How many a traveller moves from place to place, not realising anything beyond the transportation of his body! Yet in every town there is this fresh acquaintance, this lifelong friendship, that shall last while his own memory lasts, that is as fresh for him as for a thousand before him, and for tens of thousands after. When the bells of an unknown city have given me their first greeting, my first acknowledgment of that compelling invitation is to see those buildings in the town that can become alive again beneath their echoes. Of such churches, of such civic buildings, of private houses, of monuments by unknown hands for unknown owners, Rouen is full in almost all her streets.
"Là dans le passé tu peux vivre Chaque monument est un livre Chaque pierre un souvenir."
The history of the Middle Ages is written upon magnificent and enduring volumes, and a great responsibility is laid on those who would deface the writing on the wall. Their virtues and vices, their jests and indecencies, their follies and their fears, are all writ large upon the pages of a book that was ever open to every passer-by, and that remains for us to read. It is no rhetorical exaggeration, that "_Ceci tuera cela_" of Victor Hugo. Our smaller doings are recorded in the perishable print of fading paper, and we have no care to stamp what little we have left of character upon our buildings. No one, at least it may be fervently hoped, will try in the future to reconstruct the ideals or the life of the Victorian Era from its architecture. Yet we are the heirs of all that is noblest in that greatest of all arts; and if you would test that, you need only look at any mediæval French Cathedral with a seeing eye. You will find no meaningless mass of bricks and mortar, but the speaking record of the age that built them. "The stone shall cry out of the wall, and the beam out of the timber shall answer it."
"Latera aquilonis civitas regis magni Deus in domibus eius cognoscetur cum suscipiet eam."
Follow the Rue de la République past the Abbey of St. Ouen and up the hill to the Place Sainte Marie. On your left you will find the Musée des Antiquités which contains the earliest traces of the inhabitants of Rouen. There are so few of them that they are easily contained in a few glass cases; and this Museum is itself an excellent place with which to begin your visitation of the town. Few travellers go there, yet it is well worth the while, for here are collected many relics of an age that has left few traces anywhere, and here can be filled up many gaps in that story of Rouen which you can never read completely in what is left of the old town. In the courtyard that faces the Rue de la République are several of the ancient gateways that have given way before the press of modern traffic, and a few façades of carved and timbered houses rest like empty masks against the wall, looking forlorn enough, yet better here than lost. One of the best of these empty shells was taken in 1842 from No. 29 Rue Damiette. Dating about 1500, its overhanging storeys are carved with statues of St. John and of St. Romain with his Gargouille. It probably belonged to the Professional (Pellottier or Racquettier) of the Tennis Court near it, the Jeu de Paume St. Jacques. In this same courtyard of the Museum is a row of ancient weather-beaten statues, and, best relic of them all, the exquisite original of the fountain Croix de Pierre which is represented by a more modern imitation on the spot it once adorned.[1]