it comprises the =Fort of Witry=
+(about 150 feet in altitude), the batteries of =La Vigie de Berru= (870
+feet), and the =fort and batteries of Nogent-l'Abbesse= (670 feet).
+
+[Illustration: _The roads shown on the above map are those followed by
+the Third Itinerary (see p. 160)._]
+
+Brimont and Berru are further covered and linked up by the =Fort of
+Fresne= (360 feet), situated four miles north-east of Rheims.
+
+These defensive works, conceived and executed after the war of 1870,
+had, in consequence of the evolution of strategical and tactical
+doctrines, been abandoned or disarmed before the war of 1914. After
+evacuating Rheims on September 12, 1914, the Germans grasped the
+importance of these works, to which they clung tenaciously, after
+hurriedly organising them. It was against these naturally strong
+positions, further strengthened by trenches, that the French 5th Army,
+in pursuit of the enemy, found themselves brought to a standstill on the
+evening of September 12. From September 13 to 18, the French tried in
+vain to capture them. The 5th Division, under General Mangin, did
+succeed in capturing the =Chateau de Brimont=, in the plain, but were
+unable to hold it.
+
+Later, the Germans converted these hills into one of the most formidable
+positions organised by them in France. Brimont, Berru, Fresne and Nogent
+l'Abbesse, whose guns slowly destroyed Rheims, were, so to speak, her
+jailers for four years.
+
+In April, 1917, during the French offensive of the Aisne, one division,
+known as the "Division of aces" (because its four regiments have the
+fourragere decoration), penetrated into Bermericourt and advanced to the
+outskirts of Brimont, but was unable to hold its ground against the
+furious counter-attacks of the Germans. It was only in October, 1918,
+that the French 5th Army, in conjunction with the victorious attacks of
+the 4th Army in Champagne, after forcing the Germans back to the Aisne
+and the canal, and after crossing the Aisne canal on October 4 in front
+of Loivre and near Bermericourt, forced the enemy, whose communications
+were now threatened, to abandon one of the most valuable portions of his
+1914 positions. On October 5, the French re-entered Brimont and Nogent
+l'Abbesse, progressed beyond Bourgogne, Cernay-les-Rheims, Beine, Caurel
+and Pomacle, and, in spite of desperate enemy resistance, drove back the
+Germans to the Suippe.
+
+_After visiting the fort return to the village of Brimont._
+
+From here the =Chateau de Brimont= may be visited, but this will have to
+be done on foot as the road has been destroyed, traces only of it being
+left in places (_the lower photograph on p. 152 shows the beginning of
+the road in the village_).
+
+The =Chateau de l'Ermitage=, also known as the Chateau de Brimont, _is
+situated about 500 yards south of the village, at the entrance to a_
+large park, completely devastated. It was the scene of desperate
+fighting (_see p. 152_).
+
+_Return to Brimont, cross the village (skirting the church) and continue
+straight on to the_ =Cran de Brimont Redoubt= _on the road to Rheims._
+Numerous German trenches, etc., are to be seen here.
+
+_Turn to the right into G.C. 9, which dips down to the_ Plain of Rheims.
+The region hereabouts bristle with barbed-wire entanglements and is
+crossed with numerous trenches. It was ranged to an incredible degree by
+the bombardments.
+
+_At the bottom of the hill which starts at the Cran de Brimont, cross
+Soulains Wood, of which only_ a few torn tree-stumps remain.
+
+_Several hundred yards after leaving the wood, take on foot the broken
+road to the_ "=Cavaliers de Courcy=," situated _on the right, about 500
+yards further on._
+
+[Illustration: THE AISNE CANAL AT THE "CAVALIERS DE COURCY"]
+
+
+=The "Cavaliers de Courcy"=
+
+To the north of La Neuvillette, the Aisne-Marne Canal is flanked on both
+sides by enormous artificial embankments planted with fir-trees and
+known as the "=Cavaliers de Courcy=." After their retreat in September,
+1914, the Germans entrenched themselves there and clung to the east bank
+until April, 1917.
+
+On April 16, 1917, the French 410th Regiment of the Line attacked the
+enemy's formidable positions there. This Brittany regiment set out from
+positions to which they had given names taken from the history of their
+country (_Quimper Bastion_, _Auray_, _Redon Bastion_, etc.). On the
+first day they carried three successive lines of defences, and advanced
+about a mile. On the 17th and 18th they left their zone of action, to
+ensure the _liaison_ on their right, and to help a brigade in
+difficulties on their left. For eight days they held their positions
+against powerful enemy counter-attacks, after having progressed to a
+depth of two miles and captured more than 400 prisoners, 11
+bomb-throwers, and an immense amount of stores.
+
+These positions, like the neighbouring villages, were re-taken by the
+Germans in May and June, 1918, and finally by the Allies in October,
+1918.
+
+_Return to the road and follow it towards Rheims. Leave on the left_ the
+devastated =Aviation-ground of Champagne=--now in a state of complete
+upheaval, due to the terrific shelling it received--_then cross the_
+=Plain of Betheny= (_photo, p. 157_).
+
+The Plain of Betheny was the scene of two important historical events:
+in 1901 the Tsar Nicolas II. reviewed a part of the French Army there;
+in August, 1909, the Great Aviation Week was inaugurated there, in the
+presence of an immense crowd of spectators.
+
+[Illustration: GERMAN FIRST-LINE POSITIONS BETHENY PLAIN (_see
+sketch-map below_)
+_Photographed at 7,000 ft. from aeroplane, August 6, 1916, at 10 a.m._]
+
+[Illustration: THE GERMAN FIRST-LINE DEFENCES IN THE PLAIN OF BETHENY
+_The tourist passes through this region on returning to Rheims, shortly
+before coming to the bridge under the railway. The sketch map explains
+the photograph above._]
+
+_Pass under the Rheims-Laon railway by a very sharp double turning._
+=Pierquin Farm=, entirely destroyed, _stood on the right a short
+distance further on_. The only remaining trace is the torn shapeless
+carcass of a large iron shed.
+
+The railway embankment south of Pierquin Farm was fiercely disputed from
+September 18, 1914, onwards. Several enemy attacks against it broke down
+before the French 75's. During the offensive of May, 1918, the whole of
+this region was the scene of desperate fighting. La Neuvillette was
+taken on May 30, and Pierquin Farm on the 31st. On August 4, the French,
+after crossing the Aisne Canal, advanced to La Neuvillette, where the
+enemy made a desperate stand. At the beginning of October they advanced
+to the north of La Neuvillette, which the enemy was eventually compelled
+to abandon. The last inhabitants had left the locality on July 12, 1916.
+
+_The tourist enters Rheims by the Rue de Neufchatel and the Avenue de
+Laon._
+
+
+=La Neuvillette=
+
+_On reaching the Avenue de Laon, the tourist, instead of entering
+Rheims, may turn to the right and go northwards as far as the_ village
+and cemetery of La Neuvillette.
+
+The cemetery of La Neuvillette _is on the right of the road, between the
+last houses of Rheims and the village_. It was completely cut up by a
+network of first-line trenches (_photos, p. 159_).
+
+The village of La Neuvillette, now in ruins, was the scene of desperate
+fighting during the German offensive of May, 1918.
+
+Nothing remains of the 12th century church of John-the-Baptist.
+
+The glass-works north-west of the village, by the side of the canal, are
+now a heap of ruins (_photo, p. 159_).
+
+_Return to Rheims by the same road._
+
+[Illustration: THE ROAD TO RHEIMS AT NEUVILLETTE]
+
+[Illustration: THE GLASS-WORKS AT NEUVILLETTE]
+
+[Illustration: DRESSING-STATION AT NEUVILLETTE]
+
+[Illustration: THE CEMETERY AT NEUVILLETTE]
+
+
+
+
+SECOND DAY
+
+MORNING
+
+=FRESNES FORT--WITRY-LES-REIMS--BERRU--NOGENT L'ABBESSE--BEINE=
+
+(_See complete Itineraries, p. 121, and map on p. 154._)
+
+
+[Illustration (Map)]
+
+_This Itinerary will lead the tourist through the region of the_ Forts
+to the north-east of Rheims, which formed the rear of the German lines
+during the stabilisation period of 1914-1918.
+
+It was this line of forts that, in the German hands, held the French in
+check after the first Battle of the Marne. Practically the whole of
+these works were but little damaged by the relatively light
+bombardments, and have retained traces of the German organisation.
+
+_Leave Rheims by the Avenue de Laon_ (_which begins at_ Les Pomenades,
+_opposite Mars Gate_), _and the Rue de Neufchatel (second street on the
+right), Sortie No. IX. of the Michelin Tourist Guide (see coloured plan,
+pp. 32-33)._
+
+[Illustration: RUINS OF THE CHURCH AT BOURGOGNE]
+
+_Follow in the contrary direction the route described in the preceding
+Itinerary (p. 134 to p. 159) as far as the crossing in the
+Bermericourt-Bourgogne road, where stood_ Landau Farm, now entirely in
+ruins. _At this crossing take G.C. 30 on the right._ German camouflaging
+is still visible on the right-hand side of the road.
+
+
+=Bourgogne--Fresnes=
+
+_The village of_ Bourgogne, entirely in ruins, _is soon reached_.
+
+The village is of very ancient origin. Formerly it was protected by a
+belt of moats, now partly filled in, and by earthen ramparts, almost
+everywhere levelled. The lines of these moats, planted with rows of
+elm-trees, are clearly distinguishable. There is a very extensive view
+from this original site.
+
+A portion of the village was burnt by the Germans who, in 1916,
+destroyed the belfry of the church with dynamite.
+
+This church (dedicated to St. Peter and St. Paul), with its fine
+Romanesque tower, was remarkable.
+
+The greater part of it dated from the 12th and 13th centuries. It is now
+in ruins (_photo above_).
+
+_Cross straight through the village._ Numerous German signs _are still
+to be seen. At the cross-roads just outside the village, follow the
+railway, then cross it near the destroyed railway station of Fresnes.
+The village of_ Fresnes _is reached shortly afterwards._
+
+_Turn to the right at the first crossing met with._ The church _stands
+about 100 yards away, on the left._
+
+Norman in style, the Church of Fresnes comprises a central nave with
+aisles and a tower without transept. It dates back to the 12th century,
+but was several times extensively altered and restored both in the 18th
+century and in recent times.
+
+A small porch of limestone added to the northern aisle, is reached by a
+round Norman bay of stone. In the corner of the porch, to the left on
+entering, is incrusted a fragment of a small funerary monument of the
+16th century.
+
+[Illustration: RUINED CHURCH OF WITRY-LES-REIMS]
+
+This church was almost entirely destroyed.
+
+_After turning to the right at the crossing mentioned above, keep
+straight on._
+
+About 2 kilometres from Fresnes the road from that village to
+Witry-les-Reims crosses an old Roman causeway, at the side of which,
+slightly to the south of Hill 118, the Fort of Fresnes was built in
+1878. This fort was blown up by the Germans during their retreat in
+1918. Its ruins are impressive. In the moats of the fort are German
+trenches and shelters extending right up to the walls of the fort.
+
+_The village of Witry-les-Reims is next reached._ It suffered severely
+from the numerous bombardments, which its situation near the first lines
+rendered inevitable.
+
+
+=Witry-les-Reims=
+
+_After crossing the railway (l.c.) at the entrance to the village, keep
+straight on._ The ruined church _is on the left, near the entrance to
+the village_.
+
+Except for one tower, which dates from the 12th century, the church is
+modern. The spire was destroyed by the Germans. The belfry, used by the
+enemy as an observation-post, was struck by French shells.
+
+Like many of the villages around Rheims, Witry-les-Reims is of
+Gallo-Roman origin. More than two hundred Gallic sepulchres and cinerary
+urns have been brought to light. The objects thus discovered, including
+a large number of vases, now form the _Bourin_ pre-historic collection.
+
+_After visiting the church keep straight on. At the Mairie_, of which
+only the front remains standing, _turn to the right into the Rue
+Boucton-Fayreaux. Follow this street to the Place Gambetta (about 200
+yards distant), where turn to the left._ The entrance to "Pommern
+Tunnel," which connected up the German rear and front lines (_photo, p.
+163_), is in this square.
+
+The German inscriptions in the tunnel have been taken down, and the
+entrance blocked up, on account of the roof and walls giving way.
+
+[Illustration: ENTRANCE TO "POMMERN TUNNEL" AT WITRY-LES-REIMS]
+
+_Leaving the Place Gambetta, take the Rheims-Rethel road (N. 51) on the
+left, then the first street on the right to the_ =Fort of Witry=.
+
+_Just outside the village the road crosses_ the old Roman causeway from
+Rheims to Treves, _and a little further on passes to the left of the_
+=Fort of Witry=.
+
+The =Fort of Witry= suffered but little from the bombardments.
+
+_The road climbs the northern slopes of the_ Berru Hill, across numerous
+German trenches. _At the bottom of a short run-down, opposite the
+village of Berru, is a crossing of four ways. The road leading to the
+fort is the one straight ahead._
+
+_On the right, among the_ numerous defences, is a German cemetery
+containing a monument to the dead, ornamented with somewhat rudimentary
+carving and bearing an epitaph dedicated to the memory of the German
+soldiers who fell in the battles around Rheims.
+
+_The road continues up the slopes of Berru Hill, to the right of the way
+leading to the_ auxiliary battery of the fort of =Vigie de Berru=. _The
+top of the hill is soon reached_, on which the fort, known as the "Vigie
+de Berru," stands. This fort was little bombarded, and is practically
+intact.
+
+=Berru Hill=, on account of its height, its sulphurous and ferruginous
+waters, flint quarries, and fertile soil, was inhabited in pre-historic
+times. At the summit, a _campignien_ workshop, and farther down, above
+the springs which supply the village with water, a neolithic station
+have been discovered. Thousands of knives, arrow-heads, scrapers, saws,
+and other primitive tools have been unearthed. In the Gallo-Roman times
+the village must have been fairly important, judging by the vestiges of
+the ancient buildings discovered at the foot of the hill. It was near
+Berru that the _Gaulish helmet_, now in the National Museum of St.
+Germain, was found. Towards the end of the 16th century (about 1575),
+during the Leaguers' struggles around Rheims, the village was fortified,
+to protect it from pillaging by the soldiers. The moats and glacis which
+surrounded it are still visible to the south, where, covered with trees,
+they adjoin the gardens. Subterranean places of refuge, the entrance to
+which is no longer known, formerly existed underneath the village.
+
+_From the fort, the road, winds down the opposite slopes of the hill. At
+the bottom of the latter, leave on the right the road to the_ =Fort of
+Nogent l'Abbesse,= _seen on the high ground to the right._
+
+[Illustration: ENTRANCE TO BEINE VILLAGE BY THE ROAD TO NOGENT
+L'ABBESSE]
+
+
+=Nogent l'Abbesse--Beine--Berru=
+
+(_See Itinerary, p. 160, and summary of the Military Operations, p
+154._)
+
+_The village of_ =Nogent l'Abbesse= _is next reached, at the entrance to
+which the road divides into three branches. Take the middle one (G.C.
+64), which leads to the_ ruined village of =Beine=. _During the run-down
+to the village, there is a_ fine view of the Champagne Hills in front
+(Mont Cornillet and Mont Haut).
+
+The village of =Beine= was one of the oldest demesnes belonging to the
+Abbey of St. Remi-de-Reims. It was made into a _commune_ at the end of
+the 12th century.
+
+The church of St. Laurent, situated in the centre of the village, was an
+excellent specimen of the transition style of the 12th century (_photo
+below_).
+
+[Illustration: RUINS OF THE CHURCH AT BEINE]
+
+_A road leading to Sillery leaves Beine in a south-westerly direction,
+but owing to its bad condition it is impossible to use it for returning
+to Rheims._ The trenches and shell holes have barely been filled in,
+and the temporary bridges over the wider trenches would probably break
+down under a fairly heavy car. On the other hand, the huge craters made
+by the Germans in the course of their retreat, have only been summarily
+repaired and are not practicable for motor-cars. _Tourists should
+therefore return to Nogent l'Abbesse by the road they came by._
+
+[Illustration: BERRU CHURCH]
+
+_Enter the village by the main street, which follow as far as_ the
+church, whose belfry has been destroyed.
+
+_After the church, take the first street on the right, then the second
+road on the left (G.C. 64), which leads to_ =Berru=. _In front of the
+village, turn to the left and cross straight through._ The 12th century
+Church of St. Martin, which suffered only slightly from the
+bombardments, _is in the middle of the village, on the left (photo
+above)_.
+
+_On leaving Berru, the tourist comes again to the crossing mentioned on
+p. 163. Turn to the right and return to Witry-les-Reims by the road
+previously followed._
+
+_At Witry-les-Reims, take N. 51 on the left, passing by the_ ruined
+works of Linguet (_photo below_).
+
+_Rheims is reached by the Faubourg Ceres. Keep straight on to the Place
+Royale, via the Rue du Faubourg Ceres and the Rue Ceres._
+
+[Illustration: RUINS OF THE LINGUET WORKS]
+
+
+
+
+SECOND DAY
+
+AFTERNOON
+
+=LA POMPELLE FORT-SILLERY=
+
+(_See complete Itinerary, p. 121._)
+
+
+[Illustration (Map)]
+
+_This Itinerary will take the tourist through two regions of entirely
+different characters._
+
+_The first part is devoted to visiting the battlefield south-east of
+Rheims_, which was the scene of much desperate fighting throughout the
+war, but especially in 1918. This region formed the pivot of the French
+right wing, and remained firm despite the repeated powerful attacks of
+the enemy.
+
+_The second part of the Itinerary leaves the battlefield proper, and
+conducts the tourist across_ the most reputed vine-growing centres of
+Champagne (Verzenay, Mailly-Champagne and Ludes), through lovely,
+picturesque country, which, although it has somewhat suffered from the
+bombardments, has nevertheless retained its pre-war aspect.
+
+_Leave Rheims by the Avenue de Chalons, continued by N. 44 (see the plan
+of Rheims between pp. 32 and 33, F. 6 and H. 7)._
+
+The Avenue de Chalons was well within the first-line defences.
+
+Two communicating trenches run along the footpaths on either side of the
+Avenue.
+
+_Skirt_ Pommery Park, _on the left_, completely ravaged by the
+bombardment and the network of trenches which cross it.
+
+_As soon as the last houses of the town have been left behind, the
+tourist finds himself_ in the midst of the battlefield.
+
+The sector, known as "=La Butte-de-Tir=," situated on the left, below
+Cernay and beyond the railway, was the scene of furious fighting
+throughout the German occupation of 1914 to 1918 (_photo below_).
+
+[Illustration: THE "BUTTE-DE-TIR" SECTOR
+_Listening-post in front of Cernay village._]
+
+[Illustration: COMMUNICATING TRENCH AT JOUISSANCE FARM (1915)]
+
+_The road crosses the Chalons Railway (l.c.), and goes thence direct to
+the_ =Fort of La Pompelle=, passing through an inextricable network of
+trenches and barbed wire entanglements. The country hereabouts was
+completely ravaged by the terrific bombardments, and recalls the
+devastated regions around Verdun, near Vaux and Douaumont (_see the
+Michelin Illustrated Guide: Verdun, and the Battles for its
+Possession_).
+
+=La Jouissance Farm= is next passed. Nothing remains either of it or of
+the road, _which started from this point towards Cernay, on the left_.
+
+[Illustration: LA POMPELLE FORT (1918)]
+
+[Illustration: THE MOATS OF LA POMPELLE FORT (1918)]
+
+The =Fort of La Pompelle=, _which is next reached_, is now a mere heap
+of ruins. The road which led to the fort no longer exists. _To visit the
+ruins of the fort, tourists will have to follow on foot the narrow-gauge
+railway which starts from the road (photo above)_.
+
+Tradition has it that St. Timothy came from Asia to convert Rheims,
+suffered martyrdom, together with St. Apollinaris and several
+companions, on the hill known as _La Pompelle_, so-called perhaps from
+the procession (_pompa_ or _pompella_) which, in the Middle Ages, used
+to visit the place of martyrdom of the saints.
+
+This hill, which rises close to the crossing of the
+Rheims-St.-Hilaire-le-Grand and Rheims-Chalons Roads, was fortified
+after 1870, to flank the position of Berru on the south.
+
+The road from Rheims to Saint-Hilaire-le-Grand (_G.C. 7_), which used to
+start from the "Alger Inn," at the cross-roads mentioned above, no
+longer exists. Like the inn, it was obliterated by the shelling. A huge
+crater now occupies the site of the Alger Inn (_photo below_).
+
+[Illustration: CRATER, WHERE USED TO STAND THE "ALGER INN"]
+
+[Illustration: THE IMMEDIATE VICINITY OF WHAT WAS THE "ALGER INN"
+(1918)]
+
+_Continue along N. 44. About 1 kilometre from the fort, at a bend in the
+road_, the shattered remnants of trees of an avenue are visible on the
+left. Under the first fir-tree of this avenue, about 20 yards from the
+national road, is an armoured machine-gun shelter, almost intact.
+
+_Cross the railway (l.c.) near the entirely destroyed station of
+Petit-Sillery. After passing a ruined chateau on the left, cross the
+bridge over the Vesle. At the fork beyond the bridge, leave N. 44 and
+take G.C. 8 on the right to_ =Sillery=.
+
+This village, renowned for its dry wine, is pleasantly situated on the
+banks of the Vesle. Throughout the war, it was quite close to the
+trenches and was frequently bombarded. In May, 1916, only some fifty of
+its inhabitants remained in the village, which subsequently suffered
+very severely, especially in 1918.
+
+_Take a turn in the village, then follow N. 44 towards Chalons (see
+Itinerary, p. 166)._
+
+[Illustration: THE "PLACE DE LA MAIRIE" AT SILLERY (1918)]
+
+The region of =Sillery-Pompelle= was the scene of much fierce fighting
+throughout the war. After the capture of =La Pompelle= and the "=Alger
+Inn=" by the French 10th Corps on the night of September 17-18, 1914,
+the Germans increased the number of their attacks, with a view to
+regaining these important positions.
+
+One of these attacks (that of December 30, 1914) was preceded by the
+explosion of a mine at the "Alger Inn," which made a hole 130 feet in
+diameter by 55 feet deep (_see photo, p. 169_). After a hand-to-hand
+fight, the French drove back the enemy and remained masters of the
+crater.
+
+In 1918, during their offensives against Rheims, the Germans attacked
+several times in this region. On June 1, between =Pommery Park= (in the
+south-eastern outskirts of Rheims) and the north-east of Sillery, they
+attacked with eight or nine battalions and fifteen tanks. The garrison
+of Fort Pompelle, momentarily encircled, held out until a furious
+counter-attack by the French Colonial Infantry relieved it and drove
+back the assailants. The German tanks were either captured or destroyed.
+On the 18th, after an hour's intense bombardment, the Germans made a
+fresh attack and secured a footing in the Northern Cemetery of Rheims
+and in the north-eastern outskirts of Sillery, but French
+counter-attacks drove them out almost immediately. From July 15 to 17
+their attacks on Sillery were likewise repulsed.
+
+_Continue along N. 44 to the_ destroyed Esperance Farm _(about 2
+kilometres distant), then turn to the right_. Numerous military works
+were made by the French in the embankments of the Aisne-Marne canal
+along the left side of the road.
+
+_The road rises towards the "Mountain of Rheims."_ A white tower,
+dominating the whole plain, _is seen on the left (photo below)_.
+
+=Verzenay= _is next reached by the Rue de Sillery._
+
+[Illustration: VERZENAY, SEEN FROM THE VERZENAY--MAILLY--CHAMPAGNE
+ROAD]
+
+[Illustration: THE OLD MILL AT VERZENAY]
+
+It was at =Verzenay= that, on the evening of September 3, 1914, the
+German aeroplane, which had dropped bombs on Rheims the same morning,
+was brought down. It has suffered relatively little from the
+bombardments.
+
+_To visit the church_, which contains the tomb of Saint-Basle (_chapel
+on the right_), _take the Rue Gambetta, then the Rue Thiers_.
+
+_After visiting the church, return to the Rue Thiers, at the end of
+which is the Rue de Mailly (G.C. 26)._
+
+_Take the latter, which, on leaving Verzenay, rises fairly stiffly._
+
+_At the top of the hill, on the right, begins the road leading to_
+=Verzenay Mill=, which crowns Hill 227 (_see Itinerary, p. 166, and
+photo above_).
+
+This mill, whence there is a fine panorama of the plain as far as the
+hills of Berru and Moronvilliers, was a military observation-post of the
+first order during the siege warfare.
+
+_It belongs to the champagne-wine firm of Heidsieck Monopole, which
+allows tourists to visit it, as also their vineyards in the surrounding
+country._
+
+_The road dips down to_ Mailly-Champagne, _at the entrance to which
+village turn to the right into the Rue Gambetta, then to the left into
+the Rue de Ludes (G.C. 26)_. The road, cut out of the hillside, is very
+picturesque as far as Ludes. In the forest, on the left of the road, are
+numerous "_cendrieres_," or quarries, from which volcanic sulphurous
+cinders, used for improving the vines, are extracted. Heaps of these
+valuable cinders (grey, white and black) are frequently encountered at
+the side of the road.
+
+=Ludes= _is next reached by the Avenue de la Gare_.
+
+The region just passed through, including the villages of Verzenay,
+Mailly-Champagne and Ludes, as well as Verzy (_to the east_), and
+Rilly-la-Montagne and Villers-Allerand (_to the west_), are the
+wine-growing centres of the "Mountain of Rheims" properly so-called, the
+black grapes from which produce the best brands of Champagne. The
+villages are picturesquely situated at the edge of the forests which
+crown the hills, while the vineyards which cover the slopes of the
+latter descend to the chalky plain. These vineyards, divided into tiny
+plots, the ground of which before the ravages of the phylloxera cost as
+much as 93,000 francs per hectare (about 2-1/2 acres), constitute the
+principal wealth of the country. Here and there they have suffered from
+the war, but this has not prevented the vine-dressers from cultivating
+them (often with the help of the soldiers) or from gathering the grapes,
+under the continual menace of the German guns.
+
+[Illustration: PUISIEULX. THE CHURCH AND ROAD TO SILLERY]
+
+At =Ludes=, in the _Avenue de la Gare, turn to the right into the Rue de
+Cormontreuil, and again to the right, into the Rue de Puisieulx (G.C.
+33)_.
+
+_At the crossing, 1 kilometre beyond Ludes, go straight on. After
+passing on the right an avenue bordered with trees leading to the_
+=Chateau of Romont, Puisieulx= _is reached_.
+
+_At the first crossing, on entering the village, keep straight on, then
+turn to the right as far as the_ ruined church, with its curious
+loop-holed chevet. _Leave the church on the right and, at the end of the
+village, turn to the left._ There are a few graves _on the right of the
+road_. _After skirting a large estate, the trees of which were destroyed
+by shell-fire, the tourist reaches_ =Sillery=.
+
+[Illustration: RUINED CHURCH OF TAISSY]
+
+_Turn to the left into G.C. 8, at the entrance to the village. On the
+right are vestiges_ of a small wood, known as "Zouaves Wood," which was
+the scene of many sanguinary fights after its capture by the French in
+1914.
+
+_The tourist next reaches_ =Taissy=, whose ruined church _is on the
+right, by the side of the Vesle (photo, p. 173)_.
+
+This interesting church is largely Romanesque in style (tower, chevet
+and nave). The tabernacle, with altar-piece of carved wood, is Louis
+XIII. A fine wrought-iron railing encloses the sanctuary (_photo
+below_). The small, sonorous bell of the belfry is, strange to say, 13th
+or 14th century.
+
+_Pass straight through Taissy, then follow the tram-lines._
+=Cormontreuil= _is entered by the Rue Victor-Hugo._
+
+_From Cormontreuil, the tourist may return to Rheims either by turning
+to the right in the village, beyond the tram station (in this case he
+will enter Rheims by the Rue de Cormontreuil which leads to the Place
+Dieu-Lumiere) or by continuing straight ahead. In the latter case he
+will cross the Faubourg Flechambault by the Rue Ledru-Rollin. At the end
+of the latter, turn to the right into the Rue Flechambault which, after
+crossing the Vesle and the canal, leads to the Church of St. Remi._
+
+[Illustration: THE CHOIR OF TAISSY CHURCH]
+
+
+
+
+CONTENTS
+
+
+[Illustration: THE RUE DE LA GRUE, SEEN FROM THE RUE CERES]
+
+                                                            PAGES
+      Political History of Rheims                             3-7
+      Military History of Rheims                          8 and 9
+      The Battles for Rheims, 1914-1918                      9-15
+      The Destruction of Rheims by the bombardments         16-21
+      Life in the bombarded City                            21-26
+
+
+        I.--A VISIT TO THE CITY                            27-120
+
+    THE CATHEDRAL (description of)                          28-60
+      History of the Cathedral                              28-30
+      The Cathedral during the War                      31 and 32
+      Coloured Plan of Rheims                   between 32 and 33
+      Plan of the Cathedral and Archi-episcopal Palace         33
+      Exterior of the Cathedral                             34-49
+      Interior of the Cathedral                             50-60
+
+    FIRST ITINERARY--THE CITY                               61-94
+      The Place du Parvis                                      62
+      The Archi-episcopal Palace                            63-66
+      The Place Drouet d'Erlon and The Promenades       70 and 71
+      The Hotel-de-Ville                                       72
+      The Place des Marches                                    74
+      The Place Royale                                         78
+      The Musicians' House                                     80
+      The Mars Gate                                            82
+      The Rue de Ceres                                         87
+
+    SECOND ITINERARY--THE CITY (_continued_)               95-120
+      The Rue Chanzy                                        95-97
+      The Lycee                                         97 and 98
+      The Abbey of Saint Pierre-les-Dames                      98
+      The Pommery Wine-Cellars                                101
+      The Church of St. Remi                              103-116
+      The Hotel-Dieu (Hospital)                               117
+
+
+        II.--A VISIT TO THE BATTLEFIELD.
+
+    FIRST ITINERARY (Morning)                             122-133
+      Ormes                                                   124
+      St. Euphraise                                           127
+      Coulommes-la-Montagne                                   128
+      Gueux                                                   129
+      Thillois                                                131
+
+    SECOND ITINERARY (Afternoon)                          134-159
+      Tinqueux                                                135
+      Merfy                                                   137
+      St. Thierry                                             138
+      Villers-Franqueux                                       141
+      Cormicy                                                 144
+      Le Godat                                                148
+      Loivre                                                  150
+      Brimont                                                 152
+      The "Cavaliers de Courcy"                               156
+      La Neuvillette                                          158
+
+    THIRD ITINERARY (Morning)                             160-165
+      Bourgogne--Fresnes                                      161
+      Witry-les-Reims                                         162
+      Nogent l'Abbesse--Beine--Berru                          164
+
+    FOURTH ITINERARY (Afternoon)                          166-174
+      The Butte-de-Tir                                        167
+      The Fort de la Pompelle                                 168
+      Alger Inn                                               169
+      Verzenay                                                172
+
+[Illustration: HERMONVILLE PORCH]
+
+
+PRINTED IN GREAT BRITAIN BY WILLIAM CLOWES AND SONS, LIMITED, LONDON
+
+XII--2,116-8-19-25
+
+
+
+
+BEAUTIFUL FRANCE
+
+       *       *       *       *       *
+
+NORMANDY.
+
+
+Land of rich pastures and fashionable watering-places, Normandy may
+truly be said to have been "favoured by the gods." Her fertile soil,
+famous breeds of horses and cattle, picturesque sites, and renowned
+sea-bathing coast have made Normandy one of France's most flourishing
+provinces. Numerous splendid monuments evoke in the tourist's mind
+reminiscences of a glorious past.
+
+No region has been more lavishly adorned by Nature. Its mountain
+landscapes have caused it to be surnamed "La Petite Suisse." Among the
+more interesting places may be mentioned =Bagnoles-de-l'Orne=, with its
+famous mineral-water springs; =Rouen=, with its celebrated cathedral,
+churches of St. Ouen and St. Maclou, Palais-de-Justice, and port (which
+the war has transformed into one of the most important in Europe);
+=Caen=--"Norman Athens"--with its Romanesque churches, Renaissance
+mansions, and ancient houses; the great cathedrals of =Sees=, =Evreux=,
+=Bayeux=, and =Coutances=; the feudal ruins of =Arques=,
+=Chateau-Gaillard= and =Falaise=; the Abbeys of =Jumieges= and =St.
+Wandrille=; the mediaeval narrow winding streets of =Lisieux=.
+
+Numerous sea-side resorts: =Dieppe=, =St. Valery=, =Fecamp=, =Entretat=,
+=Le Havre=, and =St. Adresse=, =Honfleur=, =Trouville=, =Deauville=,
+=Villers=, =Houlgate=, =Cabourg=, =Cherbourg= and =Grandville= are too
+widely known to call for special mention.
+
+Lastly =St. Michael's Mount= (surnamed the "Marvel of the West"), with
+its extraordinary pyramid of superimposed Gothic monastery and Churches,
+built on a rock in the middle of a deep bay.
+
+       *       *       *       *       *
+
+_All enquiries with regard to travelling should be addressed to the
+"Touring Club de France," 65, Avenue de la Grande Armee 65, Paris._
+
+
+
+
+MICHELIN TOURING OFFICES
+
+       *       *       *       *       *
+
+    =MICHELIN TYRE Co., Ltd., LONDON=
+    Touring Office :: 81, Fulham Road, S. W.
+
+    =MICHELIN & Cie, CLERMONT-FERRAND=
+    Touring Office :: 99, Bd. Pereire, PARIS
+
+[Illustration (Ad)]
+
+_Why ask the Way, when...._
+
+[Illustration (Ad)]
+
+_... Michelin will tell you free of charge?_
+
+       *       *       *       *       *
+
+Drop a line, ring us up, or call at one of our Touring Offices and you
+will receive a carefully worked out description of the route to follow.
+
+
+    |----------------------------------------------------------------|
+    |               Hotels and Motor-Agents                          |
+    |                       at RHEIMS                                |
+    |                                                                |
+    |   Information extracted from the MICHELIN GUIDE (1919)*        |
+    |================================================================|
+    |               Key to Arbitrary Signs                           |
+    |                                                                |
+    |   [...] Comfortable hotels with modern                         |
+    |           or modernised installation.                          |
+    |  [=CC=] Central Heating.                                       |
+    |   [=L=] Electric Light.                                        |
+    |   [=B=] Bath-room.                                             |
+    |  [=W=C] Modern W.C.'s.                                         |
+    |   [=T=] 104 Telephone number.                                  |
+    |    Gar. [=2=] {Accommodation for auto-                         |
+    |    Shed [=3=] {mobiles, and the number                         |
+    | Shelter [=4=] {which can be put up.                            |
+    |    adj. Adjoining the hotel.                                   |
+    | =Compressed Air= {Depot for "bouteille                         |
+    |                  {d'air Michelin" for                          |
+    |                  {inflation of tyres.                          |
+    |   [...] Repair shop.                                           |
+    | _Agt for_ Manufacturer's agent.                                |
+    |   [=3=] Garage and number of cars it will hold.                |
+    |     =U= Inspection pit.                                        |
+    |   [=E=] Petrol (gasoline) can be obtained here.                |
+    | [=E""=] Accumulators can be recharged here.                    |
+    | [=A-A=] Agt. for the "British Automobile Association."         |
+    |                                                                |
+    |----------------------  =HOTELS=  ----------------------------  |
+    |                                                                |
+    | Grand Hotel (Temporary Annex), _50, rue Clovis_, [=L=][=WC=].  |
+    | Hotel du Nord, _73 and 75, Place d'Erlon_,                     |
+    |     [=L=][=WC=] adj. Shed [=3=] [=T=] =6-14=.                  |
+    | Hotel Continental,_93, Place d'Erlon_,                         |
+    |     [=L=][=WC=] Gar.[=2=] [=U=] Shelter [=4=][=T=] =147=.      |
+    |                                                                |
+    |------------------  =REPAIR MECHANICS=  ----------------------  |
+    |                                                                |
+    | -- STOCK MICHELIN (Compressed Air),                            |
+    |        =Vve. A. Mathieu=, _26, rue Buirette_.                  |
+    |        _Agt for_: de Dion, Renault,                            |
+    |        [=60=] [=U=] [=E=] [=E"=] [=T=] =5-06=.                 |
+    | -- STOCK MICHELIN (Compressed Air),                            |
+    |        =E. Devraine=, _Pl. Colin and 220, rue de               |
+    |        Vesle_, [=50=] [=U=] [=E=] [=E"=] [=A-A=] [=T=] =6-16=. |
+    | -- STOCK MICHELIN, =Auto-Electro-Mecanique Lemaire=, _10, rue  |
+    |        Hincmer, near the Cathedral_,                           |
+    |        [=20=] [=U=] [=E=] [=E"=] [=T=] =2-77=.                 |
+    | -- Garage Central, L. Jeannon, _57, rue des Capucins_,         |
+    |        [=40=] [=U=] [=E=] [=E"=].                              |
+    | -- Jacques d'Anglemont de Tassigny, _181, rue de Vesle_,       |
+    |        [=10]= [=U=] [=E=].                                     |
+    | -- Auto-Palace (de Balliencourt), _35, rue de Betheny_,        |
+    |        [=10=] [=U=] [=E=] [=E"=].                              |
+    | -- Gaston Etienne, _11, rue Chanzy_, [=10=] [=U=] [=E=].       |
+    | -- M. Triquenot & Cie, _9, rue des Moissons_, [=3=] [=E=].     |
+    | -- E. Caenen, _8, rue Heidsieck_, [=3=] [=E=].                 |
+    | -- Brouard & Colmart, _20, rue de Savoye_, [=4=] [=E=].        |
+    | -- Dieudonne, Cycles, _53, rue de Mars_.                       |
+    | -- Doyen Freres, Cycles, _52, rue de Ceres_.                   |
+    | -- Guerard, Cycles, _81, rue de Neuchatel_.                    |
+    | -- Boissel, Cycles, _122, bis rue de Gambetta_.                |
+    | -- Siron, Cycles, _80, Avenue de Laon_.                        |
+    |                                                                |
+    |  --------------  =CAR MANUFACTURERS=  -----------------------  |
+    |                                                                |
+    | -- Panhard-Levassor Works, _83, rue Ernest-Renan_.             |
+    | -- Societe des Automobiles Brasier Works, _2, rue de Sillery_. |
+    |                                                                |
+    |----------------------------------------------------------------|
+    |                                                                |
+    |* _The above information dates from June 1st, 1919, and may no  |
+    |longer be exact when it meets the reader's eye. Tourists are    |
+    |therefore recommended to consult the latest edition of the      |
+    |"Michelin Guide to France" (English or French), before setting  |
+    |out on the tour described in this volume._                      |
+    |                                                                |
+    |----------------------------------------------------------------|
+    |                                                                |
+    |    THE MICHELIN TOURING OFFICE                                 |
+    |    at 81, Fulham Road, Chelsea, LONDON,                        |
+    |    S.W. 3, will be pleased to furnish                          |
+    |    motorists with advice and information                       |
+    |    free of charge.                                             |
+    |                                                                |
+    |    _Special itineraries free, on request._                     |
+    |                                                                |
+    |----------------------------------------------------------------|
+
+[Illustration: (two ads)]
+
+
+       *       *       *       *       *
+
+
+    Transcriber's notes
+
+Errors of punctuation and diacritics have been repaired.
+
+Notations: =bold face text=, _italic text_.
+
+Hyphens removed: "day[-]break" (page 32), "master[-]piece" (page 50),
+"net[-]work" (page 167), "wood[-]work" (pages 72, 144, 146).
+
+Hyphens added: "key-stones" (page 132), "pre[-]historic" (page 18),
+"timber[-]work" (page 85).
+
+The following words appear once each with and without hyphens and have
+not been changed: "day[-]break", "hand[-]rail", "iron[-]work",
+"stone[-]work".
+
+Page 9: "Witry-les-Rheims" changed to "Witry-les-Reims".
+
+Page 13: "seperate" changed to "separate" (On three separate occasions).
+
+Page 23: "helmet" changed to "helmets" (They were supplied with helmets).
+
+Page 55: "railling" changed to "railing" (wrought-iron railing).
+
+Page 79 (caption): "of" added (supposed to be likenesses of).
+
+Page 136: "roads" changed to "road" (The road turns abruptly).
+
+Page 147: "Villers-Farnqueux" changed to "Villers-Franqueux".
+
+Page 156: "Germas" changed to "Germans" (re-taken by the Germans).
+
+Page 157 (caption of photo): "BETHANY" changed to "BETHENY".
+
+Page 161: "earthern" changed to "earthen" (earthen ramparts).
+
+Page 164 (title), page 176 (TOC): "l'Abesse" changed to "l'Abbesse".
+
+Page 167: "per-war" changed to "pre-war" (retained its pre-war aspect).
+
+Page 172: "Heidsick" changed to "Heidsieck" (champagne-wine firm of
+Heidsieck).
+
+Note: All the above errors except for those on pages 9, 161, 172 were
+corrected in the 1920 edition of the book.
+
+
+
+
+
+End of the Project Gutenberg EBook of Rheims and the Battles for its
+Possession, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK RHEIMS ***
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