Add 49123 from ibiblio

author: nfenwick <nfenwick@pglaf.org> 2025-02-22 00:23:31 -0800
committer: nfenwick <nfenwick@pglaf.org> 2025-02-22 00:23:31 -0800
commit: 0baefd1c77d833a81ea0d8b86c5d37dc384f6ffd (patch)
tree: 7140e4b32ae2667f21c3f7c03eb1d55bbf7c3ff4 /49123-h
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+    <title>
+      	Michelin Guide - Lille Before and During the War, by Anonymous&mdash;A Project Gutenberg eBook.
+    </title>
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+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 49123 ***</div>
+
+<div class="tnotes covernote">
+  <p>The cover image was created by the transcriber and is placed in the public domain.</p>
+</div>
+<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p>
+<div id="halftitle">
+
+<p><span class="ph3">ILLUSTRATED MICHELIN GUIDES<br />
+TO THE BATTLE-FIELDS (1914-1918)</span><br />
+
+<span class="ph1">LILLE</span><br />
+
+<span class="ph2">BEFORE AND DURING THE WAR</span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_book_covera.jpg" width="700" height="509" alt="" />
+</div>
+
+<p>MICHELIN &amp; C<sup><em>IE</em></sup>, CLERMONT-FERRAND, FRANCE.<br />
+MICHELIN TYRE C<sup><em>o</em></sup> L<sup><em>TD</em></sup>, 81 Fulham Road, LONDON, S.W.<br />
+MICHELIN TIRE C<sup><em>o</em></sup> MILLTOWN, N.J. U.S.A.</p>
+</div>
+<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p>
+
+<p class="ph2">Hotels and Motor-Agents at Lille</p>
+
+<p class="center">Information extracted from the MICHELIN GUIDE (1919)<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+<hr class="tb" />
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Key to Arbitrary Signs">
+<caption class="ph3">Key to Arbitrary Signs</caption>
+
+  <tr>
+    <td class="tdr"><img src="images/i_a_002a.jpg" height="24" alt="" /><img src="images/i_a_002a.jpg" height="24" alt="" /></td>
+    <td>Comfortable hotels, with modern or modernised installation.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><img src="images/i_a_002a.jpg" height="24" alt="" /></td>
+    <td>Well-managed hotels.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[CC]</strong></td>
+    <td>Central Heating.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[L]</strong></td>
+    <td>Electric Light.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[B]</strong></td>
+    <td>Bath-room.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[WC]</strong></td>
+    <td>Modern W.C.'s.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[T] 104</strong></td>
+    <td>Telephone number.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><img src="images/i_a_002b.jpg" height="24" alt="" /></td>
+    <td>Telegraphic address.</td>
+  </tr>
+  <tr>
+    <td class="tdr">Gar. <strong>[6]</strong></td>
+    <td>Accommodation for automobiles, and the number of cars which can be accommodated.</td>
+  </tr>
+  <tr>
+    <td class="tdr">Box</td>
+    <td>Private lock-up compartments.</td>
+  </tr>
+  <tr>
+    <td class="tdr">Att</td>
+    <td>Adjoining the hotel.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>100 m.</strong></td>
+    <td>About 100 yards from the hotel.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>Compressed Air</strong></td>
+    <td>Dep&ocirc;t for "bouteilles d'air Michelin" for inflation of tyres.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><img src="images/i_a_002c.jpg" height="24" alt="" /></td>
+    <td>Repair shop.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><em>Agt de</em></td>
+    <td>Manufacturer's agent.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[3]</strong></td>
+    <td>Garage and number of cars it will accommodate.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>U</strong></td>
+    <td>Inspection pit.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[E]</strong></td>
+    <td>Petrol can be obtained here.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>E&#733;</strong></td>
+    <td>Electric plant where accumulators may be recharged.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><strong>[A&middot;A]</strong></td>
+    <td>Agent of "Automobile Association" of England.</td>
+  </tr>
+</table></div>
+
+
+<div class="center p2">
+<table border="0" class="bb" cellpadding="4" cellspacing="0" summary="HOTELS and MOTOR-AGENTS">
+<caption class="ph3">HOTELS and MOTOR-AGENTS</caption>
+<col width="90"></col>
+  <tr>
+    <td class="tdr"><img src="images/i_a_002a.jpg" height="24" alt="" /><img src="images/i_a_002a.jpg" height="24" alt="" /></td>
+    <td>H&ocirc;tel Bellevue, <em>35, rue Jean-Roisin et 17-19, Grande Place</em>. Lift <strong>[CC]</strong> <strong>[L]</strong> <strong>[B]</strong> <strong>[WC]</strong> Gar. <strong>100 m.</strong> <strong>[20]</strong> <img src="images/i_a_002b.jpg" height="24" alt="" /> H&ocirc;tel Bellevue <strong>[T]</strong> <strong>12-98</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><img src="images/i_a_002a.jpg" height="24" alt="" /><img src="images/i_a_002a.jpg" height="24" alt="" /></td>
+    <td>H&ocirc;tel de l'Europe, <em>30-32, rue Basse</em>. Lift <strong>[CC]</strong> <strong>[L]</strong> <strong>[B]</strong> <strong>[WC]</strong> Gar. <strong>[15]</strong> <strong>U</strong> <strong>[T]</strong> <strong>4&middot;75</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><img src="images/i_a_002a.jpg" height="24" alt="" /></td>
+    <td>H&ocirc;tel et Restaurant de la Paix, <em>46, rue de Paris</em>. <strong>[CC]</strong> <strong>[L]</strong> <strong>[B]</strong> <strong>[WC]</strong> Gar. att. <strong>[T]</strong> <strong>1539</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdr"><img src="images/i_a_002c.jpg" height="24" alt="" /></td>
+    <td>STOCK MICHELIN <strong>(Compressed Air)</strong>, <strong>Garage Dulieux</strong>, <em>36, rue de l'H&ocirc;pital-Militaire</em>. Annexe: <em>rue de Fontenay</em>. <em>Agt de</em>: Corre la Licorne. <strong>[30]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[A-A]</strong> <img src="images/i_a_002b.jpg" height="24" alt="" /> Dulieux-Automobiles <strong>[T]</strong> <strong>14&middot;04</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN <strong>(Compressed Air)</strong>. <strong>Agence Renault</strong>, <em>141, boulevard Carnot</em>, La Madeleine-l&egrave;s-Lille. <strong>[30]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>19&middot;78</strong> (r&eacute;seau Lille) <img src="images/i_a_002b.jpg" height="24" alt="" /> Renauto.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN, <strong>Louis Vallez</strong>, <em>5, rue du Palais-Rihour</em>. <strong>[40]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>22&middot;70</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN, <strong>Grand Garage Farcot</strong>, <em>68-70, rue Meurein (219, rue Nationale)</em>. <strong>[80]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>20&middot;20</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN <strong>(Compressed Air)</strong>, <strong>Succureale des Automobiles Berliet</strong>, <em>197, rue Nationale</em>. <strong>[100]</strong> <strong>[E]</strong> <strong>E&#733;</strong> Autoberlie-Lille <strong>[T]</strong> <strong>16&middot;96</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN, <strong>St&eacute; des Anciens Etablissements Panhard et Levassor</strong> (Succ<sup>e</sup>), <em>187, boulevard de la R&eacute;publique</em> (new boulevard), La Madeleine-l&egrave;s-Lille. <strong>[40]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <img src="images/i_a_002b.jpg" height="24" alt="" /> Panhard-Levassor <strong>[T]</strong> <strong>5&middot;83</strong> (r&eacute;seau Lille).</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN, <strong>Agences Hotchkiss</strong>, <em>1 bis, rue de la Chambre des Comptes</em>. <strong>[20]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>26&middot;83</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN, Repair Shop for motor-cars, <strong>Emile Faure et Cie</strong>, <em>avenue Verdy et rue du Ballon</em>, La Madeleine-l&egrave;s-Lille. <strong>[20]</strong> <strong>U</strong> <strong>[E]</strong> <strong>[T]</strong> <strong>14&middot;27</strong> (r&eacute;seau Lille).</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN, <strong>Kalfl&egrave;che et Bachmann</strong>, <em>147, boulevard de la R&eacute;publique</em>, La Madeleine-l&egrave;s-Lille. <strong>[10]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>24&middot;18</strong> (r&eacute;seau Lille).</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td>STOCK MICHELIN, <strong>E. Bouriez et Cie</strong>, <em>50-52, rue Jean-Bart et 239, boulevard de la R&eacute;publique</em>, La Madeleine-l&egrave;s-Lille. <em>Agts de</em>: Peugeot <strong>[10]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>3&middot;88</strong> (r&eacute;seau Lille).</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td><strong>Soci&eacute;te Anonyme des Autos et Cycles Peugeot</strong> (Succursale de la), <em>62, boulevard de la Libert&eacute;</em>. <strong>[T]</strong> <strong>20&middot;84</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td><strong>K&#339;chlin</strong>, <em>27, rue Colson</em>. <strong>[30]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>18&middot;30</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td><strong>Marcel Villette</strong>, <em>5, rue St-Augustin</em>. <strong>[10]</strong> <strong>U</strong> <strong>[E]</strong> <strong>[T]</strong> <strong>26&middot;81</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td><strong>John et Henry Sergy</strong>, <em>240, rue Nationale</em>. <strong>[15]</strong> <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong> <strong>[T]</strong> <strong>27&middot;24</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td><strong>Succursale Th. Schneider et Cie</strong>, <em>3, rue St-Genois</em>. <strong>[30]</strong> <strong>U</strong> <strong>[E]</strong> <img src="images/i_a_002b.jpg" height="24" alt="" /> Theiderco <strong>[T]</strong> <strong>2&middot;92</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td><strong>Usine Pipe</strong>, <em>56, boulevard de la Libert&eacute; et 5 bis, rue de l'Orph&eacute;on</em>. <strong>[50]</strong> <strong>20</strong> boxes <strong>U</strong> <strong>[E]</strong> <strong>E&#733;</strong>.</td>
+  </tr>
+  <tr>
+    <td class="tdc">&mdash;</td>
+    <td><strong>Mannessier</strong>, <em>rue Nationale</em>. <strong>[E]</strong>.</td>
+  </tr>
+</table></div>
+
+<div class="footnote">
+
+<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> <em>The above information dates from March 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.</em></p>
+
+<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p></div>
+
+<div class="bbox">
+<p class="ph2">The MICHELIN MAPS</p>
+
+<p class="center"><em>Invaluable to Motorists and Tourists.</em></p>
+
+<p class="ph3">FRANCE.</p>
+
+<p class="center"><em>(Scale&mdash;1:200,000)</em></p>
+
+<p class="center">Published in 47 Sections.</p>
+
+<p class="center">Beautifully printed in
+Five Colours.
+</p>
+
+<div class="figcenter" style="width: 432px;">
+<img src="images/i_a_003a.jpg" width="432" height="700" alt="" />
+</div>
+
+<p class="ph3">The
+BRITISH
+ISLES.</p>
+
+<p class="center"><em>(Scale 3&middot;15 miles to the inch.)</em></p>
+
+<p class="center">Published in 31 Sections. Beautifully
+engraved and printed in six colours.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Price of Maps">
+<caption>Price of Maps (English
+or French) per Section:</caption>
+
+  <tr>
+    <td>On Paper</td>
+    <td class="tdc">-</td>
+    <td><strong>1/-</strong></td>
+    <td>or post</td>
+    <td>free</td>
+    <td><strong>1/1&frac12;</strong></td>
+  </tr>
+  <tr>
+    <td>On Canvas</td>
+    <td class="tdc">-</td>
+    <td><strong>2/-</strong></td>
+    <td class="tdc">"</td>
+    <td class="tdc">"</td>
+    <td><strong>2/2</strong></td>
+  </tr>
+</table></div>
+
+<p class="ph3">MICHELIN TYRE CO., 81, Fulham Rd., S.W.3
+</p>
+</div>
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span></p>
+
+<div class="bbox">
+<p class="ph2">The "Michelin Wheel"</p>
+
+<p class="ph4">BEST of all detachable wheels
+because the least complicated
+</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_a_004a.jpg" width="700" height="266" alt="" />
+</div>
+
+<p><em class="u">Elegant</em></p>
+
+<div class="blockquot">
+
+<p>It embellishes even the finest coachwork.</p></div>
+
+<p><em class="u">Simple</em></p>
+
+<div class="blockquot">
+
+<p>It is detachable at the hub and fixed by six
+bolts only.</p></div>
+
+<p><em class="u">Strong</em></p>
+
+<div class="blockquot">
+
+<p>The only wheel which held out on all fronts
+during the War.</p></div>
+
+<p><em class="u">Practical</em></p>
+
+<div class="blockquot">
+
+<p>Can be replaced in 3 minutes by <em>anybody</em>
+and cleaned still quicker.</p>
+
+<p>It prolongs the life of tyres by cooling them.</p></div>
+
+<p class="ph3">AND THE CHEAPEST
+</p>
+</div>
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<div id="titlepage">
+<div class="bbox">
+<p class="center">IN MEMORY<br />
+OF THE MICHELIN EMPLOYEES<br />
+AND WORKMEN WHO DIED GLORIOUSLY<br />
+FOR THEIR COUNTRY</p>
+</div>
+
+<div class="chapter"></div>
+
+
+
+
+
+<h1>LILLE<br />
+
+<span class="xlarge">BEFORE AND DURING THE WAR</span></h1>
+
+
+<p class="p6">Published by<br />
+MICHELIN &amp; <span class="smcap">Cie</span><br />
+Clermont-Ferrand, France.</p>
+
+<p>Copyright by Michelin &amp; Cie 1919</p>
+
+<p><em>All rights of translation, adaptation or reproduction (in part or whole), reserved
+in all countries.</em>
+</p>
+
+</div>
+
+<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h2>LILLE</h2>
+
+
+<h3>ORIGIN AND CHIEF HISTORICAL EVENTS</h3>
+
+<p>The marvellous tales of <em>"Liliane"</em> and the forest rangers <em>Phin&#339;rt</em>
+and <em>Lyderic</em>, which take Lille back to the days of Julius C&aelig;sar, are mythical.
+The first mention of Lille in history dates back to the 11th century, when
+the town was divided into the <em>"castrum"</em> or entrenched camp of the Counts
+of Flanders (where Baudoin V. erected the Basilica and Forum in about 1050),
+and the <em>"forum"</em> (to-day the Grand' Place), where the church of St. Martin
+already existed.</p>
+
+<p>The <em>"forum"</em> grew rapidly in the 12th century; the suburb of Fives,
+with its two churches of St. Saviour and St. Maurice, being enclosed within
+the new wall. There were no further changes of importance until the
+17th century, when the Vauban fortifications to the north further enlarged
+the town. It was only in 1858 that Moulins, Vazemmes and Esquermes
+were included in the southern portion of the town, leaving the important
+suburbs of Fives and St. Maurice outside the ramparts.</p>
+
+<p>Its situation on the frontier embroiled Lille in all the great wars. In
+1213, <em>Philippe-August</em> took it twice from Count Ferrand, burning it completely
+the second time, to punish the inhabitants for having received their
+former chief. <em>Philippe le Bel</em> took it in 1297, and built the Ch&acirc;teau de
+Courtrai to commemorate the event. The <em>Flemish</em> conquered it in 1302,
+but were defeated in 1304 at Mons-en-Puelle by Philippe, who forced them
+to abandon the town after a month's siege. Then, for half-a-century, Lille
+belonged to the Kings of France, but the marriage of the Duke of Burgundy,
+<em>Philippe le Hardi</em>, with the Heiress of Flanders, in 1369, restored it to the
+counts. When <em>Maximilian of Austria</em> espoused Marie of Burgundy, daughter
+and Heir of Charles the Bold, last Duke of Burgundy, Lille became part of
+his dominions.</p>
+
+<p>At the head of his armies, <em>Louis XIV.</em> besieged and took it in 1667
+after "nine days of trench fighting," and the Treaty of Aix-la-Chapelle
+confirmed the capture.</p>
+
+<p>As an advanced citadel, it defended the northern frontier, but in 1708,
+the <em>Spanish</em> were before its gates, and Marshal de Boufflers, after exhausting
+his supplies and ammunition, was obliged to surrender to Prince Eug&egrave;ne
+and the Duke of Marlborough. After a five years' occupation, the Treaty
+of Utrecht gave it back to France in 1713.</p>
+
+<p>In 1792, it was besieged by 30,000 Austrians under <em>Albert of Saxe-Coburg</em>,
+who bombarded it day and night for nine days. The famous <em>Lille gunners</em>
+beat off the enemy, who raised the siege, and the Convention having decreed
+that "the town deserved well of the country," a commemorative column
+was erected in the Grand' Place <em>(p. <a href="#Page_26">26</a>)</em>.</p>
+
+<p>In the Franco-German War of 1870-1871, Lille remained outside the
+battle area, and the only local souvenir connected with that struggle was
+a visit from <em>M. Antonin Dubost</em> (now Pr&eacute;sident of the French Senate) in
+October, 1870. Leaving Paris, which was besieged, in a balloon named
+"The Universal Republic," he landed between Rocroi and M&eacute;zi&egrave;res, going
+thence on foot to Belgium, and from there to Lille. He was received by
+the Commissary of the Government for National Defence (Mr. Testelin)
+<em>(p. <a href="#Page_50">50</a>)</em> and General Bourbaki, who had escaped from Metz, and harangued
+the people from the steps of the Grand' Garde <em>(Place de la Bourse, p. <a href="#Page_29">29</a>)</em>.</p>
+
+<p>In 1914, the victorious Germans were at its gates, and the Capital of
+Flanders was destined to suffer a four years' occupation.</p>
+
+<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_003a.jpg" width="700" height="518" alt="" />
+<div class="caption"><p>THE NORTHERN FRONTIER</p></div>
+</div>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h3>LILLE AND THE GREAT WAR</h3>
+
+
+<h4>Importance and Military Situation of Lille in 1914</h4>
+
+<p>Lying between the rivers Lys, Escaut and Scarpe, in the plain before
+the hills of Artois, Lille forms an isolated advance-post between <em>Maubeuge</em>
+(which guards the Pass of the Oise), and <em>Dunkirk</em> (which commands the
+region of the Dunes). <em>Vauban</em> had fortified the place, but the treaties
+of 1815 and 1871 deprived France of her essential points of support, and
+rendered these defences valueless. In 1873, <em>General S&eacute;r&eacute; de Rivi&egrave;res</em>,
+Director of the Engineering Section at the Ministry of War, commenced
+a comprehensive scheme which aimed at the reorganization of the entire
+northern frontier, whereof Lille was one of the pivots.</p>
+
+<p>Situated in the centre of France's richest coalfields and allied industries,
+Lille has justly been called "the Key to France's Treasure-House" (see
+<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a><br /><a name="Page_5" id="Page_5">[Pg 5]</a><br /><a name="Page_6" id="Page_6">[Pg 6]</a><br /><a name="Page_7" id="Page_7">[Pg 7]</a><br /><a name="Page_8" id="Page_8">[Pg 8]</a><br /><a name="Page_9" id="Page_9">[Pg 9]</a></span><em>"Le secret de la fronti&egrave;re,"</em> by M. Fernand Engerand, 1918). To enable
+it to withstand a surprise attack and hold out against a long siege, the city's
+intermediate defences were increased to such a degree that Lille became
+the point of support of the French frontier between the rivers Sambre and
+Lys. By thus protecting the Arsenal of Douai, it became possible to assemble
+a reserve army within the entrenched camp of Lille, 31 miles in length. The
+total cost of these works was 126,000,000 frs.</p>
+
+<p>But, as in Vauban's days, a reactionary movement set in against defensive
+works, and it was demonstrated by their opponents that besieged towns
+must fall, and that in future the destinies of nations would be decided
+in the open battlefield. In 1880, the works of S&eacute;r&eacute; de Rivi&egrave;res were
+abandoned.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_004a.jpg" width="600" height="385" alt="" />
+<div class="caption"><p>NAPOL&Eacute;ON BRIDGE DESTROYED BY THE RETREATING GERMANS <em>(see p. <a href="#Page_52">52</a>)</em></p></div>
+</div>
+
+<p>In the meantime, the great cities of the north, with Lille at their head,
+had become industrial centres of primary importance, thanks to their wealth
+of raw materials (coal, iron and steel). To protect them from the horrors
+of war, it was considered only necessary to make open towns of them.
+The fortifications of Lille were among the first to be condemned, as being
+of no real value, and a Bill to this effect was passed by Parliament.</p>
+
+<p>Collaborators of S&eacute;r&eacute; de Rivi&egrave;res gave the alarm in March, 1899, pointing
+out that the neutrality of Belgium was insufficient protection, that its
+violation was inevitable, that the Pass of the Oise was an open road for
+invasion, that with Lille outflanked, the Forest of Saint-Gobain (which Laon
+and La F&egrave;re, whose dismantling the Bill provided for, would no longer be
+able to protect) would fall, and that the enemy would be at the gates of
+Paris within a few days.</p>
+
+<p>Finally, the fortifications of Lille were not dismantled, but were allowed
+to fall into disuse.</p>
+
+<p>On the other hand, the eastern frontier was considerably strengthened. It
+was in vain that the <em>Belgian General Brialmont</em>, who had just completed the
+forts of Antwerp and Liege, pointed out that the abandonment of the northern
+frontier would inevitably cause a violation of Belgium's neutrality. Like
+her peaceful neighbour, France relied on the sacredness of treaties, and made
+it a point of honour to leave that part of her frontier practically unprotected.</p>
+
+<p>At that time, Germany was neglecting the East, and making all her
+railways converge towards the Pass of the Oise. In other words, a frontal
+attack against the East being considered impracticable, Germany decided
+to turn it from the north. The fortifications of Lille were again condemned
+in November, 1911, and it is a curious coincidence that this was the year
+of the <em>Agadir Incident</em> and of the first tangible German threats of war.</p>
+
+<p>In July, 1914, 3,000 artillery-men and nearly a third of the guns had
+been removed from the fortifications. On August 1st, the Governor, General
+Lebas, received orders to consider Lille an open town, but on August 21st
+his successor, General Herment, increased the garrison troops from 15,000
+to 25,000, and later, to 28,000 men, taking units from each of the regiments
+in the 1st region. At this time, the armament consisted of 446 guns and
+79,788 shells, to which were added 9,000,000 cartridges, 3,000 75 mm. shells
+and 12 47 mm. guns sent from Paris.</p>
+
+
+<h4>How Lille fell in 1914</h4>
+
+<p class="center"><em>(See Maps on pages <a href="#Page_3">3</a> and <a href="#Page_6">6</a>)</em>
+</p>
+
+<p>At the beginning of the battle of Charleroi, <em>General d'Amade</em> was in
+the vicinity of Lille, with territorial divisions extending from <em>Dunkirk</em> to
+<em>Maubeuge</em>. The 82nd Division alone held the entire space between the
+Escaut and the Scarpe, with advance posts at Tournai and Lille. It was
+manifest that these troops were insufficient to offer serious resistance.
+However, the first care was to defend the town. For two days,
+trenches and shelters were made, and the troops sent to their respective
+positions.</p>
+
+<p>On August 23rd, the British, defeated on the previous day at Mons, retreated,
+leaving Tournai unprotected. The Germans drove out the 82nd territorial
+Division and entered the town. Elsewhere, they advanced as far as
+Roubaix-Tourcoing, blowing up the station of Mouscron. The French
+territorials counter-attacked vigorously, and units of the 83rd and 84th
+regiments reoccupied Tournai during the night.</p>
+
+<p>In the early morning of the 24th, <em>General de Villaret</em>, commanding the
+170th Brigade, organized the defence of the bridges over the Escaut, where
+sharp fighting took place. However, his troops were obliged to fall back
+about noon, before the numerically superior enemy forces.</p>
+
+<p>While these events were taking place close to Lille, the Mayor requested
+that the town should not be needlessly exposed to the horrors of a siege.
+A meeting of the principal civil authorities (town councillors and members
+of both Houses of Parliament) was held, at which it was decided to petition
+the Government to declare the town open, and withdraw the military. At
+5 p.m. on the 24th, a telegram arrived from the War Minister, with orders
+to consider Lille undefended, and to evacuate the troops between La Bass&eacute;e
+and Aire-sur-la-Lys.</p>
+
+<p>On the 25th, the right wing of the German army was reported to be
+advancing, protected by about three divisions of cavalry with supporting
+artillery. Patrols reached the outskirts of the town soon afterwards.</p>
+
+<p>General Herment executed the orders he had received. Moreover,
+he knew that the neighbouring town of Maubeuge was holding out with
+45,000 men, and that the Belgian army was intact at Antwerp.</p>
+
+<p>On September 2nd, enemy detachments entered Lille, disappearing three
+days later. The town was only occupied by patrols, who had orders to
+secure the German right (Von Kluck's army), which was executing its famous
+flanking movement. Then came the <em>Victory of the Marne</em>. After the
+German retreat and the indecisive <em>Battle of the Aisne</em>, the enemy began their
+northward movement known as the "Race for the Sea," the aim of which,
+on either side, was to turn the adversary's wing.</p>
+
+<p>On October 3rd, Joffre joined the 10th army under <em>General de Maud'huy</em>
+to reinforce his left and prevent its envelopment. The 21st Army Corps
+arrived from Champagne, and the 13th Division detrained to the west
+of the town.</p>
+
+<p>On the morning of the 4th, battalions of Chasseurs, belonging to the
+13th Division, received orders to take up positions to the north and east
+of the town. After spending the night at Armenti&egrave;res, they passed through
+Lille, where they had an enthusiastic reception.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_006a.jpg" width="700" height="697" alt="" />
+</div>
+
+<p>The 17th Battalion, which was to occupy the suburb of Fives, was met
+with a sharp fusillade as it left the ramparts. Organizing promptly, it
+drove the enemy from the railway station and fortifications, capturing a
+number of machine-guns and prisoners. To the north of the town, the
+French troops came into contact with German patrols near Wambrechies
+and Marquette, while the 7th cavalry Division had skirmishes in the neighbourhood
+of Fouquet.</p>
+
+<p>Meanwhile, the garrison, consisting of territorials and Algerian mounted
+troops, took up positions to the south of Faches and Wattignies, in liaison,
+at Ronchin, with other units of the 13th Division. The enemy attacked at
+this point, and reached the railway.</p>
+
+<p>On the 5th, after a sharp counter-attack, the French took Fives, Hellemmes,
+Flers, the Fort of Mons-en-Bar&#339;ul and Ronchin. To the west of the town
+cavalry engagements took place along the Ypres Canal. On the 6th, the
+13th Division left the outskirts of the town, following the 21st Corps in the
+direction of Artois. Only two battalions of Chasseurs were left in Lille.</p>
+
+<p>On the 7th, the two battalions of Chasseurs rejoined the 13th Division,
+the defence of Lille being left to the territorials and Algerian troops. On
+the 9th and 10th, the 2nd cavalry Corps engaged the enemy near Estaires-Merville
+(between Aire-sur-la-Lys and Armenti&egrave;res), but was unable to open
+the road to Lille, which was then left to its fate.</p>
+
+<p>At 10 a.m. on the 9th, the first enemy aeroplane appeared, and dropped
+two bombs on the General Post Office. In the afternoon, all men from 18 to
+48 years of age were ordered to the B&eacute;thune Gate, with instructions to leave
+Lille immediately.</p>
+
+<div class="figcenter" style="width: 452px;">
+<img src="images/i_b_007a.jpg" width="452" height="700" alt="" />
+<div class="caption"><p>AFTER THE
+BOMBARDMENT:
+A FALLING
+HOUSE IN THE
+RUE DE PARIS</p></div>
+</div>
+
+<p>A crowd of people from Lille, Tourcoing, Roubaix and the neighbouring
+villages, left on foot for Dunkirk and Gravelines. Several died on the way
+of exhaustion, others being taken prisoners by the Uhlans. The last train
+left at day-break on the 10th. At 9 a.m., the first enemy shell burst, being
+followed by many others which fell in the neighbourhood of the station,
+and on the Prefecture and Palais des Beaux-Arts. The afternoon was quiet,
+but at 9 a.m. the bombardment began again, lasting until 1 in the morning,
+then from 5 a.m. to 8 a.m. and from 10 a.m. to 6 p.m. On the 12th, when
+the garrison capitulated, 80 civilians had been killed and numerous buildings
+destroyed by the bombardment. That part of the town near the railway
+station was almost entirely destroyed <em>(see plan, p. <a href="#Page_25">25</a>)</em>.</p>
+
+<p>The Rue Faidherbe, Caf&eacute; Jean, Grand H&ocirc;tel, Grande Pharmacie de France,
+part of the Rue des Ponts-de-Comines, and the whole of the Rue du Vieux-March&eacute;-aux-Poulets,
+were in ruins. The H&ocirc;tel Continental in the Parvis-St.-Maurice
+Square, was a mere heap of rubbish. The Rue de B&eacute;thune, Rue de
+l'H&ocirc;pital-Militaire and Rue du Molinel were partially destroyed. In the
+Boulevard de la Libert&eacute;, the premises of the "Belle Jardini&egrave;re" Stores were
+wiped out <em>(p. <a href="#Page_38">38</a>)</em>.</p>
+
+<p>At 9 a.m., on October 13th, while hundreds of fires were still burning,
+five companies of Bavarian troops entered the town, followed throughout
+the day by Uhlans, Dragoons, Artillery, "Death Hussars" and Infantry.
+The occupation had begun.</p>
+
+<div class="figcenter" style="width: 466px;">
+<img src="images/i_b_008a.jpg" width="466" height="700" alt="" />
+<div class="caption"><p>The Man&#339;uvre of Marshal Foch</p>
+
+<p><em>This map shows the successive advances of the Allies, from August 1st (1/8) to October 18th (18/10).
+On October 16th (16/10) the line reached (shown by thick dots) threatened Lille with envelopment,
+and forced the enemy to retreat along a wide front.</em></p></div>
+</div>
+
+
+<h4>The Deliverance</h4>
+
+<p>For more than three years the inhabitants of Lille had heard the
+guns thundering almost at their gates, as for a long while the front was
+bounded by Armenti&egrave;res and Lens. In <em>December, 1914</em>, the Battle of
+Artois partially cleared Arras. The offensive of <em>May-June, 1915</em>, was marked
+by the capture of Notre-Dame-de-Lorette, Ablain-St.-Nazaire, Carency,
+Souchez, stopping at Vimy Ridge and hemming in Lens on the south. The
+victory of <em>September-October, 1915</em>, cleared Lens further to the north, by
+the capture of Loos. In <em>March, 1918</em>, a powerful German offensive from
+Armenti&egrave;res, forced the Allies back for several months, until the successive
+and correlated offensives of the Allies, under Foch, beginning on July 18th,
+finally liberated the French soil, town by town, and village by village. In
+August and September there was an advance along the whole front from the
+Argonne to the Artois, while in October, the Artois-Picardy front also burst
+into flames.</p>
+
+<p>While the <em>French</em>, in the centre of their line of attack, crossed the Oise
+at Mont-d'Origny, to the south-west of Guise, the <em>British</em>, north of Douai and
+east of Lens, encircled Lille more closely on the south, and approached
+S&eacute;clin, Aubourdin and Quesnoy-sur-Deule.</p>
+
+<p>At the other end of the front, on the left, <em>Belgian</em>, <em>British</em> and <em>French</em>
+forces under the <em>King of Belgium, Albert I.</em>, took the offensive, and on
+the 14th, 15th and 16th. of October, in spite of the rain and mud, took
+Roulers and Thourout. Meanwhile, the 2nd British Army captured Menin,
+crossed the Lys 9 miles from Lille, taking from the rear the northern defences
+of the latter. In possession of Menin and Bouchain, the British continued
+to encircle Lille and Douai, and approached the two ends of the important
+Menin-Tourcoing-Roubaix-Cysoing-Orchies-Somain-Cambrai railway.</p>
+
+<p>On the 14th, the Germans, who were preparing to evacuate Lille, destroyed
+the railway behind them, and on the 15th, burnt the goods station of St.
+Sauveur, after hurriedly plundering it.</p>
+
+<p>At 4 a.m. on the 17th, the inhabitants were ordered to form up and march
+towards the British lines.</p>
+
+<p>At 5 a.m. on the 17th the last of the Germans left Lille, after blowing up
+all the bridges and a number of locks on the canal.</p>
+
+<p>At noon, on the 1,536th day of the war, the 5th British Army entered
+Lille, after a four years' occupation.</p>
+
+<p>Although they had organized powerful defences to a depth of 12 miles
+around the town (barbed-wire entanglements, concrete trenches, etc.), the
+Germans made only a faint show of resistance. To console the people at
+home, the newspapers <em>(Strassburger Post)</em> announced that <em>"retreat was the
+only way to preserve the elasticity of the front and prevent a break-through at all
+costs."</em> (See opposite, map showing, step by step, the advance of the Allies,
+from August 1st to October 18th, 1918.)</p>
+
+<p>The joy of the liberated population may best be expressed by the words
+with which the <em>Mayor of Lille</em> received <em>Pr&eacute;sident Poincar&eacute;</em> on October 21st:
+<em>"For four years we have been like miners buried alive, listening for the sound
+of the rescuers' picks; then all at once the dark gallery opens and we perceive
+the light."</em></p>
+
+<p>In Paris, the news was received with singing and cheers. In the Place
+de la Concorde, the Statue of Lille was decorated with the French and British
+colours and flowers. The Fourth National Loan, named the "Liberation
+Loan," opened under the most favourable conditions.</p>
+
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_010a.jpg" width="600" height="400" alt="" />
+<div class="caption"><p>FRENCH AND BRITISH PRISONERS</p>
+
+<p><em>(Rue Faidherbe and Place du Th&eacute;&acirc;tre, before the ruins of the Caf&eacute; Jean)</em></p>
+
+<p><em>(Most of the photographs in the "Occupation of Lille"
+portion of this Guide, were taken by M. Hazebroucq, engineer, in spite of enemy
+prohibitions and threats.)</em></p></div>
+</div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_010b.jpg" width="700" height="469" alt="" />
+<div class="caption"><p>BRITISH TROOPS DEFILING IN THE RUE L&Eacute;ON GAMBETTA, OCTOBER 21ST, 1918</p>
+
+<p><em>(A portrait of the King of Belgium is seen in one of the shop windows)</em></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_011a.jpg" width="700" height="447" alt="" />
+<div class="caption"><p>THE KAISER IN MOTOR-CAR, IN THE PLACE CORMONTAIGNE</p></div>
+</div>
+
+
+<h3>THE GERMAN OCCUPATION</h3>
+
+<p>The German occupation began on October 13th, 1914. From the 13th
+to the 28th of that month it was <em>Major-General Wahlschaffe</em> who directed
+the operations, levied the War Contributions and chose the hostages. His
+successor, <em>Artillery General Von Heinrich</em>, was appointed Governor on
+October 25th, and held the post until December 27th, 1916, when he was
+made Governor of Bucharest. <em>General Von Graevenitz</em> was Chief of the
+Kommandantur, which occupied the premises of the Credit du Nord bank
+in the Rue Jean Roisin.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_011b.jpg" width="700" height="451" alt="" />
+<div class="caption"><p>THE KING OF BAVARIA AND THE KAISER IN THE PLACE DE LA GARE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+
+
+<h4>The Hostages and War Contributions</h4>
+
+<p><strong>Sixty hostages</strong> were chosen from among the most notable persons in
+the town, and included the Bishop <em>(Mgr. Charost)</em>, the Prefect of the North
+<em>(M. Tr&eacute;pont)</em>, <em>MM. Delory</em> and <em>Ghesqui&egrave;re</em>, Members of Parliament, the
+Mayor <em>(M. Delesalle)</em> and deputy mayors. In groups of ten they were made
+to spend the night in turns at the Citadelle <em>(photo, p. <a href="#Page_51">51</a>)</em>.</p>
+
+<p>From December 31st, they were required merely to sign a presence-sheet,
+but were later again forced to spend the whole of their time (day and night)
+in the Citadelle, this time in groups of five. Finally, they had to sign a
+presence-sheet each morning and evening until October 5th, 1915, when
+this formality was dispensed with, <em>i.e.</em> after the Census operations had been
+completed.</p>
+
+<p>In November, 1914, began exorbitant exactions in the guise of <strong>War
+Contributions</strong>. On the 4th, Von Graevenitz demanded a million francs to
+be paid on the 10th; then two millions on the 17th, and three millions on the
+24th, in addition to the expense of feeding the troops, which alone amounted
+to 10,000 frs. daily. After much negotiating the Governor finally agreed
+first to give more time, then to reduce the amounts of the contributions.</p>
+
+<p>To ensure an effective control, a very strict <em>census</em> of the population was
+taken on August 27th, 1915. Particulars of the persons in each house were
+constantly posted up, and after September 1st <strong>identity-cards</strong> with photographs
+were obligatory. To be found in the street or even standing on one's
+doorstep without this card, was punishable by fine (3 to 30 marks) or imprisonment
+(one to three days).</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_012a.jpg" width="600" height="569" alt="" />
+<div class="caption"><p>M. JACQUET'S
+IDENTITY
+CARD<br />
+<em>(see p. <a href="#Page_16">16</a>)</em>.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+
+<h4>Passes</h4>
+
+<div class="figright" style="width: 700px;">
+<img src="images/i_b_013a.jpg" width="700" height="445" alt="" />
+<div class="caption"><p>DISTRIBUTING
+PASSES IN THE
+RUE JEAN-ROISIN<br />
+<em>(see plan, p. <a href="#Page_25">25</a>)</em>.</p></div>
+</div>
+
+<p>In January, 1915,
+the Kommandantur
+drew up rules
+for the granting of
+passes, a fruitful
+source of profit to
+the Germans, and
+of annoyance to
+the population. A
+scale of prices provided
+even for the
+shortest journeys.
+Funeral processions
+going to the South
+Cemetery were also
+required to have passes (free), to go through the Porte des Postes, and
+were escorted by soldiers, both going and coming, to prevent the people from
+leaving the ranks.</p>
+
+<div class="figright" style="width: 409px;">
+<img src="images/i_b_013b.jpg" width="409" height="600" alt="" />
+<div class="caption"><p>REQUISITIONING
+BEDDING IN
+THE RUE
+RATISBONNE.</p></div>
+</div>
+
+<p>However, little by little, the people took up their occupations again.
+Forty schools for boys and girls reopened early in November. Of the
+remainder, five had been destroyed, two turned into hospitals and ten into
+barracks. The higher
+schools and, later, the
+Lyc&eacute;e reopened, as did
+also the Conservatoire,
+whose pupils were
+exempted from having
+passes. The only newspapers
+allowed were
+the <cite>Bruxellois</cite> and the
+<cite>Gazette des Ardennes</cite>,
+both under German
+control. On November
+15th, 1915, at the request
+of the Kommandantur, the
+Municipality
+started the bi-weekly
+<cite>Bulletin de Lille</cite>, which
+appeared on Thursdays
+and Sundays, and contained
+the Proclamations,
+Birth and Death
+notices, etc.</p>
+
+<p>Next came the <strong>Requisitions</strong>:
+saddles
+and bridles, bicycles,
+photographic apparatus,
+telephones, bedding
+and horsehair (photo
+opposite). The Germans
+relentlessly seized all
+bedding, including
+that of the old people,
+some of whom died of
+cold from sleeping on<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+bare stone floors. Neither sickness nor old age could soften them,
+and when at last Lille was relieved, very few houses contained any
+bedding.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_014a.jpg" width="700" height="519" alt="" />
+</div>
+
+
+<h4>Famine</h4>
+
+<p>The town now began to be threatened with <strong>famine</strong>. Since 1914, bread
+had only contained one-third of wheat flour. At the request of the Military
+Authorities, the Mayor sent an <strong>urgent appeal</strong> to Switzerland for help,
+to save the women and children from starving, and cited the case of Strasburg
+generously revictualled by her in 1870. In March, 1915, a <em>Commission
+of Swiss Officers</em> visited Lille, but was unable to conclude arrangements.
+On April 19th, after lengthy negotiations, the <em>Comit&eacute; National Belge</em>, under
+the patronage of the <em>Ambassadors of the United States and Spain</em>, obtained
+permission to revictual the famine-threatened town.</p>
+
+<p>In the meantime, recourse was had to various expedients to eke out the
+stocks of food. In December, wheat flour was mixed with rye, Indian corn
+and rice. In April, potatoes were added. On the 11th, bread cards were
+inaugurated, fixing the daily ration per head at 9 oz. The inhabitants
+were divided into two classes, the ration being distributed every other
+day.</p>
+
+<p>The gold, silver and copper coinage disappeared, and was replaced by
+cardboard pennies and paper "bons" (photos above and below).</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_014b.jpg" width="700" height="419" alt="" />
+</div>
+
+<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_015a.jpg" width="700" height="443" alt="" />
+<div class="caption"><p>THE KAISER AND THE KING OF BAVARIA IN FRONT OF THE RUINS IN THE
+RUE DE TOURNAI (PLACE DE LA GARE).</p></div>
+</div>
+
+
+<h3>THE REIGN OF TERROR</h3>
+
+<p><strong>Prohibitory Decrees</strong> followed in quick succession, in an endeavour to
+terrorize the people, who were forbidden to possess arms, approach the
+prisoners, import Belgian tobacco, or sell their wares in the streets, breaches
+being punished often with vindictive severity. Two of the first <strong>victims</strong>
+were the Prefect <em>(M. Tr&eacute;pont)</em> and his secretary <em>(M. Borrom&eacute;e)</em>, the former
+accused of treason, the latter of stirring up revolt against the German
+Authorities. Their "crime" was that, on August 24th, in conformity with
+their duty, they had mobilized the French citizens, within sight of the enemy.
+They were roughly handled at the time by the German soldiers, and would
+probably have been shot, but for the intervention of one of the University
+professors <em>(M. Piquet)</em>, who, acting as interpreter, managed to smooth
+matters over. After being closely watched and spied on, they were <strong>arrested</strong>
+on February 17th, 1915. M. Borrom&eacute;e was tried by Court-Martial on
+March 13th, and sent to <strong>prison</strong> at Alrath. Nine months later (December
+27th, 1915), his release was obtained through diplomatic representations.
+The Prefect was sent as <strong>hostage</strong> first to Rastatt, then to Cellaschloss in
+Hanover, and his liberation was only obtained on January 17th, 1916.</p>
+
+<p>In April, 1915, a system of Roll Calls was inaugurated, to prepare the
+way for the wholesale <strong>deportations</strong> which followed. At a given time and
+place, the people were required to present themselves, with a small quantity
+of baggage. Absentees were first fined, then imprisoned, the penalty
+increasing in severity with each succeeding "offence."</p>
+
+<p><strong>Domiciliary searches</strong> were carried out at all hours of the day and
+night, for hidden soldiers, arms, carrier-pigeons, smuggled French newspapers,
+and the like.</p>
+
+<p>Then, as if fines, imprisonment and starving were not punishment enough,
+the Germans started <strong>shooting</strong>.</p>
+
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<div class="figcenter" style="width: 518px;">
+<img src="images/i_b_016a.jpg" width="518" height="700" alt="" />
+<div class="caption"><p>NOTICE</p>
+
+<p>The undermentioned persons were tried by Court-Martial and shot to-day at the Citadel:</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="NOTICE">
+  <tr>
+    <td><em>Wholesale Wine merchant:</em></td>
+    <td><span class="smcap">Eug&egrave;ne JACQUET.</span></td>
+  </tr>
+  <tr>
+    <td><em>Second-Lieutenant:</em></td>
+    <td><span class="smcap">Ernest DECONINCK.</span></td>
+  </tr>
+  <tr>
+    <td><em>Shop-keeper:</em></td>
+    <td><span class="smcap">Georges MAERTENS.</span></td>
+  </tr>
+  <tr>
+    <td><em>Workman:</em></td>
+    <td><span class="smcap">Sylv&egrave;re VERHULST.</span></td>
+  </tr>
+</table></div>
+
+<p>(1) For hiding the British aviator who landed at Wattignies on March 11 last, supplying
+him with food and lodging, and helping him to reach France and get back to the enemy
+lines.</p>
+
+<p>(2) For assisting members of the enemy forces, helping them to remain in Lille and
+neighbourhood in civil dress and procuring their evasion to France.</p>
+
+<p>In conformity with the Proclamation of the Governor, dated April 7, 1915, these two
+cases are considered as espionage, and are brought to the notice of the public as a warning.</p>
+
+<p>Lille, September 22, 1915.</p>
+
+<p class="right"><span class="smcap">The Governor.</span></p>
+
+</div>
+</div>
+
+
+<h4>The Case of the Four</h4>
+
+<p>When, on October 12th, 1914, the small garrison which was holding Lille,
+surrendered, several hundred French soldiers escaped capture and hid
+themselves in the town. Until evasion should be possible, it was necessary
+to feed and shelter them, and this <em>M. Jacquet</em>, a wholesale wine merchant,
+undertook to do. A good organizer, his coolness and courage fitted him<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+well for the task. He was assisted by his daughter <em>Genevi&egrave;ve</em> (who, later,
+narrowly escaped being shot), his friends <em>Deconinck</em> and <em>Georges Maertens</em>
+and a Belgian, <em>Sylv&egrave;re Verhulst</em>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_017a.jpg" width="700" height="464" alt="" />
+<div class="caption"><p class="right">The Citadel, Lille, September 22, 1915.</p>
+
+<p>
+My Beloved Wife and Children,<br />
+</p>
+
+<p>At the moment of starting for the place of execution, I tenderly embrace your dear
+image for the last time. My last kiss, from the bottom of my heart, here for you.
+Farewell! Long live France!</p>
+
+<p class="right"><span class="smcap">E. Jacquet.</span></p></div>
+</div>
+
+<p>On March 11th, 1915, a British aviator was forced to land in the town,
+after having bombed a German telephone station. Hidden by Jacquet, he
+eventually escaped to Belgium, guided by Melle. Genevi&egrave;ve. A few days
+later, he again flew over the town and dropped notes reading as follows:
+<em>"Lieutenant Mapplebeck sends his compliments to the Kommandant of the
+German Forces in Lille, and regrets that he was unable to make his acquaintance
+during his recent pleasant stay in the neighbourhood."</em></p>
+
+<p>The joy of the inhabitants and the rage of the Kommandantur may be
+better imagined than described in print. Orders were immediately given,
+and the "Polizei" set to watch. Previously, on March 16th, notices had
+been posted up all over the town, threatening with death any person who
+should hide "any member of the enemy forces."</p>
+
+<p><em>Hostages</em>, including the foremost persons in the town, were <strong>imprisoned</strong>
+in the Citadelle, while the liberties of all were severely curtailed. Passes
+to and from the surrounding villages were stopped, and "lights out" was
+sounded at 5 p.m.</p>
+
+<p>Being unable to imprison the entire population, the Kommandant
+deprived them of <strong>liberty</strong> and <strong>air</strong> in mid-summer.</p>
+
+<p>Meanwhile <em>Jacquet</em>, who knew that he was suspected, made light of the
+danger.</p>
+
+<p><strong>Arrested</strong> several times under various pretences, all efforts to incriminate
+him failed. However, a <strong>spy</strong> was at last found, who undertook to do the
+business. Passing himself off as a French prisoner, he asked Jacquet and his
+friends to help him, and then betrayed them to the "Polizei." A new<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+search enabled the Germans to lay hands on 2,000 frs. in gold, but they could
+not find any incriminating documents (the list of the soldiers in hiding, 200
+in number, was in the upholstering of an armchair at Deconinck's house).</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_018a.jpg" width="700" height="456" alt="" />
+<div class="caption"><p>THE MOAT OF
+THE CITADELLE<br />
+<em>where
+M. Jacquet,
+his friends,
+and Trulin
+were shot</em>.</p></div>
+</div>
+
+<p>In consequence of the spy's information, Deconinck's house was watched.
+Informed of the recent search of Jacquet's premises, Deconinck was looking
+round for a safer hiding-place, when his next-door neighbour, who was in
+the secret, suggested that the armchair would be safer in her keeping. The
+offer was well-meant but unfortunate, as the Police, who were on the watch,
+seized the chair, smashed it and found the list. Returning at once to Jacquet's
+house, they arrested him and his daughter, and locked them up in the Citadelle.</p>
+
+<p>At the same time, Deconinck, Maertens and Verhulst were arrested.</p>
+
+<p>Jacquet's daughter, Melle. Genevi&egrave;ve, owed her life to lack of evidence.</p>
+
+<p>The four men were tried on September 16th and sentenced to death.
+They were shot on the morning of September 22nd, and died bravely, "standing,
+their hands free, and their eyes unbandaged." Their last words, shouted
+together, were: "Vive la France, Vive la R&eacute;publique." Their names are
+inscribed on the Roll of Honour of the Army, and the <cite>Journal Officiel</cite> of
+December 8th, 1918, announced that the Legion d'Honneur had been
+conferred on M. Jacquet.</p>
+
+
+<h4>Execution of L&eacute;on Trulin</h4>
+
+<p>When the war broke out, L&eacute;on Trulin, a Belgian subject, aged 17, was
+living at Lille. Intensely patriotic by nature, he burned to serve his country
+against the hated invader. With the help of a few comrades, among whom
+were <em>Raymond Derain</em> and <em>Marcel Gotti</em>, he got together various documents
+and succeeded in bringing them to the Allies across the Dutch frontier. In
+1915, he decided to go back to France and enlist in the Belgian Army, in
+company with his friend Derain. On October 3rd they arrived at the frontier.
+For three hours, in the dark, they burrowed under the "live" wire entanglements,
+when suddenly the alarm was given. Lights flared up, shots were
+fired, and Trulin and his companions were taken. The documents found on
+Trulin proved to be his death warrant. His friends Derain and Gotti were
+condemned to penal servitude for life.</p>
+
+<p>On his way to the place of execution on November 8th, Trulin's nerve
+(he was 18) gave way for a moment, but recovering himself quickly, he
+walked to the post with a firm step, and so another name was added to the
+long list of the victims of Kaiserism.</p>
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+
+<div class="figcenter" style="width: 494px;">
+<img src="images/i_b_019a.jpg" width="494" height="700" alt="" />
+<div class="caption"><p>TRULIN'S
+PASSPORT.</p></div>
+</div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_019b.jpg" width="700" height="481" alt="" />
+<div class="caption"><p>TRULIN'S
+LAST LETTER
+TO HIS MOTHER<br />
+<em>(pp. <a href="#Page_20">20</a>, <a href="#Page_21">21</a>)</em>.</p></div>
+
+<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
+
+<img src="images/i_b_020a.jpg" width="390" height="600" alt="" />
+<div class="caption"><p>(TRANSLATION)</p>
+
+<p class="right">November 7, 1915.</p>
+
+<p>
+My dearest Mother,<br />
+</p>
+
+<p>I am very sorry for all I have done since I left home on June 30.</p>
+
+<p>I suffered greatly during July, often homeless, then in September life changed, I was a
+little happier, I had a pleasant time in Holland and England for a month, then came back
+to Belgium, when suddenly misfortune overtook me. By ill luck I was caught within half a
+minute of Dutch territory.</p>
+
+<p>I beseech you not to despair, live for Ren&eacute;, who would be an unfortunate orphan, also for
+my brothers and sisters, set them an example of resignation and lift up your head, your son
+has given his life for the Fatherland (Long live little Belgium).</p>
+
+<p>I embrace you with all my heart, courage, mother, we shall see each other again some
+day, kiss my brothers and sisters for me and tell them your son knew how to die.</p>
+
+<p>Now I am going to lie down, it is already late, to be ready for the execution to-morrow.</p>
+
+<p>I forgive everybody, friends and enemies, I pardon, because they do not pardon me.</p></div>
+
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+
+<img src="images/i_b_021a.jpg" width="446" height="700" alt="" />
+<div class="caption"><p>You will find a note-book, in which I have noted my last wishes.</p>
+
+<p>I ask you to forgive Den&egrave;que for what he has done, I have forgiven him, it is the request
+of a doomed man.</p>
+
+<p class="right">Your son, who causes you much suffering and is deeply grieved.</p>
+
+<p><span class="smcap">L&eacute;on Trulin.</span></p>
+
+<hr class="tb" />
+
+<p>I have put 5 marks in the note-book which is in my bag, for one or two masses and an
+indulgence, I have given the rest to the Priest for the same purpose.</p>
+
+<p>November 7, 1915, the last day before my death.</p>
+
+<p>Excuse me, if I do not write very well, I am writing on a garden table.</p>
+
+<p>Courage, dear Mother, courage, brothers and sisters, live in peace, without hatred.</p>
+
+<p>I die a good Christian.</p>
+
+<p class="right"><span class="smcap">L&eacute;on Trulin.</span></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
+
+
+<h4>The Explosion of the "Dix-huit Ponts"</h4>
+
+<p>On January 11th, 1916, at about 2 o'clock in the morning, a terrific explosion
+shook the town, hurling huge stones and d&eacute;bris in all directions for
+a distance of several miles. An ammunition depot situated in the south-east
+portion of the ramparts, between the Gates of Valenciennes and Douai,
+about 400 yards distant from the railway station of St. Saviour, had blown
+up. It was an enormous underground vault, commonly known as the "Dix-huit
+Ponts," because of the 18 massive stone arches which formed the entrance.</p>
+
+<div class="figleft" style="width: 454px;">
+<img src="images/i_b_022a.jpg" width="454" height="700" alt="" />
+<div class="caption"><p>"LILLE
+IN TEARS."</p></div>
+</div>
+
+<p>It will probably never be known how many thousand shells and tons
+of explosives blew up, as the greatest secrecy was observed by the German
+Authorities. All the soldiers who
+were there were killed. The damage
+was tremendous, whole streets and
+numerous factories, including two
+large spinning-mills, were entirely
+destroyed.</p>
+
+<p>At the funeral, which took place
+on Saturday, January 15th, 1916,
+there were 108 coffins, but this figure
+does not include the numerous
+persons who were literally pulverized
+by the explosion. The noise of the
+latter was heard at <em>Breda</em> in <em>Holland</em>,
+nearly a hundred miles away, and
+houses as distant as the Rue Jeanne
+d'Arc, Place Philippe le Bon and Rue
+des Postes were destroyed by the
+flying stones. In general, the catastrophe
+was stoically borne by the
+inhabitants, one citizen remarking:
+"There were enough shells to have
+massacred whole regiments. Better we
+should mourn our dead, than the precious
+lives of so many of our soldiers."</p>
+
+<p>One huge stone, weighing more
+than a ton, fell in the studio of the
+sculptor Deplechin (Rue de Douai), Director of the Ecole des Beaux-Arts, who
+carved the bas-relief <em>"Lille in Tears"</em> on it <em>(see Itinerary, p. <a href="#Page_36">36</a>, and photo
+above)</em>.</p>
+
+
+<h4>The Deportations</h4>
+
+<p>In 1916, the prohibitions increased in number, the people being forbidden
+to leave their houses after 6 p.m., or before 7 a.m.; to criticise the news
+published by the authorities, to remain at their windows, or to stand on their
+doorsteps, under a penalty of 5 to 10 days' imprisonment. They were also
+forbidden to use the trams without a special permit. These measures paved
+the way for the <strong>deportations</strong> of April-May, 1916. During Easter week,
+under the pretence that the revictualling of the population was difficult, the
+Governor decided to deport the inhabitants of Lille, Tourcoing and Roubaix
+into the country, and make them cultivate the soil. Rumours to that effect
+had been rife for several days previously, but the people would not believe
+it. However, all doubts were cleared away on April 20th, when posters
+warned the people to hold themselves in readiness with about 70 lbs.
+of luggage. The 21st was a day of painful suspense. On the 22nd at
+3 a.m., German soldiers hemmed in the Fives Quarter, and placed<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+<strong>machine-guns</strong> at the corners of the streets. House by house, street by
+street, amid blows from the butt-ends of their rifles, the Germans forced the
+people out of their houses. They were counted like cattle, and the number
+checked with the sheet posted up on each house. Those who were to go,
+mostly girls, were forcibly taken from their parents and led away between
+fixed bayonets, then loaded into cattle-trucks and sent to an unknown
+fate. Girls were taken from mothers and wives from husbands, with coldblooded
+indifference. It was in vain that the Mayor and the Bishop indignantly
+protested, the former to the Kommandantur and the latter from
+the pulpit. Methodically, this abomination was perpetrated.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_023a.jpg" width="700" height="425" alt="" />
+<div class="caption"><p>THE H&Ocirc;TEL-DE-VILLE
+BURNING<br />
+<em>on the night
+of April 24th,
+1916</em>.</p></div>
+</div>
+
+<p>For ten days the people lived in mortal suspense, asking themselves if
+and when their turn would come.</p>
+
+<p>On Easter-Sunday night, the 64th German Infantry Regiment surrounded
+the Vauban Quarter, the horror of the scene being intensified by the H&ocirc;tel-de-Ville
+in flames.</p>
+
+<p>Each night, until April 30th, 1,800 to 2,000 persons were wrested from
+their homes.</p>
+
+<p>Although greatly depressed, the deported people recovered their courage
+as the trains left the station, and to the amazement of the Germans sang
+the <em>"Marseillaise"</em> in a mighty chorus.</p>
+
+<p>Twenty-five thousand persons, mostly women and children, were forcibly
+taken from their homes and made to cultivate the soil, break stones, build
+bridges, make sand-bags, turn shells, etc., their only food consisting of a
+little black "bread," nauseating soup and broken scraps of meat.</p>
+
+<p>As soon as the French Government learned the facts, a Note was sent
+to the Neutral Powers, protesting against these inhuman deportations,
+which were ordered by <em>General Von Graevenitz</em>, and executed by the 64th
+Infantry Regiment, commanded by <em>Captain Himmel</em>.</p>
+
+<p>Five months later, thanks to the intervention of the King of Spain,
+Alfonso XIII., these unfortunate people were allowed to go back to their
+homes.</p>
+
+<p>For several months in 1917 things went better, but in 1918, the German
+Authorities recommenced deporting. A first batch of men and women
+was interned at Holzminden, while on another occasion the women were
+sent to Holzminden and the men to Jewie, near Vilna (Lithuania). The
+Official Records, to which the reader is referred, contain full details of these
+inhuman crimes and of the abominable treatment to which the exiles were
+subjected: privations of every kind, humiliation, torture and degrading
+occupations.</p>
+
+<div class="figleft" style="width: 531px;">
+<img src="images/i_b_024a.jpg" width="531" height="700" alt="" />
+<div class="caption"><p>M. JACQUET'S
+GRAVE<br />
+<em>in the East
+Cemetery</em>.</p></div>
+</div>
+
+<p>On September 30th, 1918, the Kommandantur ordered the evacuation
+of all males from 15 to 60 years of age, but the German soldiers carried out<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+their instructions in a half-hearted
+way, and many escaped. The approaching
+sound of the guns and
+the lax discipline of the soldiers
+announced the Allies' Great Victory
+and the coming deliverance
+to the war-weary people.</p>
+
+<p>On October 17th, the British
+troops entered Lille.</p>
+
+
+<h4>The Ruined Industries of
+Northern France</h4>
+
+<p>Before the war, Northern
+France was one of the most
+flourishing industrial centres in
+the country.</p>
+
+<p>The metallurgical firms of
+the North produced annually
+over a million tons of <strong>steel</strong>,
+representing nearly a quarter
+of the country's total production.
+This steel was transformed
+locally into finished articles. The
+exceedingly prosperous <strong>textile</strong>
+industry was carried on mainly at Tourcoing, Roubaix, Rheims and Sedan.</p>
+
+<p>The <strong>flax</strong> industry was also concentrated around Armenti&egrave;res, Lille and
+Halluin.</p>
+
+<p>The <strong>cotton</strong> mills of Roubaix, Tourcoing and Lille were extremely prosperous
+and important.</p>
+
+<div class="figcenter" style="width: 427px;">
+<img src="images/i_b_024b.jpg" width="427" height="600" alt="" />
+<div class="caption"><p>TRULIN'S
+GRAVE<br />
+<em>in the East
+Cemetery</em>.</p></div>
+</div>
+
+<p>The following general figures give an idea of the industrial importance of
+this region, which contributed one-sixth of the country's total taxes. Before the
+war, the annual industrial production
+was estimated at 4,000,000,000
+frs., of which the textile industries
+accounted for 2,500,000,000 frs.</p>
+
+<p>The industries of Northern
+France have been <strong>ruined</strong>, not
+so much by the war, as by the
+systematic <strong>pillaging</strong> and <strong>destructions</strong>
+carried out by the
+Germans.</p>
+
+<p>Official documents left behind
+in Brussels by the routed enemy
+brought to light the existence of
+two German Organizations: the
+<strong>"Abbau Konzern"</strong> and the
+<strong>"Wumba Waffen und Munitions-Beschaffungs
+Anstalt."</strong>
+The mission of the <strong>former</strong> was to
+cripple France industrially, by
+methodically destroying her factories
+and mills, while the <strong>latter's</strong>
+agreeable and profitable task was
+to sell stolen French machinery
+and tools to competitive German
+industrial concerns.</p>
+
+<div class="figcenter" style="width: 400px;">
+<div class="caption"><a href="images/i_b_024fpfull.jpg">LILLE</a></div>
+<a href="images/i_b_024fpfull.jpg"><img src="images/i_b_024fpthumb.jpg" width="400" height="396" alt="" /></a>
+</div>
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h2>VISIT TO THE TOWN</h2>
+
+
+<p><em>To enable tourists to visit the town quickly and thoroughly, we have drawn
+up 4 itineraries, each of which starts from and returns to the Grande Place.</em></p>
+
+<p>1st Itinerary (pp. <a href="#Page_25">25</a> to <a href="#Page_35">35</a>).&mdash;<strong>The Centre of the Town. The Ruins
+in 1914.</strong></p>
+
+<p>2nd Itinerary (pp. <a href="#Page_36">36</a> to <a href="#Page_48">48</a>).&mdash;<strong>From the Grande Place to the "Dix-huit
+Ponts." The Ruins in 1916.</strong></p>
+
+<p>3rd Itinerary (pp. <a href="#Page_49">49</a> to <a href="#Page_54">54</a>).&mdash;<strong>From the Grande Place to the Citadelle.</strong></p>
+
+<p>4th Itinerary (pp. <a href="#Page_55">55</a> to <a href="#Page_58">58</a>).&mdash;<strong>The Old Town.</strong></p>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h3>FIRST ITINERARY</h3>
+
+
+<p><em>Quarters destroyed by the bombardment of 1914</em>: <strong>Rue de Paris</strong>, <strong>Rue de
+Tournai</strong>, <strong>Rue Faidherbe</strong>, etc.</p>
+
+<p><em>Monuments seen on the way</em>: <strong>The "Bourse,"</strong> <strong>Town Hall</strong>, <strong>Palais de
+Rihour</strong>, <strong>St. Maurice's Church</strong>, <strong>Tournai Gate</strong>, <strong>Theatre</strong>, "<strong>New Bourse</strong>."</p>
+
+<p><em>Starting-point</em>: The Grande Place.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_025a.jpg" width="600" height="446" alt="" />
+<div class="caption"><p><em>Starting from the <strong>Grande Place</strong>, follow the streets indicated by <strong>thick lines</strong>,
+in the direction of the <strong>arrows</strong>.</em></p>
+
+<p><em>The blocks of buildings shown by the blank spaces were destroyed by the 1914 bombardment.</em></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_026a.jpg" width="700" height="442" alt="" />
+<div class="caption"><p>THE OCCUPATION: PARADE OF GERMAN SOLDIERS IN THE GRANDE PLACE</p>
+
+<p><em>Left: Column commemorating 1792; right: Corner of the Bourse.</em></p></div>
+</div>
+
+
+<h4>The Grande Place</h4>
+
+<p>In the centre of the Square is a fluted Granite <strong>Column</strong> by <em>Benvignat</em>,
+erected in 1848 to commemorate the <em>Siege of Lille</em> in 1792. At the top is a
+<strong>statue</strong> of <em>Jeanne Maillotte</em> holding a lighted torch in her hand. During
+the siege of the town in 1792, she crossed the enemy lines and set fire to
+the Austrian batteries which were shelling the town. The name of this
+heroic woman was given to one of the streets, in which a later hero, M. Eug&egrave;ne
+Jacquet, lived <em>(see p. <a href="#Page_44">44</a>)</em>. The inhabitants have surnamed the statue
+<em>"The Goddess."</em></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_026b.jpg" width="700" height="382" alt="" />
+<div class="caption"><p>THE DELIVERANCE: ENTRY OF THE 5TH BRITISH ARMY INTO LILLE</p>
+
+<p><em>In front the "Goddess" statue (left) and the Theatre (behind the Bourse).</em></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<div class="sidenote"><em>See itinerary, p. <a href="#Page_25">25</a></em></div>
+
+<p>Behind the column is the "<strong>Bourse</strong>" or Stock Exchange. Square in
+shape, it stands between the Grande Place, Rue des Sept-Agaches, Place
+du Th&eacute;&acirc;tre and Rue des Manneliers. Rising above the roof is a polygonal
+turret, the upper part of which forms a terrace with small timber-work
+campanile. It has been restored in recent times.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_027a.jpg" width="700" height="551" alt="" />
+</div>
+
+
+<h4>The "Bourse"</h4>
+
+<p>The Bourse is the finest specimen of 17th century Flemish architecture
+in France. Dissatisfied with transacting their business in the open, twenty-four
+merchants of Lille petitioned the King of Spain, Philippe IV., for permission
+to erect a building in the Place du Grand March&eacute;, to be known as
+the "Bourse."</p>
+
+<p>The plans of the architect <em>Julien Destr&eacute;</em> were accepted in 1652. It was
+stipulated in the specification that the fa&ccedil;ades should be "of like symmetry
+and construction," that only the armorial bearings of the King were to
+appear over the entrances, and that the twenty-four buildings composing
+the edifice should be beneath one continuous roof, so as to form a harmonious
+whole. The petitioners were to guarantee the completion of the building
+within a given space of time.</p>
+
+<p>To-day, shops on the ground-floor hide part of the fa&ccedil;ade, so that it is
+difficult to distinguish the bossages and semi-circular tympanums, but the
+rich, severe ornamentation of the upper stories, composed of caryatids,
+pilasters, pediments, and garlands carved in the stone-work, is plainly
+visible. The different periods of life (childhood, youth, and old-age) and the
+passions are depicted. The head of King Midas with stellated crown is
+especially noteworthy. A judicious use of brick with stone, while ensuring
+a harmonious <em>ensemble</em>, reposing to the view, also causes the relief motifs
+to stand out well.</p>
+
+<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_028a.jpg" width="600" height="469" alt="" />
+<div class="caption"><p>THE INTERIOR COURT OF THE BOURSE, WITH STATUE OF NAPOL&Eacute;ON I.</p></div>
+
+<img src="images/i_b_028b.jpg" width="600" height="458" alt="" />
+<div class="caption"><p>AN INTERIOR GALLERY OF THE BOURSE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<p>Of the four doors ornamented with scroll-work, horns of plenty and
+royal coats of arms, in the four sides of the edifice, one gives access to the
+interior courtyard which is lined with four wide arcaded galleries. Doric
+columns of polished black stone support the vaulting, which is of brick,
+with binding ribs and nerves of white stone. On the plinth are heads of
+leopards connected by garlands of flowers and foliage. A bronze <strong>statue</strong>
+by Lemaire, representing Emperor <em>Napol&eacute;on I.</em>, protector of the national
+industries, stands in the middle of the courtyard. This statue was inaugurated
+in 1854, and was cast from old presses from the Mint of Lille,
+which had previously been made from guns taken at Austerlitz.</p>
+
+<p>The interior galleries of the Bourse were decorated in 1850.</p>
+
+<p>Facing each of the bays formed by the intercolumniations are large
+tablets of marble surrounded by carvings, which recall those of the fa&ccedil;ade.
+In the midst of this sculpture are the symbols of commerce, industry and
+science. Inscriptions recall the most important dates and institutions
+relating to the commerce and industry of Lille. The busts over them represent
+great inventors or learned men (Jacquart, Philippe de Girard, Chaptal,
+Brongniart, Chevreul).</p>
+
+<p><em>On leaving the Bourse, cross the square to the left, and enter the Place de
+Rihour.</em></p>
+
+<p>At the corner of the Grand Place, the black fa&ccedil;ade of the <strong>Grand' Garde</strong>
+decorated with trophies and curved pediments bearing the arms of France
+and Lille, should be noticed. A large shell-hole in the left-hand pediment
+has been temporarily bricked up.</p>
+
+<p><em>Cross the ruins of the <strong>H&ocirc;tel de Ville</strong></em>, burnt down on April 24th 1916 <em>(photo
+below)</em>, at the time of the deportations. To the right, abutting on the H&ocirc;tel
+de Ville, is the <strong>Palais de Rihour</strong> which escaped damage from the fire.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_029a.jpg" width="700" height="489" alt="" />
+<div class="caption"><p>THE H&Ocirc;TEL DE VILLE, BURNT DOWN ON THE NIGHT OF APRIL 24, 1916</p>
+
+<p><em>(see p. <a href="#Page_23">23</a>)</em></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_030a.jpg" width="700" height="478" alt="" />
+<div class="caption"><p>THE PALAIS
+DE RIHOUR
+AND THE
+RUINS OF
+THE H&Ocirc;TEL
+DE VILLE</p></div>
+</div>
+
+
+<h4>The Palais de Rihour</h4>
+
+<p>Built in 1457-1462, this palace was the residence of <em>Philippe le Bon</em>,
+Duke of Burgundy. Only an octagonal turret, the guard-room and the
+chapel of brick and white stone remain. The H&ocirc;tel de Ville was erected
+on its site.</p>
+
+<p>The low guard-room, in which the town records are kept, is divided
+in the middle by three polygonal columns unequally interspaced. The
+stone staircase with ribbed vaulting and graceful ornamentation, was formerly
+the grand staircase. Transferred to its present position, it now leads to
+the chapel known as the "Salle du Conclave," where the magistrates of
+Lille sat until 1789.</p>
+
+<p>To the right of the chapel is a brick building, the fa&ccedil;ade of which is divided
+by two similar gables. Jutting out at the corner is an octagonal turret
+containing two small vaulted chambers. Above is a third room with
+timber-work ceiling, known as the "Oratory of the Duchess." An opening
+in the wall communicates with the chapel, and through it the choir is visible.
+From this room, which is reached by a spiral staircase of stone inside the
+turret, it is possible to hear the service without being seen.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_030b.jpg" width="700" height="513" alt="" />
+<div class="caption"><p>THE RUE DE
+PARIS: <em>in the
+background</em>:
+THE THEATRE<br />
+<em>and</em> THE NEW
+BOURSE</p></div>
+</div>
+
+<div class="sidenote"><em>See itinerary, p. <a href="#Page_25">25</a></em></div>
+
+<p><em>Re-cross the H&ocirc;tel de Ville ruins and return to the Place de Rihour. Follow<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+the Rue de la Vieille-Com&eacute;die
+and Rue du Sec-Arembault
+(plan, p. <a href="#Page_25">25</a>); the latter comes
+out into the Rue de Paris, in front
+of <strong>St. Maurice's church</strong>.</em></p>
+
+
+<h4>The Church of St. Maurice</h4>
+
+<p class="center"><em>(historical monument)</em>
+</p>
+
+<div class="figright" style="width: 549px;">
+<img src="images/i_b_031a.jpg" width="549" height="700" alt="" />
+<div class="caption"><p>ST. MAURICE'S
+CHURCH</p></div>
+</div>
+
+<p>The church was seriously
+damaged by the bombardment
+of October 1914, which set fire
+to the roof.</p>
+
+<p>It is a curious specimen of
+the 15th century Gothic-Flamboyant
+style of Walloon-Flanders,
+and comprises five naves
+of equal height arranged quincuncially,
+whereas most of the
+churches belonging to that period
+have three naves under a single
+roof, the aisles being shorter
+than the great nave, while
+the tower is necessarily
+placed over the main entrance <em>(see St. Catherine's Church, p. <a href="#Page_54">54</a>)</em>.</p>
+
+<p>It also contains an ambulatory and an apse formed by polygonal
+chapels.</p>
+
+<div class="figright" style="width: 491px;">
+<img src="images/i_b_031b.jpg" width="491" height="600" alt="" />
+<div class="caption"><p>ST. MAURICE'S
+CHURCH:
+THE NAVE</p></div>
+</div>
+
+<p>The fa&ccedil;ade, with its three portals, steeples of open construction, and
+white stone tower at the entrance, dates from the second half of the 19th
+century. The old square tower was pulled down in 1826 as unsafe. These
+different alterations were carried out under the direction of the architect
+<em>Lannissie</em>. According to <em>Monseigneur Dehaisnes</em>, the remarkable exterior
+of this church is due to these
+successive restorations and
+alterations.</p>
+
+<p>Inside the church are rows
+of round slender columns with
+sculptured capitals, irregularly
+spaced.</p>
+
+<div class="figcenter" style="width: 518px;">
+<img src="images/i_b_032a.jpg" width="518" height="600" alt="" />
+<div class="caption"><p>DOOR OF THE VESTRY</p></div>
+</div>
+
+<p>The springing of the binding
+ribs or projecting arches
+which line the vaults, and their
+graceful arched branches, rest
+on and meet at the capitals.
+The point of intersection of
+the arches is marked by a pendant
+keystone. High and broad
+mullioned windows (note the
+stone uprights dividing the
+bays) amply light the interior.
+In the choir aisles are the following
+<strong>paintings</strong>: St. Charles
+Borrom&eacute;e and St. Francis, by
+<em>Van Oost</em>, and "Les Disciples
+d'Emma&uuml;s," by <em>Van der Burgh</em>;
+in the chapel of St. Barbara:
+"Vision de St&eacute;. Therese," by<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+<em>Van Oost</em> and a landscape by <em>Van der Burgh</em>; in the chapel of the Virgin:
+"Mariage de la Vierge," by <em>Wamps</em>, "Glorification de la Vierge," by <em>Van
+Minne</em>, and "La C&egrave;ne," by <em>Van Audenaerde</em>. In the vestry are 15th and
+16th century <strong>chasubles</strong> and 17th century <strong>tapestries</strong>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_032b.jpg" width="700" height="491" alt="" />
+<div class="caption"><p>CHEVET OF ST. MAURICE'S CHURCH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+
+<div class="sidenote"><em>See itinerary, p. <a href="#Page_25">25</a></em></div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_033a.jpg" width="700" height="487" alt="" />
+<div class="caption"><p>THE RUE DU PARVIS-SAINT-MAURICE <em>(See plan, p. <a href="#Page_25">25</a>)</em></p>
+
+<p><em>(The photographer, with his back to the Church, faced the Rue Scheipers. In the background are
+the Theatre and the Campanile of the Nouvelle Bourse.)</em></p></div>
+</div>
+
+<p><em>After visiting the Church, take the Rue du Priez, behind the Church,
+leading to the Place de la Gare.</em></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_033b.jpg" width="700" height="504" alt="" />
+<div class="caption"><p><span class="smcap">THE RUE DES PONTS DE COMINES</span> <em>(see plan, p. <a href="#Page_25">25</a>)</em></p>
+
+<p><em>The operator faced the Rue Scheipers. In the background is the Church of St. Maurice, against
+which he had his back when taking the preceding photograph.</em></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_034a.jpg" width="700" height="452" alt="" />
+<div class="caption"><p><span class="smcap">THE STATION AND RUE DE TOURNAI</span> <em>(see p. <a href="#Page_15">15</a>)</em></p></div>
+</div>
+
+<p><em>Follow the Rue de Tournai, on the right</em> (numerous houses damaged by
+shells) <em>as far as the <strong>Tournai Gate</strong>.</em></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_034b.jpg" width="600" height="442" alt="" />
+<div class="caption"><p>THE TOURNAI GATE</p>
+
+<p><em>A temporary road replaces the bridge over the moat, destroyed by the retreating Germans.</em></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_035a.jpg" width="700" height="455" alt="" />
+<div class="caption"><p>RUINS IN THE RUE FAIDHERBE</p>
+
+<p><em>View taken from the Place du Th&eacute;&acirc;tre. In the background, the station.</em></p></div>
+</div>
+
+<div class="figright" style="width: 700px;">
+<img src="images/i_b_035b.jpg" width="700" height="451" alt="" />
+<div class="caption"><p>RUINS
+IN THE RUE
+DE TOURNAI.</p></div>
+</div>
+
+<p>The <strong>Tournai
+Gate</strong> was built in
+the reign of Louis
+XVI.</p>
+
+<p>The <strong>bridge</strong>
+over the moats of
+the ramparts,
+which the Germans
+blew up before leaving,
+has been temporarily
+repaired.</p>
+
+<div class="figright" style="width: 700px;">
+<img src="images/i_b_035c.jpg" width="700" height="449" alt="" />
+<div class="caption"><p>RUINS
+IN THE RUE
+DES ARTS.</p></div>
+</div>
+
+<p><em>Return by the
+Rue de Tournai and
+the Rue Faidherbe</em>
+(partially in ruins)
+<em>as far as the Place
+du Th&eacute;&acirc;tre: see the
+<strong>Nouvelle Bourse</strong></em>
+surmounted by a
+tower, and the
+<strong>New Theatre</strong>,
+inaugurated during
+the German occupation.</p>
+
+<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h3>SECOND ITINERARY</h3>
+
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i_b_036a.jpg" width="500" height="700" alt="" />
+<div class="caption"><em>Starting from the <strong>Grande Place</strong>, follow the streets indicated by
+<strong>continuous black lines</strong>, in the direction of the <strong>arrows</strong>.</em></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_037a.jpg" width="700" height="507" alt="" />
+<div class="caption"><p>RUINS IN THE RUE DE B&Eacute;THUNE</p></div>
+</div>
+
+
+<p class="ph3">SECOND ITINERARY</p>
+
+<p><strong>From the Grande Place to the Douai Gate quarter, destroyed by
+the Explosion of the "18 Ponts."</strong></p>
+
+<p><em>Principal sights on the way</em>: <strong>The Prefecture</strong>, <strong>Museum</strong> <em>and</em> <strong>Paris
+Gate</strong>.</p>
+
+<p><em>Starting Point</em>: <strong>The Grande Place</strong>.</p>
+
+<p><em>To the right of the Grand' Garde, take the Rue Neuve, continued by the Rue
+de B&eacute;thune</em> (one of those which suffered most from the bombardments).</p>
+
+<p><em>Follow this street to the Place de B&eacute;thune and to the Place Richeb&eacute;</em>; see the
+bronze equestrian <strong>Statue</strong> of <em>General Faidherbe</em> (1896), at the foot of which
+are two feminine figures with palm-branches and arms symbolising France
+and Lille. Two <strong>bas-reliefs</strong> representing the battles of Pont-Noyelles and
+Bapaume adorn the sides. The Monument is the combined work of the
+architect <em>Pugol</em> and the sculptor <em>Merci&eacute;</em>.</p>
+
+<p><em>In front of the statue</em>: Boulevard de la Libert&eacute; and the fine Place de la
+R&eacute;publique; <em>on the right</em> is the <strong>Prefecture</strong>, <em>on the left</em>, the <strong>Palais des
+Beaux Arts</strong>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_037b.jpg" width="700" height="333" alt="" />
+<div class="caption"><p>THE PREFECTURE, PLACE DE LA R&Eacute;PUBLIQUE</p></div>
+</div>
+
+<div class="figleft" style="width: 700px;">
+<img src="images/i_b_038a.jpg" width="700" height="542" alt="" />
+<div class="caption"><p>THE PALAIS
+DES
+BEAUX-ARTS.</p></div>
+</div>
+
+<p>The <strong>Prefecture</strong> is a richly ornamented building, erected in 1869 from<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+the plans of the
+architect <em>Matteau</em>.
+The walls
+have been deeply
+scarred in places
+by shell splinters
+<em>(note the white
+patches on the
+blackened fa&ccedil;ade)</em>.</p>
+
+<p>The <strong>Palais des
+Beaux-Arts</strong> was
+inaugurated in
+1892.</p>
+
+<p>Composite in
+style, it is very
+richly ornamented.
+Flanked by two
+round pavilions
+with cupolas containing
+staircases,
+its principal fa&ccedil;ade is in the Rue de la R&eacute;publique. The <strong>Museum of Lille</strong>
+is installed there.</p>
+
+
+<h4>THE MUSEUM OF LILLE</h4>
+
+<p>This is one of the finest provincial museums in France. As early as 1795
+it contained 183 works of art. A Consular Decree, dated the 14th Fructidor,
+Year IX, added 46 paintings taken from the collections of the Louvre and
+Versailles. The first catalogue, dated 1850, comprised 274 works of art, which
+number had increased to 1,275 at the time of the inventory of January 1st,
+1908.</p>
+
+
+<h5>The Museum during the War</h5>
+
+<p>The Museum was the edifice which most suffered from the German bombardments.
+On October 11th, 1914, it was struck by 75 shells. The curator
+took measures at once to have the roof repaired and protect the collections.</p>
+
+<div class="figleft" style="width: 700px;">
+<img src="images/i_b_038b.jpg" width="700" height="518" alt="" />
+<div class="caption"><p>THE BELLE
+JARDINI&Eacute;RE,<br />
+<em>near the
+Museum
+(Boulevard
+de la Libert&eacute;)</em>.</p></div>
+</div>
+
+<p>However, the Museum was not proof against German greed. On Saturday,
+November 17th, two officers, accompanied by military policemen, came to
+"requisition" the works of art, in the name of the German authorities.
+After visiting the
+different rooms, and
+being unable to obtain
+the keys of the
+cabinets, they broke
+open the latter and
+took all the medals
+and miniatures,
+which they placed
+in paper bags from
+a neighbouring
+grocer's shop. The
+curator protested the
+same day, both verbally
+and in writing,
+to the Kommandantur
+and
+Military Governor.</p>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+
+<p>The miniatures were brought back on November 19th, and the medals
+on December 3rd, less various antique gold jewels, two miniatures, and two
+gold medals, which had been "lost."</p>
+
+<p>Later, two well-known German art experts <em>Herr Demmler</em> and <em>Herr Professor
+Klemen</em>, armed with carefully annotated catalogues, made a general
+"requisition" comprising: 1,500 drawings (including those by Raphael
+and Michael Angelo), 420 paintings and 518 other works of art, all of which
+were packed up, labelled and sent off. The famous <em><strong>"Wax Head"</strong> (page <a href="#Page_43">43</a>)</em>
+had, however, been hidden away in an underground vault, and replaced by a
+copy.</p>
+
+<p>In an endeavour to justify their action, the Germans sent out a radiogram
+on November 4th, 1918, stating that the Museum of Lille had been damaged
+so seriously as to be unsafe for works of art, and that at the request of the
+curator, an inventory of the collections had been made and the latter transferred
+first to Valenciennes and then to the Old Museum in Brussels.</p>
+
+
+<h4>VISIT TO THE MUSEUM</h4>
+
+<p>The collections are classed under four distinct heads: <strong>paintings</strong>, <strong>modern
+sculpture</strong>, <strong>archeological and lapidary specimens</strong> and the <strong>Wicar collections</strong>.</p>
+
+
+<h5>I.&mdash;Paintings</h5>
+
+<div class="figright" style="width: 448px;">
+<img src="images/i_b_039a.jpg" width="448" height="600" alt="" />
+<div class="caption"><p>THE
+MARTYRDOM
+OF ST. GEORGE<br />
+<em>by Veronese
+(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p>The <strong>Flemish</strong> and <strong>French</strong> schools are the best represented. <em>(For a
+detailed description of the paintings, see "La peinture au Mus&eacute;e de Lille,"
+by Fran&ccedil;ois Benoit</em>, 3 vols. <em>in 4to,
+with reproductions</em>, 1908).</p>
+
+<p>The <strong>Spanish</strong> school includes a
+St. Jerome, by <em>Ribera</em>, dated 1643.</p>
+
+<p>The <strong>Italian</strong> school contains
+The Martyrdom of St. George by
+<em>Veronese</em> (duplicate of the painting
+by <em>San Giorgio Maggiore</em> at Verona);
+two circular panels: Eloquence
+and Science (symbolized by two
+Venetian women with auburn
+hair), also by Veronese; The Flight
+into Egypt by <em>Carlo Saraceni</em>, and
+the Assumption of the Virgin by
+<em>Piazzetta</em> (two very original painters
+little known in France); a
+delicate "Virgin with wild roses,"
+of exquisite colouring, by <em>Ridolfo
+Ghirlandajo</em>; "Magdalene at the
+feet of Christ" and a "Judith and
+Holopherne" by <em>Lambert Zustris</em>
+(often called Lambert Lambard)&mdash;two
+paintings of limpid colouring; (note the delicate lilac-grey
+tints).</p>
+
+<p>As befits the "Capital of
+Flanders," the <strong>Flemish</strong> and <strong>Dutch</strong> Schools of the North are fully represented.</p>
+
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<div class="figleft" style="width: 471px;">
+<img src="images/i_b_040a.jpg" width="471" height="700" alt="" />
+<div class="caption"><p>THE DESCENT
+FROM THE
+CROSS,<br />
+<em>by Rubens
+(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p>The Mystic Press, by <em>Jean Bellegambe</em>; the triptych, Virgin surrounded
+by Angels, attributed to <em>Gerard David</em>; the first portrait of Philippe le Bon,
+attributed to <em>Pierre Etret</em>; the Symbolical
+Fountain, an exceedingly fine
+altar-screen panel by <em>Thierry Bouts</em> de
+Haarlem, is particularly noteworthy;
+a portrait of Emperor Charles Quint at
+the age of 32, by <em>Christophe Amberger</em>
+and Charles Quint taking the Monk's
+Gown, by <em>Nicolas Francken the Elder</em>.
+<em>Rubens</em> is represented by seven paintings:
+The Descent from the Cross, of
+admirable clearness; the expression
+is more natural than that of the painting
+in Antwerp; Vision of the Virgin
+appearing to St. Francis, of warm
+colouring; St. Bonaventure Meditating,
+and St. Francis receiving the Stigmas
+(two fine long panels); The Death of
+Magdalene (a somewhat monotonous
+but strangely intense monochrome).
+<em>Van Dyck</em> is well represented by the
+following: The Crucifixion, considered
+by Paul de St. Victor to be his greatest
+masterpiece (the figure of Christ stands
+out clearly against a cloudy sky pierced by lightning); Portraits of an Old
+Lady and Marie de M&eacute;dicis (in the background are seen Antwerp and the
+Escaut). The following artists are also represented: <em>Jordaens</em>, by the
+Prodigal Son, Christ and the Pharisees, the Temptation, and a wonderful
+study of cows; <em>Gaspard de Crayer</em>, by Martyrs buried alive (fine harmonious
+composition); <em>F. Franchoys</em>, by a Portrait of the Prior of the Abbey of
+Tongerloo, Gisherts Mutsarts, dated 1645. (Paintings by this artist are
+exceedingly rare). <em>Verspronck</em>, by the Portrait of Young Boy; <em>Jansen<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+Van Ceulen</em>, by a very fine portrait of Anne Marie de Schurmann; <em>Pieter
+Codde</em>, by Conversation, of delightful colouring.</p>
+
+<div class="figleft" style="width: 499px;">
+<img src="images/i_b_040b.jpg" width="499" height="700" alt="" />
+<div class="caption"><p>PORTRAIT OF OLD LADY<br />
+<em>by van Dyck (Clich&eacute; LL.)</em></p></div>
+</div>
+
+<div class="figright" style="width: 489px;">
+<img src="images/i_b_040c.jpg" width="489" height="700" alt="" />
+<div class="caption"><p>BOY'S PORTRAIT<br />
+<em>by Verspronck (Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p>The <strong>French</strong> school, although incomplete (<em>Prudhon</em>, <em>Ingres</em> and <em>Antoine
+Watteau</em> are not represented), is nevertheless rich and instructive. First
+of all an <em>anonymous</em> 17th century Portrait of an Architect, whose pale harsh
+face arrests the attention and haunts the memory. <em>Ph. de Champaigne</em>
+is represented by the Good Shepherd; <em>Restout</em> by a Jesus at Emma&uuml;s;
+<em>Mignard</em>, by A Judgment by Midas; <em>Largilli&egrave;re</em>, by a very fine portrait
+of his father-in-law, the painter, John Forest; <em>Douv&eacute;</em> (native of Lille), by
+a fine portrait of the painter Savage; <em>Jean Voilles</em>, by a delightful portrait
+of Madame Li&eacute;nard; <em>Fran&ccedil;ois Watteau</em> (grand nephew of Antoine Watteau),
+by two amusing sketches: Procession of our Lady of the Vine in 1789 and
+The Old Clothes Market of Lille; <em>David</em>, by his first picture after returning
+from Rome, "B&eacute;lisaire" (1781), of which there is a reduced copy in the
+Louvre (this painting marks the re-birth of the antique); <em>Boilly</em>, a native
+of the district of Lille, is fully represented by his Triumph of Marat&mdash;masterpiece
+of great truth and delicacy&mdash;and 28 portraits of artists painted for
+the picture "R&eacute;union d'artistes dans l'atelier d'Isabey." The following
+are the names of these portraits: <em>Van Dael</em>, flower painter; <em>Houdon</em>, sculptor
+(grey overcoat); <em>Chaudet</em>, sculptor (seated); <em>Duplessis Berteaux</em>, designer
+(head resting on hands); <em>Hoffman</em>, art critic (long powdered hair); <em>Redoute</em>,
+flower painter; <em>Bourgeois</em>, designer; <em>Demarne</em>, painter; <em>Thibaut</em>, architect;
+<em>Swibach</em>, genre painter; <em>Lemot</em>, sculptor; <em>Serangeli</em>, historical painter (half-length,
+hands in pockets); <em>Taunay</em>, landscape painter; <em>Isabey</em> (red coat);
+<em>Percier</em>, architect (looking at a plan); <em>Talma</em>, actor; <em>Drolling</em>, portrait-painter
+(red waistcoat); <em>Corbet</em>, sculptor (grey coat and white waistcoat);
+<em>Meynier</em>, painter; <em>Fontaine</em>, architect; <em>Blot</em>, engraver; <em>Bidault</em>, painter;
+<em>Boilly-Chenard</em>, singer; <em>Girodet-Trioson</em>, <em>Gerard</em> and the remarkable group
+<em>Lethi&egrave;re</em> and <em>Carle Vernet</em>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_041a.jpg" width="700" height="421" alt="" />
+<div class="caption"><p><span class="smcap">THE TRIUMPH OF MARAT</span>, <em>by Boilly (Clich&eacute; LL.)</em></p></div>
+</div>
+
+<div class="figleft" style="width: 446px;">
+<img src="images/i_b_042a.jpg" width="446" height="700" alt="" />
+<div class="caption"><p>MEDEA
+KILLING HER
+CHILDREN<br /><br />
+<em>by Delacroix
+(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p>In the <strong>modern</strong> school, the following are especially noteworthy: La
+Med&eacute;e, by <em>Eug&egrave;ne Delacroix</em> (strikingly dramatic), L'apr&egrave;s-diner &agrave; Ornans,<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+by <em>Courbet</em>, the colouring of which is unfortunately fading; La Becqu&eacute;e,
+charming genre painting by <em>Millet</em>; Effet du Matin, by <em>Corot</em>, remarkable
+for its beautiful effects of silvery light.</p>
+
+
+<h5>II.&mdash;Sculpture</h5>
+
+<p>Of the collections of sculpture, only
+the fine <strong>bust</strong> of Bonaparte by <em>Corbet</em>,
+dated 1799, is worthy of special
+mention.</p>
+
+
+<h5>III.&mdash;Archeological and Lapidary
+Museum</h5>
+
+<p>The Archeological Museum contains
+the following remarkable works of art:
+Three 14th century <strong>statuettes</strong> of the
+Virgin (two of wood, one of marble);
+an ivory <strong>diptych</strong> of the Crucifixion;
+a 13th century <strong>reliquary cross</strong> of
+Flemish origin; divers curious specimens
+of <strong>brass-work</strong>, including the Censer of
+Lille, rightly considered a masterpiece;
+a richly embroidered <strong>altar-cloth</strong>, representing
+the Annunciation.</p>
+
+
+<h5>IV.&mdash;The Wicar Collections</h5>
+
+<p>The important Wicar Collections
+were bequeathed by the Lille painter,
+<em>Jean Baptist Wicar</em>, pupil of David (1762-1834), who in 1815 succeeded in
+protecting the Museum of Lille from spoliation by the Allies.</p>
+
+<p>Commissary to Bonaparte in Italy, and later Director of the Royal Academy
+at Naples, Wicar adopted Roman nationality, and collected a large number
+of fine drawings and art treasures. Parts of his collections are
+to-day at Oxford. The famous "Wax Head" <em>(p. <a href="#Page_43">43</a>)</em> is in the centre of the
+Wicar Room.</p>
+
+<p>There are several <strong>Renaissance bronzes</strong> worthy of note, also a <strong>marble
+bas-relief</strong> by Donatello, representing the Beheading of John the Baptist,
+and a fine terra-cotta <strong>Head of Child</strong> by Verrochio. The drawings merit
+careful inspection. The following are especially remarkable: Studies on
+pink and yellow grounds, by <em>Filippo Lippi</em>, <em>Filippino</em>, <em>Ghirlandaio</em>, and
+<em>La Verrochio</em>; Head of Bald Man, by <em>Montegna</em>; 14 drawings on parchment,
+representing scenes from the Metamorphoses, Children's Games and Arabesques,
+attributed by L. Gonse to <em>Jacopo Francia</em>, attest marvellous delicacy
+and skill; two sheets of caricatures by <em>Leonard de Vinci</em> and 60 sketches by
+<em>Raphael</em>; studies in black and red by <em>Michael Angelo</em>, especially a Dead
+Christ, figure of a naked man, fantastic masks and a series of 184 architectural
+drawings, generally known as the "Book of Michael Angelo." <em>Annibal
+Carrache</em>, <em>Le Guide</em>, <em>Guerchin</em>, <em>Sodoma</em> and <em>Andr&eacute; del Sarto</em> are also well represented.</p>
+
+<p>On the other hand, French drawings are few in number, the most remarkable
+being one by <em>David</em> for his "Serment des Horaces." The others
+include: "Le Corps de Garde," by <em>Boilly</em> (fine, carefully-finished drawing);
+a naked Woman, by <em>Watteau</em>; two drawings by <em>Ingres</em> for his "Apotheose
+d'Hom&egrave;re;" a drawing by <em>Poussin</em> for the "Massacre des Innocents";
+a wonderful Portrait of Old Man, by <em>Lagneau</em>, an artist little known in the
+reign of Louis XIII, but a great master; lastly a fascinating fusain drawing
+by <em>Millet</em>: "Le Troupeau de Moutons an milieu d'un bois."</p>
+
+<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+
+
+<h5>The "Wax Head"</h5>
+
+<p>The most celebrated work of art in the collections is the <strong>Wax Head</strong>
+(T&ecirc;te de Cire), which has so often been reproduced in engravings, photographs
+and casts. This funeral souvenir, which stands in a golden niche
+in the middle of a room draped with red plush, was made to perpetuate the
+memory of a young girl 15 to 18 years of age. The pedestal and draperies
+are of terra-cotta, and date from the 18th century.</p>
+
+<div class="figcenter" style="width: 505px;">
+<img src="images/i_b_043a.jpg" width="505" height="700" alt="" />
+<div class="caption"><p>THE
+WAX HEAD<br />
+<em>(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p>Of Italian origin, the head is attributed by some to Raphael, by others
+to Leonard de Vinci. The possibility of its being antique is no longer admitted.
+According to Gonse, it came from the Tuscan studio of Orsino
+Benitendi, and dates from about 1480. The wax was tinted at a later date.</p>
+
+<p>Leaning to one side, the face is pensive in expression. The neck is flexible
+and sits with easy grace on the shoulders. The cheeks are rather broad
+and somewhat flat, the chin round and short. A faint smile hovers round
+the delicate mouth. The eyes are considered by some to be rather small.
+The waving hair is divided into two graceful masses, which are rolled up
+on the back of the neck.</p>
+
+<p>The expression of the face is enigmatical and changes with the angle from
+which it is regarded. Psychologists and artists alike will long discuss its
+charms.</p>
+
+<p>When the two German experts <em>Herr Demmler</em> and <em>Herr Professor Klemen</em>
+"requisitioned" the collections of the Museum <em>(p. <a href="#Page_39">39</a>)</em>, what they took away
+was a <em>copy</em> of this head, the original having been hidden in one of the underground
+vaults. It narrowly escaped destruction in October, 1918, when the
+Germans, previous to evacuating the town, cut the water-mains, so that
+the sub-basement of the Museum was flooded. Fortunately, the water
+did not rise high enough to do serious damage, and the head was eventually
+restored intact to its velvet pedestal.</p>
+
+<p><em>Near the Museum, at the corner of the Rue Jeanne Maillotte and the Rue<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+Denis Godefroy which opens on the Boulevard de la Libert&eacute;, in line with the
+Museum</em>, is the house where M. Eug&egrave;ne <strong>Jacquet</strong> lived <em>(his apartment was
+on the 1st floor, see photograph below and page <a href="#Page_16">16</a>)</em>.</p>
+
+<div class="figleft" style="width: 700px;">
+<img src="images/i_b_044a.jpg" width="700" height="508" alt="" />
+<div class="caption"><p>M. JACQUET'S HOUSE</p></div>
+</div>
+
+<p><em>Leave the Place de la R&eacute;publique by the Rue Nicolas Leblanc (at the corner
+of the Square, by the side of the Museum) at the end of which is the <strong>Church of
+St. Michael</strong>. Continue
+as far as the
+Place Philippe le Bon:
+in the middle, <strong>Monument
+to Pasteur</strong>;
+on the left, <strong>University
+of Lille</strong>.</em></p>
+
+<p>The <strong>University of
+Lille</strong> occupies spacious
+buildings inaugurated
+in 1895. An
+important library and
+various wings have
+since been added, including
+the Coal and
+the Gosselet Geological
+and Mineralogical
+Museums,
+the Electro-Technical
+and Pasteur
+Institutes, etc. The
+University of Lille is the second in importance in France.</p>
+
+<p><em>On the left, at the end of the Place Philippe le Bon, take the Rue Solf&eacute;rino
+which crosses the Place Jeanne d'Arc and leads to the Rue de Douai.</em></p>
+
+<p><em>From the Place Philippe le Bon, the tourist may visit the <strong>curious Monument</strong></em>
+built by the Germans in the Southern Cemetery, where several thousands
+of their soldiers were buried. The monument represents a Walkyrie carrying
+off a dead warrior to the Walhalla <em>(p. <a href="#Page_64">64</a>)</em>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_044b.jpg" width="700" height="384" alt="" />
+<div class="caption"><p>THE UNIVERSITY</p></div>
+</div>
+
+<p><em>To reach the Cemetery, take the Rue des Pyramides, on the right of the Church,
+then the Rue des Postes, go through the Porte des Postes and follow the
+Rue du Faubourg des Postes to the cemetery. Return to the Porte des Postes,
+taking on the right the Boulevard Victor Hugo which leads back to the crossing
+of the Rue Solf&eacute;rino and the Boulevard des &Eacute;coles (see Itinerary, p. <a href="#Page_36">36</a>).</em></p>
+
+<p><em>If preferred, the tourist can go direct from Philippe le Bon Square to the
+Douai Gate, via the Rue Solf&eacute;rino (continued by the Rue de Douai), passing between
+the University and St. Michael's Church.</em></p>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+
+<div class="sidenote"><em>See itinerary, p. <a href="#Page_36">36</a></em></div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_045a.jpg" width="700" height="440" alt="" />
+<div class="caption"><p>CRATER
+CAUSED BY
+THE EXPLOSION</p></div>
+</div>
+
+
+<h5><em><strong>The "Dix-huit Ponts"</strong> (see p. <a href="#Page_22">22</a>)</em></h5>
+
+<p>On reaching the Rue de Douai, the cracked walls of the houses, many
+of them roofless, which were damaged by the <strong>Explosion</strong> of the <strong>German
+Ammunition Depot</strong> known as the "Dix-huit Ponts," come into view. The
+tourist will get a closer view of them as he proceeds. <em>At the Douai Gate, take the
+Boulevard de Belfort on the left</em>, which leads to the scene of the catastrophe.
+The <strong>crater</strong> is still plainly distinguishable, although its sides are no longer
+sharp, and grass is springing up everywhere.</p>
+
+<p><em>Climb to the highest point of the fortifications above the crater, to get a good
+view of this moving scene.</em></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_045b.jpg" width="700" height="434" alt="" />
+<div class="caption"><p>SPINNING MILL
+DESTROYED
+BY THE
+EXPLOSION</p></div>
+</div>
+
+<p>To the right and left extends the regular and picturesque line of the
+Vauban fortifications, the red brick walls standing out well against the green
+of the grass-covered slopes. In the nearest walls are large crevices, while<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
+below, the tourist sees the crater strewn with rubbish and portions of the
+vaulting. In front, the wrecked spinning-mills, of which only the chimneys
+remain standing, and the devastated streets (Rue de Ronchin, Rue de Tr&eacute;vise,
+etc.), form impressive silhouettes.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_046a.jpg" width="600" height="439" alt="" />
+<div class="caption"><p>THE RUE
+DE RONCHIN</p></div>
+</div>
+
+<p><em>Return to the Douai Gate</em>, in front of which traces on the ground mark
+the site of a block of buildings burnt down by the Germans in October, 1914,
+when they entered the town. <em>Take again the Rue de Douai, then the Boulevard
+des &Eacute;coles, following the latter to the Rue and Porte de Paris.</em></p>
+
+<p><em>To the right of the Rue de Paris, in the Boulevard Louis XIV, are the <strong>School
+of Arts and Craft</strong> and the <strong>Pasteur Institute</strong>.</em></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_046b.jpg" width="700" height="439" alt="" />
+<div class="caption"><p>THE RUE
+DE RONCHIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+
+<div class="sidenote"><em>See itinerary, p. <a href="#Page_36">36</a></em></div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_047a.jpg" width="700" height="551" alt="" />
+</div>
+
+
+<h5>The Paris Gate</h5>
+
+<p>This gate was built in 1685-1695 from the plans of a local architect (Simon
+Vollant), to commemorate the return of Lille to France (1667). It
+was completely restored in 1895. The demolition of the old line of fortifications
+left this gate isolated in the middle of the town, and it was to ornament
+and finish off those portions which adjoined the ramparts that additions
+in the same style were then made. The whole forms a Monumental Gate
+and Triumphal Arch.</p>
+
+<p>In a large semi-circular arch is the Royal Coat of Arms, while below are
+the Arms of Lille carved on a stone tablet. On either side of the latter are
+channels for receiving the drawbridge levers.</p>
+
+<p>To the right and left, two Doric columns on pedestals support the whole
+of the entablature with frieze and cornice, above which are trophies, helmets
+and flags. On pedestals between the columns are statues of Hercules
+<em>(on the right)</em> and Mars <em>(on the left)</em>, while above are sculptured motifs in demi-relief.</p>
+
+<p>The most remarkable part of the monument is the great sculptured motif
+which crowns the whole. In the middle, Victory seated amidst arms and
+standards, raises her right hand to crown the King (Louis XIV), seen in the
+medallion immediately below. At Victory's feet, somewhat to the right
+and left, two figures of Fame proclaim the glory on trumpets.</p>
+
+<p>The whole is expressive and graceful, attesting the great ability of the
+artist in treating this somewhat commonplace theme.</p>
+
+<p><em>Take the Rue Carnot to the right of the Gate, skirting the Square Ruault,
+which is the continuation, as far as the <strong>Hospital of St. Saviour</strong>.</em></p>
+
+<div class="figleft" style="width: 497px;">
+<img src="images/i_b_048a.jpg" width="497" height="500" alt="" />
+<div class="caption"><p>HOSPITAL OF
+SAINT-SAVIOUR<br />
+<em>Door in
+one of the
+galleries</em></p></div>
+</div>
+
+<p>This hospital, sometimes known as that of St. John the Evangelist, was<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+founded in 1216, after
+the battle of Bouvines,
+by the Countess
+Jeanne de Constantinople.
+The present
+brick and stone buildings
+date from the
+17th and 18th centuries.</p>
+
+<p>In the Middle-Ages,
+hospital wards
+contained an altar
+at one end, so that
+the patients could
+hear Mass from their
+beds. A heavy curtain
+was then drawn,
+cutting off the altar
+from the remainder of
+the room.</p>
+
+<p>In the hospital of
+St. Saviour, the choir
+of the chapel, which
+is lighted by high,
+broken-arch windows,
+still exists. A low, vaulted room, opening on the right, serves as an
+oratory for the nuns.</p>
+
+<p><em>Skirting the Hospital on the right, the tourist comes to the <strong>Noble Tower</strong>.</em></p>
+
+<p>Built in 1459, the Noble Tower was formerly the centre of the town's
+defences. It consisted originally of three stories, one of which contained
+ribbed Gothic vaulting. Of great size and massive construction, the tower
+is flanked by two smaller ones connected by a curtain. The upper portion
+of the tower has disappeared.</p>
+
+<p>Near by is seen the steeple of the <strong>church of St. Saviour</strong>, a modern,
+pseudo-Byzantine edifice.</p>
+
+<div class="figleft" style="width: 700px;">
+<img src="images/i_b_048b.jpg" width="700" height="547" alt="" />
+<div class="caption"><p>THE
+NOBLE
+TOWER</p></div>
+</div>
+
+<p><em>Return to the Paris Gate, via the Ruault Square, taking again the Rue de
+Paris. On the left,
+at No. 224, is</em> a high
+gabled wall containing
+vestiges of a
+broken-arch bay, all
+that remains of
+the old <strong>Hospice
+Ganthois</strong>, founded
+in 1466 by <em>Jean de
+la Cambe</em>, surnamed
+Ganthois. The
+right wing was
+rebuilt in the 17th
+century. Over the
+entrance appears
+the date "1664."
+An interior court,
+shaped like a cloister,
+leads to the patients'
+ward.</p>
+
+<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h3>THIRD ITINERARY</h3>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_049a.jpg" width="700" height="595" alt="" />
+<div class="caption"><em>(Follow the <strong>arrows</strong> along the streets indicated by <strong>continuous lines</strong>).</em></div>
+</div>
+
+
+<h4>From the Grande Place to the Citadelle</h4>
+
+<p><em>Monuments to be seen on the way</em>: The <strong>Monument to Desrousseaux</strong>
+in the Jussieu Square, the <strong>Testelin Monument</strong>, the <strong>Church of the Sacred
+Heart</strong>, the <strong>Palais Rameau</strong>; the <strong>Bridges over the Deule</strong>, <strong>Monument to
+N&eacute;grier</strong>, <strong>Churches of St. Andr&eacute;</strong> and <strong>St. Catherine</strong>.</p>
+
+<hr class="tb" />
+
+<p>The temporary bridges mentioned further on, existed in April, 1919.
+In whatever state the tourist may find them, he need only <em>follow the Deule
+canal, after the <strong>Jardin Vauban</strong>, cross the first bridge he meets, and turn back
+to the left (if necessary) on the other side, until he comes to the avenue which opens
+out on the right opposite the Boulevard de la Libert&eacute;, and which leads to the
+<strong>Citadelle</strong>.</em></p>
+
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a><br /><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+
+<div class="figleft" style="width: 379px;">
+<img src="images/i_b_050a.jpg" width="379" height="500" alt="" />
+<div class="caption"><p>MONUMENT
+TO DESROUSSEAUX.</p></div>
+</div>
+
+<p><em>Leave the Grande Place by the Rue Nationale, following the latter as far
+as the church of the Sacred Heart</em>, whose high unfinished tower will be seen
+on the right. <em>To the right is the <strong>Jussieu Square</strong></em> (landscape garden laid
+out by Barillet in the moats of the old fortifications), at the entrance to
+which is a <strong>monument</strong> to the local poet and song-writer <strong>Desrousseaux</strong>
+(photo opposite), who started his
+career (1820-1892) as a simple
+working-man, and whose dialect
+songs are still sung. At
+the foot of the monument is
+the figure of a young mother
+rocking her child to sleep, recalling
+the composer's most
+popular song; <i lang="fr">"Dors, min p'tit
+quinquin."</i></p>
+
+<p><em>Cross the Boulevard de la
+Libert&eacute;, then skirt the <strong>Testelin
+Monument</strong>. M. Testelin</em> was
+Prefect of the North of France
+and "Organizer of National
+Defence in the North in 1870-1871."
+The monument bears
+traces of the bombardment,
+while the bronze statues which
+surrounded the pedestal were
+carried away by the Germans.</p>
+
+<p><em>On reaching the <strong>Church
+of the Sacred Heart</strong>, turn to
+the right and follow the Rue
+de Solf&eacute;rino to the Boulevard
+Vauban, on the right of which is the <strong>Palais Rameau</strong>.</em></p>
+
+
+<h4>The Palais Rameau</h4>
+
+<div class="figleft" style="width: 559px;">
+<img src="images/i_b_050b.jpg" width="559" height="700" alt="" />
+<div class="caption"><p>THE
+PALAIS
+RAMEAU.</p></div>
+</div>
+
+<p>This fairly large building was erected in 1878, with the financial help
+of an agriculturist named <em>Rameau</em>. The principal hall is used for exhibitions,
+more especially horticultural. The rather <strong>curious fa&ccedil;ade</strong> includes
+a <strong>bust of Rameau</strong> flanked by
+figures of the goddesses Flora
+(flowers) and Pomona (fruits).
+In the rear of the Palace Garden
+is a fine circular <strong>conservatory</strong>.</p>
+
+<p><em>On leaving the Palais, take
+on the right the Boulevard Vauban
+which, a little further on, crosses
+the <strong>Jardin Vauban</strong></em> (pretty
+public garden), leading
+to the <strong>Canal de la Moyenne
+Deule</strong>.</p>
+
+<p>Skirting a portion of the
+Citadelle and continuing the
+canal of the Haute Deule, this
+canal connects Lille with la
+Bass&eacute;e and Douai. The river
+Deule was first opened up to
+navigation in 1271, while in 1830
+its sidings were improved and the
+water-way deepened.</p>
+
+<p>In April, 1919, it was necessary
+to follow the Deule as far
+as the Square du Ramponneau,
+where a temporary wooden bridge had been built close to a half-destroyed
+foot-bridge. After crossing the bridge, visitors had to come back to the left
+as far as the first avenue on the right leading to the Citadelle <em>(see p. <a href="#Page_49">49</a>)</em>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_051a.jpg" width="700" height="476" alt="" />
+<div class="caption"><p>THE
+CITADELLE
+ROYAL GATE.</p></div>
+</div>
+
+
+<h4>The Citadelle</h4>
+
+<p>This masterpiece of the fortification art is the work of Vauban (17th
+century). In shape a regular pentagon, it includes numerous detached
+out-works. Entrance to it is gained through the Royal Gate, which dates
+from 1670 <em>(photo above)</em>. It contains barracks and a chapel (photo below),
+and it was in the latter that the hostages of Lille spent their nights during
+the German occupation <em>(p. <a href="#Page_12">12</a>)</em>.</p>
+
+<p><strong>Jacquet</strong>, <strong>Deconinck</strong>, <strong>Maertens</strong>, <strong>Verhulst</strong> and <strong>Trulin</strong> were shot in the
+northern moats by the Germans <em>(p. <a href="#Page_18">18</a>)</em>.</p>
+
+<p><em>After visiting the Citadelle, re-cross the bridge, turn to the left and follow
+the <strong>Fa&ccedil;ade de l'Esplanade</strong>, fine avenue planted with linden-trees, which runs
+alongside the canal.</em> The ruins of <strong>Napol&eacute;on Bridge</strong>, blown up by the retreating
+Germans, <em>will be noticed (photo p. <a href="#Page_52">52</a>)</em>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_051b.jpg" width="700" height="504" alt="" />
+<div class="caption"><p>THE
+CITADELLE
+CHAPEL.</p></div>
+</div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_052a.jpg" width="700" height="532" alt="" />
+<div class="caption"><p>NAPOL&Eacute;ON
+BRIDGE<br />
+<em>(January,
+1919)</em>.</p></div>
+
+<img src="images/i_b_052b.jpg" width="600" height="452" alt="" />
+<div class="caption"><p>NAPOL&Eacute;ON
+BRIDGE<br />
+<em>before
+destruction</em>.</p></div>
+
+<div class="caption"><p>The Napol&eacute;on Bridge dated from 1912. It was destroyed by the retreating Germans.</p>
+
+<p>Beyond the bridge is seen the tower of St. Catherine's Church <em>(see p. <a href="#Page_54">54</a>)</em>.
+This photograph was taken from the N&eacute;grier Bridge <em>(p. <a href="#Page_53">53</a>)</em>.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+
+<p>Further on, at the northern end of the avenue, is the <strong>N&eacute;grier Bridge</strong>,
+which was also destroyed by the Germans. Looking towards Napol&eacute;on
+Bridge, the <strong>tower of St. Catherine's church</strong> appears above the<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+trees bordering the canal. Near by is the <strong>statue of General N&eacute;grier</strong> by
+Bra (1849), <em>photo below</em>, which was damaged by flying d&eacute;bris, when the
+bridge was blown up.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_053a.jpg" width="600" height="389" alt="" />
+<div class="caption"><p>N&Eacute;GRIER
+BRIDGE.</p></div>
+</div>
+
+<p><em>Take the Rue du Magasin on the right to the Rue Royale, and follow the latter to
+the right. With its continuation, <strong>the Rue Esquermoise</strong></em>, which leads to the
+Grande Place, the Rue Royale forms one of the main arteries of the old town.</p>
+
+<p>The <strong>Church of St. Andr&eacute;</strong> is reached shortly afterwards.</p>
+
+
+<h4>Church of Saint-Andr&eacute;.</h4>
+
+<div class="figright" style="width: 401px;">
+<img src="images/i_b_053b.jpg" width="401" height="700" alt="" />
+<div class="caption"><p>STATUE OF
+GENERAL
+N&Eacute;GRIER.</p></div>
+</div>
+
+<p>This church was erected in 1702. The doorway, with its two tall modern
+statues of St. Peter and St. Andrew in niches, is of two different orders,
+superposed and divided by an entablature,
+the whole being surmounted by a triangular
+pediment.</p>
+
+<div class="figleft" style="width: 401px;">
+<img src="images/i_b_054a.jpg" width="401" height="700" alt="" />
+<div class="caption"><p>THE PULPIT,
+CHURCH OF
+ST. ANDR&Eacute;.</p></div>
+</div>
+
+<p>Near the entrance are two <strong>paintings</strong>:
+The Purification, and The Adoration of
+the Wise Men, by <em>Otto Venius</em>. In the
+southern aisle is a St. Theresa in Heaven
+by <em>A. de Vuez</em>; in the chapel of St Joseph:
+God sending his Son to save the World,
+by <em>Van Oost</em>; on the High Altar: Martyrdom
+of St. Andrew, by a local artist,
+<em>G. Descamps</em>; on either side of the choir,
+marble <strong>busts</strong> of St. Peter and St. Paul, by
+<em>Quellin</em>; in the northern aisle, the Annunciation,
+by <em>A. de Vuez</em>; in the Chapel of
+the Virgin, the Virgin giving the scapulary
+to one Simon Stock, by <em>Jean Van Oost</em>;
+a <strong>silver Tabernacle</strong> with bas-relief representing
+The Crucifixion, by the local goldsmith,
+<em>Baudoux</em>; an 18th century wrought-iron
+<strong>railing</strong>; 16th century sacerdotal
+<strong>ornaments</strong> from the Abbey of Loos. The
+<em><strong>pulpit</strong> (photo p. <a href="#Page_54">54</a>)</em> by <em>J.-B. Daneson</em> of
+Valenciennes, dates from 1876. Its sound<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>ing-board
+represents a heavy curtain raised
+by an angel.</p>
+
+<p><em>Further on in the Rue Royale, after the
+Banque de France, in a small street on
+the right, is the Church of St. Catherine
+(photo below).</em></p>
+
+
+<h4>Church of St. Catherine</h4>
+
+<p>Like many Flemish churches, that of
+St. Catherine has no transept, and consists
+of three practically identical naves.
+Standing out from the fa&ccedil;ade, a large
+square tower, flanked at the corners by
+eight buttresses, supports the ancient
+timber-work <strong>belfry</strong>&mdash;one of the finest
+in the region. The bell-chamber is
+lighted by broken-arch bays. One of the
+heavy bells (1403) bears a curious <strong>inscription</strong>
+in rhymes. Below the tower is the
+great doorway.</p>
+
+<p>The exterior decoration is very sober
+in style. The right-hand side of the
+building is masked by houses. The left
+fa&ccedil;ade, between whose high mullioned
+windows are buttresses decorated with small ornamental arcades, has been
+restored in modern times. Belts of foliage run round the gutters of the roof.
+The carvings on the great and small doorways are modern.</p>
+
+<p>Inside the church are two rows of columns on moulded bases, the corbels
+of whose capitals are ornamented with foliage. The nerves of the vaulting
+are plaster.</p>
+
+<div class="figleft" style="width: 581px;">
+<img src="images/i_b_054b.jpg" width="581" height="700" alt="" />
+<div class="caption"><p>CHURCH OF
+ST. CATHERINE,<br />
+<em>seen from the
+Rue Royale</em>.</p></div>
+</div>
+
+<p>In the northern aisle is a <strong>painting</strong> by <em>Rubens</em>: The Martyrdom of
+St. Catherine, dating from
+about 1622; in the Chapel
+of Our Lady of Lourdes, on
+the left of the choir in a
+small niche, is a <strong>statuette</strong> of
+Our Lady of the Seven Afflictions,
+given by <em>Philippe le
+Bon</em>, in 1450, to the collegiate
+of St. Peter. In the Chapel
+of the Sacred Heart, to the
+right of the choir, is a small
+15th century <strong>funeral monument</strong>
+in a niche. The <strong>carved
+stalls</strong> ornamented with
+statues are also noteworthy.</p>
+
+<p><em>After visiting the church
+return to the Rue Royale</em>; at
+Nos. 1 and 3, <strong>curious 17th
+century houses</strong>.</p>
+
+<p><em>At the end of the Rue Royale,
+take the Rue Esquermoise<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a><br /><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+(which is the continuation, and
+which contains <strong>18th century
+houses</strong></em> at Nos. 83 and 101),
+<em>as far as the Grande Place</em>.</p>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h3>FOURTH ITINERARY</h3>
+
+
+<div class="figcenter" style="width: 700px;">
+<div class="caption"><em>(Follow the <strong>arrows</strong> along the streets indicated by <strong>continuous lines</strong>)</em></div>
+<img src="images/i_b_055a.jpg" width="700" height="661" alt="" />
+<div class="caption"><p><em>From the
+Roubaix Gate,
+tourists may
+go to the East
+Cemetery, where
+Jacquet and
+Trulin are
+buried<br />
+(see p. <a href="#Page_24">24</a>).</em></p></div>
+</div>
+
+
+<h4>THE OLD TOWN</h4>
+
+<p><em>Chief Buildings</em>: The <strong>Church of Our Lady of the Vine</strong>; <strong>Comtesse
+Hospital</strong>, <strong>Law Courts</strong>, <strong>Church of St. Magdalene</strong>, <strong>H&ocirc;tel des Canonniers</strong>,
+<strong>Roubaix Gate</strong>.</p>
+
+<hr class="tb" />
+
+<p><em>Starting from the Grande Place, cross the Place du Th&eacute;&acirc;tre and take the
+Rue de la Grande Chauss&eacute;e, on the left of the Nouvelle Bourse</em>: 13th and 14th
+century houses at Nos. 11, 14, 15, 42 and 52. <em>On the right take the Rue des
+Chats Bossus and Place du Lion d'or, leave the Place St. Martin on the right,
+and take the Rue de la Monnaie on the left.</em> At No. 31 in this street, opens a
+narrow passage leading to the <strong>Church of Our Lady of the Vine</strong>, which
+is being erected on the site of the Castle of Buc. When finished, it will
+be one of the largest of modern Gothic churches. The inhabitants of Lille
+have already surnamed it "the Cathedral." Building was begun in 1855,
+from plans by the English architects Clutton and Burges, revised by the
+Jesuit, Arthur Martin. 13th century in style, the choir, over crypt, is only
+half-finished, while the remainder of the edifice has not yet been begun.</p>
+
+<p>In the chapel of the apse, over the altar, is a <strong>statue</strong> of Our Lady of the
+Vine, venerated since the 13th century as the Patron Saint of the town.
+In a chapel on the left are <strong>plans</strong> and a <strong>model in relief</strong> of the finished
+basilica.</p>
+
+<p><em>Return to the Rue de la Monnaie</em>, at No. 32 of which is the <strong>Comtesse
+Hospital</strong>.</p>
+
+<p>The <strong>Comtesse Hospital</strong> was founded in 1243 by Countess Jeanne de
+Flandre; the entrance dates from 1649, and opens on to a curious vaulted
+passage. A 15th century gable faces the Rue Comtesse.</p>
+
+<p>Inside are <strong>paintings</strong> by <em>Arnould de Vuez</em> and <em>Wamps</em>. The chapel
+contains fine <strong>timber-work vaulting</strong> and a <strong>commemorative tablet</strong>
+inscribed with the names of the French officers who died in this hospital
+of wounds received at the Battle of Fontenoy.</p>
+
+<p><em>Follow the Rue de la Monnaie as far as the Place du Concert. Turn
+to the right as far as the Canal de la Basse Deule</em>, by the side of which is the
+<strong>Colonnade</strong> of the Law Courts (1837) <em>(photo below)</em>.</p>
+
+<p>The Deule is an important river about 40 miles long, which traverses
+the whole of the coalfields of Northern France, and helps to carry the enormous
+traffic connected with the metallurgical, cotton, woollen and sugar industries
+of that region.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_056a.jpg" width="700" height="536" alt="" />
+<div class="caption"><p>THE PALAIS DE JUSTICE AND THE PONT-NEUF</p></div>
+</div>
+
+<p><em>Follow the Deule Quay to the left, to the steps of the Pont Neuf. (If motoring
+or driving, the tourist will have to go via the Place du Concert, Rue St. Andr&eacute;,
+then taking on the right the Rue du Pont Neuf.)</em> The latter crosses the Deule
+by the <strong>Grand Pont</strong> or <strong>Pont Neuf</strong>, formerly called the Pont Royal. Built
+in 1701 from plans by the architect Vollant, this bridge connects up the two
+parallel roads which run alongside the canal. Originally it was composed
+of six arches, two of which spanned the river, the other four passing over
+the low-level roads on either bank.</p>
+
+<p>To allow the trams to pass, the two arches on the quay where the
+colonnade of the Palais de Justice stands have been replaced in recent
+times by an unartistic platform resting on iron pillars, which has spoilt the
+appearance of the bridge.</p>
+
+<p>Steps connect the bridge with the quays.</p>
+
+<div class="figright" style="width: 526px;">
+<img src="images/i_b_057a.jpg" width="526" height="700" alt="" />
+<div class="caption"><p>ST. MAGDALENE'S
+CHURCH.</p></div>
+</div>
+
+<p><em>After crossing the bridge, the tourist arrives in front of the <strong>Church of
+St. Magdalene</strong> (1675)</em>, a vast round edifice surrounded by chapels and
+surmounted by a cupola. It contains several interesting <strong>paintings</strong>:
+on the High Altar, the Resurrection of Lazarus, by <em>Jacques Van Oost</em>; under
+the dome, The Four Doctors of the Latin Church, by the same painter;
+in the Chapel of Our Lady of Help, The Adoration of the Shepherds, by<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>
+<em>Rubens</em>; in the Chapel of the St.
+Sacrement, Christ crucified, by
+<em>Van Dyck</em>: at the entrance to the
+choir, The Woman of Samaria
+and the Canaanitish Woman, by
+<em>Arnould de Vuez</em>.</p>
+
+<p><em>Follow the Rue de Thionville,
+which begins opposite St. Magdalene's
+Church, then turn to the
+left into the Place de Gand, at the
+end of which is the <strong>Gand Gate</strong>.
+On the right take the Rue de Courtrai
+which leads to the Place aux
+Bluets. At the lower end of this
+square, turn to the left into the
+Rue des Urbanistes, then take the
+first street on the right, the Rue des
+Canonniers, which skirts the <strong>H&ocirc;tel
+des Canonniers</strong>. The latter</em>,
+formerly an Urbanist Convent,
+was given by <span class="smcap">Napol&eacute;on</span> in 1804
+to the "Sedentary Gunners Corps"
+of Lille. It contains town records
+and a small museum of local
+interest.</p>
+
+<p>A little further on, at the corner of the Rue des Canonniers and the Rue
+de Roubaix is the old <strong>H&ocirc;tel d'Aigremont</strong>, dating from the 18th century.</p>
+
+<p><em>Turning to the left into the Rue de Roubaix, the tourist comes out in front
+of the <strong>Roubaix Gate</strong>.</em></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_b_057b.jpg" width="600" height="461" alt="" />
+<div class="caption"><p>THE
+ROUBAIX
+GATE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p>
+
+<div class="figcenter" style="width: 443px;">
+<img src="images/i_b_058a.jpg" width="443" height="600" alt="" />
+<div class="caption"><p>ROUBAIX
+GATE.</p></div>
+<div class="caption"><p><em>As in the case of the Tournai Gate (p. <a href="#Page_34">34</a>), the retreating Germans blew up the bridge over the moat,
+seen on p. <a href="#Page_57">57</a> (before) and above (after) the explosion. A temporary road replaces the Bridge.</em></p></div>
+</div>
+
+
+<h4>ROUBAIX GATE</h4>
+
+<p>The <strong>Roubaix</strong> or <strong>St. Maurice Gate</strong> dates from about 1620, and was
+erected from the plans of <em>Jean de Mesre</em>, <em>Jean Petit</em> and <em>Jean Fayet</em>. Of
+its three entrances, the middle one only is ancient. Above each entrance is
+carved a coat of arms. The one in the centre, forming a tympanum, is between
+two pilasters supporting a triangular pediment. At the top is a row of battlements,
+with a stone niche surmounted by a broken pediment in the centre.
+The niche contains the <strong>statue</strong> of a woman.</p>
+
+<p>Over the passage is a slate-roofed building ornamented with coloured
+glazed bricks.</p>
+
+<p><em>Go through the gate and take the Rue du Faubourg de Roubaix to the <strong>Eastern
+Cemetery</strong>.</em> The graves of <strong>Jacquet</strong> and <strong>Trulin</strong> are in this cemetery <em>(see photos
+p. <a href="#Page_24">24</a>)</em>.</p>
+
+<p><em>Return to the Grande Place by the Rue de Roubaix, Rue des Ponts-de-Comines
+and Rue Faidherbe.</em></p>
+
+<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+
+
+<h4>ROUBAIX-TOURCOING</h4>
+
+<p class="center">From Lille to Roubaix and Tourcoing, via the Boulevard des
+Trois Villes.</p>
+
+<p class="center">Total Distance, including return journey: 16 miles.
+</p>
+
+<p><strong>ROUBAIX</strong>, one of France's <strong>chief industrial centres</strong>, is of very ancient
+origin. The first important mention of it in history, however, only goes
+back to the 15th century (1469), when one, <em>Peter of Roubaix</em>, obtained permission
+from Charles the Bald to manufacture cloth. It was occupied and
+sacked several times by foreign invaders. In 1792 it was taken by the
+Austrians, in 1794 by the English, and in 1914 by the Germans.</p>
+
+<p>In 1554, Roubaix, which had become a rival to Lille, obtained permission
+from Charles Quint and later (1609) from the Council of the Arch-Dukes of
+Austria, to manufacture velvet, fustian and common grey linen cloth.</p>
+
+<p>A decree of the State Council in 1762, granting similar privileges to all
+the parishes, was the subject of long lawsuits, which were decided against
+Lille.</p>
+
+<p>The popular song-writer, <em>Gustave Nadaud</em> (1820-1893) was a native of
+Roubaix.</p>
+
+<p>There are no monuments in the town anterior to the Revolution.</p>
+
+<p>The population, largely composed of the working classes, increased rapidly
+between 1881 and 1891, and numbered 120,000 in 1914. The suburbs:
+Wattrelos, Lys, Croix, Wasquehal and Mouvaux, are extensions of the town
+itself and are growing steadily.</p>
+
+<p>Since 1830 Roubaix has been an important centre for <strong>wool combing</strong>
+and <strong>spinning</strong>, the machinery employed comprising 700 washing, carding,
+combing and weaving machines and 300,000 spindles. Before the War,
+the wool-spinning mills produced <strong>6,000 tons</strong> of yarn annually, the whole
+of which was used in France.</p>
+
+<p>The <strong>dyeing</strong> and <strong>finishing</strong> industries, which date back to 1760, had
+steadily prospered. In 1914, 48 firms, employing 8,000 workpeople, were
+engaged in this branch.</p>
+
+<hr class="tb" />
+
+<p><strong>TOURCOING</strong> shared the fate of Flanders during the course of its history.
+The English and Flemish burnt it during the 14th century, while the French
+seized it in 1477. In 1566-1568 it was twice sacked by the Gueux, and the
+Duke of Albe held it to ransom. From 1667 to 1708 it was annexed to France
+by Louis XIV. Later it fell successively under the yoke of the Austrians,
+Dutch and Saxons. On May 18th, 1794, the French beat the Duke of York's
+troops at Tourcoing, and paved the way for the Victory of Fleurus on
+June 26th.</p>
+
+<p><strong>Tourcoing</strong> is essentially an <strong>industrial town</strong>. Its population has
+steadily increased since 1491, when it numbered 2,500. In 1851 it had grown
+to 27,615 and in 1914 to 82,644.</p>
+
+<p>From time immemorial Tourcoing has been a <strong>wool manufacturing</strong>
+centre. Here, the wool is first washed and dried, then treated with cocoanut
+fat, before combing, and lastly spun. Since 1845 the combing has been
+done mechanically (Heilman's system). The same may be said of the spinning,
+which, since 1811, was done on Bobo machines. Before the War, <strong>5,000
+tons</strong> of spun wool were exported annually.</p>
+
+<p>Among the <strong>specialities</strong> made at Tourcoing were: <strong>fine thread</strong>, <strong>tablecloths</strong>
+and <strong>tapestry-work</strong> of mixed silk and mercerised cotton (well known
+for their fine colouring and reasonable price), and <strong>carpets</strong> of the Wilton and
+Oriental types.</p>
+
+<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_060a.jpg" width="700" height="427" alt="" />
+<div class="caption"><p><span class="smcap">PANORAMA OF ROUBAIX</span> <em>(Clich&eacute; LL.)</em></p></div>
+</div>
+
+
+<h4>ROUBAIX</h4>
+
+<p>Itinerary: <em>Leave Lille by the Boulevard Carnot at the Place du Th&eacute;&acirc;tre,
+between the Theatre and the New Bourse. Follow the Boulevard des Trois
+Villes to <strong>Roubaix</strong>. Enter the latter by the Rue de Lille, follow its continuation,
+the Rue Neuve, which leads to the Grande Place: <strong>H&ocirc;tel de Ville</strong> and <strong>Church
+of St. Martin</strong>.</em></p>
+
+
+<h5>H&ocirc;tel de Ville</h5>
+
+<p>The present building is the work of the architect <em>Laloux</em> (1911); it replaced
+the old Town Hall, built in 1845 and pulled down in 1907. The latter,
+as the town grew, had several times been enlarged and otherwise altered,
+but had finally become too small for a population of more than
+50,000 workpeople and an annual production exceeding 500,000,000 frs.
+in value.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_060b.jpg" width="700" height="410" alt="" />
+<div class="caption"><p>THE H&Ocirc;TEL
+DE VILLE<br />
+<em>(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p>The new Town Hall is a fine building, with a <strong>frieze</strong> representing scenes<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+from the local industries. A wing on the right serves as the <strong>Stock-Exchange</strong>,
+while another on the left contains the town's records.</p>
+
+
+<h5>Church of St. Martin</h5>
+
+<p>This church, which was rebuilt and transformed in 1849, recalls vaguely
+the 15th century Gothic style of the original edifice. Only the <strong>steeple</strong>
+is ancient. The church has five naves and contains four <strong>ancient tombs</strong>
+and a Flemish <strong>altar-screen</strong>.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_061a.jpg" width="700" height="446" alt="" />
+<div class="caption"><p><span class="smcap">THE GRANDE PLACE AND CHURCH OF ST. MARTIN</span> <em>(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p><em>Take the Rue de la Gare, to the Nord-West of the Grande Place.</em> At the
+corner of the Rue Nain is the <strong>National School of Industrial Arts</strong>, to which
+has been added a <strong>Museum</strong> of <strong>Paintings</strong> and <strong>Sculpture</strong> (recently organized
+by <em>M. Victor Champier</em>), a <strong>Textile Museum</strong> and a <strong>Library</strong> containing
+15,000 volumes.</p>
+
+<p>The School proper (whose courses, which are well attended, include dyeing,
+spinning, weaving, etc.) and its annexes (museum and library) are installed
+in a fine building erected in 1889 from the plans of the architect, <em>F. Dutert</em>,
+who designed the Galerie des Machines in Paris. Built of dressed stone
+and brick, the three doorways lead to the library, museums (sculpture, paintings,
+art-history and textiles) and the public lecture-hall.</p>
+
+<p>The <strong>central pediment</strong> by Allar, represents Industry and Art. On the
+<strong>pediments of the pavilions</strong> are symbolized: The Arts <em>(by Lanson)</em> and
+the Sciences <em>(by Hughes)</em>. The <strong>frieze</strong> <em>(by Laoust)</em> represents, symbolically,
+the various branches of learning taught in the school.</p>
+
+<p><em>At the station, take the Rue de l'Alma on the right, then turn to the left into
+the Rue de Tourcoing, which leads straight to <strong>Tourcoing</strong>.<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></em></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_062a.jpg" width="700" height="472" alt="" />
+<div class="caption">THE GRANDE
+PLACE.</div>
+<div class="caption"><p>GERMAN HEAVY ARTILLERY CROSSING THE SQUARE</p></div>
+</div>
+
+
+<h4>TOURCOING</h4>
+
+<p><em>The Rue de Roubaix (continuation of the Rue de Tourcoing) is prolonged
+by the Rue Carnot, which leads to the Grande Place.</em> Here the tourist will find
+the <strong>Church of St. Christopher</strong>.</p>
+
+<div class="figleft" style="width: 462px;">
+<img src="images/i_b_062b.jpg" width="462" height="700" alt="" />
+<div class="caption"><p><span class="smcap">ST. CHRISTOPHER'S CHURCH</span> <em>(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<div class="figright" style="width: 435px;">
+<img src="images/i_b_062c.jpg" width="435" height="700" alt="" />
+<div class="caption"><p><span class="smcap">THE DOOR-WAY</span> <em>(Clich&eacute; LL.)</em></p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_063a.jpg" width="700" height="491" alt="" />
+<div class="caption"><p>THE GRANDE
+PLACE.</p></div>
+<div class="caption"><p>GERMAN REVIEW IN THE GRANDE PLACE</p></div>
+</div>
+
+
+<h5>The Church of St. Christopher</h5>
+
+<p>The original church was erected in the 12th or 13th century, but was
+entirely rebuilt in 1860, in 15th century Gothic style. The body of brick
+and stone, with its various balustrades, graceful sculptured pinnacles, and
+richly decorated tracery windows, recalls the churches of that period, but
+it is evident from the aspect of the interior, where the decoration is less
+rich, that the church is modern. The spire above the tower is 17th century.</p>
+
+<p>To the N.W. of the church is the <strong>H&ocirc;tel de Ville</strong>, a modern, French
+Renaissance building, surmounted by a large dome. It contains a <strong>library</strong>
+of about 10,000 volumes, a <strong>museum</strong> of fine <strong>paintings</strong>, mostly modern <em>(Paul
+Chabas</em>, <em>David</em>, <em>Guardi</em>, <em>Harpignies</em>, <em>Peter Naefs</em>, <em>Henri Zo</em>, <em>Henri Zuber)</em> and
+specimens of <strong>old cloth-stuffs</strong> of local manufacture.</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_063b.jpg" width="700" height="425" alt="" />
+<div class="caption"><p>GERMAN
+MONUMENT
+IN TOURCOING
+CEMETERY.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h2>CONTENTS</h2>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="CONTENTS">
+  <tr>
+    <td></td>
+    <th class="tdr">PAGE</th>
+  </tr>
+  <tr>
+    <td>Origin and chief historical events</td>
+    <td class="tdr"><a href="#Page_2">2</a></td>
+  </tr>
+  <tr>
+    <td>How Lille fell in 1914</td>
+    <td class="tdr"><a href="#Page_5">5</a></td>
+  </tr>
+  <tr>
+    <td>The Deliverance</td>
+    <td class="tdr"><a href="#Page_9">9</a></td>
+  </tr>
+  <tr>
+    <td>The German occupation</td>
+    <td class="tdr"><a href="#Page_11">11</a></td>
+  </tr>
+  <tr>
+    <td>The Case of the Four</td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td>The Execution of L&eacute;on Trulin</td>
+    <td class="tdr"><a href="#Page_18">18</a></td>
+  </tr>
+  <tr>
+    <td>The Explosion of the "Dix-huit Ponts"</td>
+    <td class="tdr"><a href="#Page_22">22</a></td>
+  </tr>
+  <tr>
+    <td>The Deportations</td>
+    <td class="tdr"><a href="#Page_22">22</a></td>
+  </tr>
+  <tr>
+    <td>Plan of Lille (2 colours)</td>
+    <td class="tdr">between <a href="#Page_24">24</a> and <a href="#Page_25">25</a></td>
+  </tr>
+  <tr>
+    <td class="tdp"><span class="smcap">1st Itinerary</span></td>
+    <td class="tdr"><a href="#Page_25">25</a></td>
+  </tr>
+  <tr>
+    <td>The Grande Place</td>
+    <td class="tdr"><a href="#Page_26">26</a></td>
+  </tr>
+  <tr>
+    <td>The Bourse</td>
+    <td class="tdr"><a href="#Page_27">27</a></td>
+  </tr>
+  <tr>
+    <td>The H&ocirc;tel de Ville</td>
+    <td class="tdr"><a href="#Page_29">29</a></td>
+  </tr>
+  <tr>
+    <td>The Palais de Rihour</td>
+    <td class="tdr"><a href="#Page_30">30</a></td>
+  </tr>
+  <tr>
+    <td>The Church of St. Maurice</td>
+    <td class="tdr"><a href="#Page_31">31</a></td>
+  </tr>
+  <tr>
+    <td>The Street and Gate of Tournai</td>
+    <td class="tdr"><a href="#Page_34">34</a></td>
+  </tr>
+  <tr>
+    <td class="tdp"><span class="smcap">2nd Itinerary</span></td>
+    <td class="tdr"><a href="#Page_36">36</a></td>
+  </tr>
+  <tr>
+    <td>The Museum</td>
+    <td class="tdr"><a href="#Page_38">38</a></td>
+  </tr>
+  <tr>
+    <td>The Ruins of the "Dix-huit Ponts"</td>
+    <td class="tdr"><a href="#Page_45">45</a></td>
+  </tr>
+  <tr>
+    <td>The Paris Gate</td>
+    <td class="tdr"><a href="#Page_47">47</a></td>
+  </tr>
+  <tr>
+    <td>The Noble Tower</td>
+    <td class="tdr"><a href="#Page_48">48</a></td>
+  </tr>
+  <tr>
+    <td class="tdp"><span class="smcap">3rd Itinerary</span></td>
+    <td class="tdr"><a href="#Page_49">49</a></td>
+  </tr>
+  <tr>
+    <td>The Palais Rameau</td>
+    <td class="tdr"><a href="#Page_50">50</a></td>
+  </tr>
+  <tr>
+    <td>The Citadelle</td>
+    <td class="tdr"><a href="#Page_51">51</a></td>
+  </tr>
+  <tr>
+    <td>The Napol&eacute;on and N&eacute;grier Bridges</td>
+    <td class="tdr"><a href="#Page_52">52</a>, <a href="#Page_53">53</a></td>
+  </tr>
+  <tr>
+    <td>The Churches of St. Andr&eacute; and St. Catherine</td>
+    <td class="tdr"><a href="#Page_53">53</a>, <a href="#Page_54">54</a></td>
+  </tr>
+  <tr>
+    <td class="tdp"><span class="smcap">4th Itinerary</span></td>
+    <td class="tdr"><a href="#Page_55">55</a></td>
+  </tr>
+  <tr>
+    <td>The Church of Our Lady of the Vine</td>
+    <td class="tdr"><a href="#Page_55">55</a></td>
+  </tr>
+  <tr>
+    <td>The Palais de Justice.</td>
+    <td class="tdr"><a href="#Page_56">56</a></td>
+  </tr>
+  <tr>
+    <td>The Roubaix Gate</td>
+    <td class="tdr"><a href="#Page_57">57</a></td>
+  </tr>
+  <tr>
+    <td>Roubaix and Tourcoing</td>
+    <td class="tdr"><a href="#Page_59">59</a></td>
+  </tr>
+</table></div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_b_064a.jpg" width="700" height="496" alt="" />
+<div class="caption"><p><span class="smcap">GERMAN MONUMENT IN THE SOUTH CEMETERY, LILLE</span> <em>(see p. <a href="#Page_44">44</a>)</em></p></div>
+</div>
+
+<div id="colophon">
+
+<p class="center">PRINTED IN GREAT BRITAIN BY WILLIAM CLOWES AND SONS, LIMITED,
+LONDON
+</p>
+</div>
+<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+
+<div class="bbox">
+<p class="ph2">"OFFICE NATIONAL DU TOURISME"</p>
+
+<p class="center"><em>17, Rue de Suresnes, PARIS-VIIIe</em>
+</p>
+
+<p>The "Office National du Tourisme" was created by
+Act of Parliament on April 8, 1910, and reorganised
+in 1917. It enjoys civil privileges and financial autonomy.</p>
+
+<p>It is directed by an administrative council chosen by the
+Minister of Public Works.</p>
+
+<p>Its mission is to seek out every means of developing
+travel; to urge and if necessary to take any measure capable
+of ameliorating the conditions of the transport, circulation and
+sojourn of tourists.</p>
+
+<p>It co-ordinates the efforts of touring societies and industries,
+encourages them in the execution of their programmes and
+stimulates legislative and administrative initiative with regard
+to the development of travel in France.</p>
+
+<p>It promotes understanding between the public services,
+the great transport companies, the "Syndicats d'Initiative"
+and the "Syndicats Professionnels."</p>
+
+<p>It organises propaganda in foreign countries; and tends
+towards the creation of Travel Enquiry Offices in France and
+abroad, with a view to making known the scenery and
+monuments of France, as well as the health-giving powers of
+French mineral waters, spas and bathing places.</p>
+
+<hr class="tb" />
+
+<p class="center">ALL ENQUIRIES WITH REGARD TO TRAVELLING
+SHOULD BE ADDRESSED
+TO THE "TOURING-CLUB DE FRANCE"</p>
+
+<p class="center">65, Avenue de la Grande-Arm&eacute;e, 65
+PARIS (XVIe)
+</p>
+</div>
+<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+
+<div class="bbox">
+<p class="ph2">BEAUTIFUL FRANCE</p>
+
+<p class="ph3">4,&mdash;ANJOU&mdash;TOURAINE
+</p>
+
+<p>Dotted with picturesque old castles, and rich in souvenirs
+of a glorious past, these provinces&mdash;surnamed by the poets
+"The Garden of France"&mdash;are celebrated for their wondrous
+fertility, smiling landscapes and splendid Renaissance mansions.
+A favorite resort with motorists of all countries, the tour
+known as "The Castles of the Loire" enjoys, in particular, a
+world-wide reputation.</p>
+
+<p><strong>Principal Sights</strong>: Among the more celebrated
+<strong>castles</strong> are:</p>
+
+<p><em>In the neighbourhood of Blois</em>: <strong>Chambord</strong> (Renaissance
+marvel), <strong>Cheverny</strong> and <strong>Chaumont</strong>.</p>
+
+<p><em>Near Tours (in the valley of the Loire)</em>: <strong>Amboise</strong>,
+home of Charles VIII; <strong>Langeais</strong>, feudal castle; <strong>Villandry</strong>,
+<strong>Uss&eacute;</strong> and <strong>Luynes</strong>.</p>
+
+<p><em>Valley of the Vienne</em>: <strong>Chinon</strong>, first meeting-place of
+Joan-of-Arc with Charles VII.</p>
+
+<p><em>Valley of the Indre</em>: <strong>Azay-le-Rideau</strong>, Renaissance
+Museum; <strong>Loches</strong>, residence of Agn&egrave;s Sorel, favorite of
+Charles VII.</p>
+
+<p><em>Valley of the Cher</em>: <strong>Chenonceau</strong>, built on a bridge in
+the bed of the river; <strong>Valen&ccedil;ay</strong>.</p>
+
+<p><em>In the neighbourhood of Saumur and Angers</em>: <strong>Montreuil-Bellay</strong>,
+<strong>Brissac</strong>, <strong>Serrant</strong> and <strong>Durtal</strong>.</p>
+
+<p>All the great cities around here are interesting: <strong>Angers</strong>,
+Middle-Age castle, cathedral, "Vieux Logis" and important
+industries; <strong>Saumur</strong>, imposing feudal castle and
+town-hall; <strong>Tours</strong>, cathedral, towers of St. Martin and
+Charlemagne and great bridge over the Loire; <strong>Blois</strong>,
+magnificent castle (Louis XII and Fran&ccedil;ois I); <strong>Orleans</strong>,
+cathedral, Renaissance town-hall and immortal Joan-of-Arc
+souvenirs.</p>
+
+<hr class="tb" />
+
+<p class="ph4">ONE TRAVELS BEST IN FRANCE WHEN A MEMBER
+OF THE "TOURING-CLUB DE FRANCE"
+</p>
+</div>
+<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+
+<div class="bbox">
+<p class="ph2">MICHELIN TOURING OFFICES</p>
+<hr class="tb" />
+<p class="ph3">MICHELIN TYRE Co., Ltd., LONDON</p>
+
+<p class="center">Touring Office:: 81, Fulham Road, S.W.</p>
+
+<p class="ph3">MICHELIN &amp; Cie, CLERMONT-FERRAND</p>
+
+<p class="center">Touring Office:: 97, Bd. P&eacute;reire, PARIS
+</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_c_003a.jpg" width="700" height="457" alt="" />
+<div class="caption"><p><em>Why ask the Way, when ...</em></p></div>
+</div>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/i_c_003b.jpg" width="700" height="472" alt="" />
+<div class="caption"><p><em>... Michelin will tell you free of charge?</em></p></div>
+</div>
+
+<hr class="tb" />
+
+<p>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.</p>
+</div>
+
+<div id="transnote">
+<div class="chapter"></div>
+<hr class="chap" />
+
+
+
+
+<h2>Transcriber's Notes:</h2>
+
+
+<p>Used the mid-dot (&middot;) rather than the full stop for all decimal points.</p>
+
+<p>Silently corrected simple spelling, grammar, and typographical errors.</p>
+
+<p>Retained anachronistic and non-standard spellings as printed.</p>
+
+</div>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 49123 ***</div>
+</body>
+</html>
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author	nfenwick <nfenwick@pglaf.org>	2025-02-22 00:23:31 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-02-22 00:23:31 -0800
commit	0baefd1c77d833a81ea0d8b86c5d37dc384f6ffd (patch)
tree	7140e4b32ae2667f21c3f7c03eb1d55bbf7c3ff4 /49123-h
parent	2e47e258b51f59cf59543f7264eb49adf38d720c (diff)