Lille Before and During the War

by Pneu Michelin

FIRST ITINERARY

Quarters destroyed by the bombardment of 1914: Rue de Paris, Rue de Tournai, Rue Faidherbe, etc.

Monuments seen on the way: The "Bourse," Town Hall, Palais de Rihour, St. Maurice's Church, Tournai Gate, Theatre, "New Bourse."

Starting-point: The Grande Place.

Starting from the Grande Place, follow the streets indicated by thick lines, in the direction of the arrows.

The blocks of buildings shown by the blank spaces were destroyed by the 1914 bombardment.

THE OCCUPATION: PARADE OF GERMAN SOLDIERS IN THE GRANDE PLACE

Left: Column commemorating 1792; right: Corner of the Bourse.

The Grande Place

In the centre of the Square is a fluted Granite Column by Benvignat, erected in 1848 to commemorate the Siege of Lille in 1792. At the top is a statue of Jeanne Maillotte 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. Eugène Jacquet, lived (see p. [44]). The inhabitants have surnamed the statue "The Goddess."

THE DELIVERANCE: ENTRY OF THE 5TH BRITISH ARMY INTO LILLE

In front the "Goddess" statue (left) and the Theatre (behind the Bourse).

See itinerary, p. [25]

Behind the column is the "Bourse" or Stock Exchange. Square in shape, it stands between the Grande Place, Rue des Sept-Agaches, Place du Théâtre 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.

The "Bourse"

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

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

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

THE INTERIOR COURT OF THE BOURSE, WITH STATUE OF NAPOLÉON I.

AN INTERIOR GALLERY OF THE BOURSE

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

The interior galleries of the Bourse were decorated in 1850.

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

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

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

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

THE HÔTEL DE VILLE, BURNT DOWN ON THE NIGHT OF APRIL 24, 1916

(see p. [23])

THE PALAIS DE RIHOUR AND THE RUINS OF THE HÔTEL DE VILLE

The Palais de Rihour

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

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

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

THE RUE DE PARIS: in the background: THE THEATRE
and THE NEW BOURSE

See itinerary, p. [25]

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

The Church of St. Maurice

(historical monument)

ST. MAURICE'S CHURCH

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

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

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

ST. MAURICE'S CHURCH: THE NAVE

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

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

DOOR OF THE VESTRY

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

CHEVET OF ST. MAURICE'S CHURCH

See itinerary, p. [25]

THE RUE DU PARVIS-SAINT-MAURICE (See plan, p. [25])

(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.)

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

THE RUE DES PONTS DE COMINES (see plan, p. [25])

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.

THE STATION AND RUE DE TOURNAI (see p. [15])

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

THE TOURNAI GATE

A temporary road replaces the bridge over the moat, destroyed by the retreating Germans.

RUINS IN THE RUE FAIDHERBE

View taken from the Place du Théâtre. In the background, the station.

RUINS IN THE RUE DE TOURNAI.

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

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

RUINS IN THE RUE DES ARTS.

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

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