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ADVANCED
IMAGE ACQUISITION,
PROCESSING TECHNIQUES
AND APPLICATIONS
Edited by Dimitrios Ventzas

Advanced Image Acquisition, Processing Techniques and Applications
Published by InTech
Janeza Trdine 9, 51000 Rijeka, Croatia
Copyright © 2012 InTech
All chapters are Open Access distributed under the Creative Commons Attribution 3.0
license, which allows users to download, copy and build upon published articles even for
commercial purposes, as long as the author and publisher are properly credited, which
ensures maximum dissemination and a wider impact of our publications. After this work
has been published by InTech, authors have the right to republish it, in whole or part, in
any publication of which they are the author, and to make other personal use of the
work. Any republication, referencing or personal use of the work must explicitly identify
the original source.
As for readers, this license allows users to download, copy and build upon published
chapters even for commercial purposes, as long as the author and publisher are properly
credited, which ensures maximum dissemination and a wider impact of our publications.
Notice
Statements and opinions expressed in the chapters are these of the individual contributors
and not necessarily those of the editors or publisher. No responsibility is accepted for the
accuracy of information contained in the published chapters. The publisher assumes no
responsibility for any damage or injury to persons or property arising out of the use of any
materials, instructions, methods or ideas contained in the book.
Publishing Process Manager Vana Persen
Technical Editor Teodora Smiljanic
Cover Designer InTech Design Team
First published March, 2012
Printed in Croatia
A free online edition of this book is available at www.intechopen.com
Additional hard copies can be obtained from orders@intechopen.com
Advanced Image Acquisition, Processing Techniques and Applications,
p. cm.
ISBN 978-953-51-0342-4

Contents
Preface VII
Chapter 1 A Coded Structured Light Projection Method
for High-Frame-Rate 3D Image Acquisition 1
Idaku Ishii
Chapter 2 High Density Devices Applied
to a Gamma-Camera Implementation 17
Griselda Saldana-Gonzalez, Uvaldo Reyes, Humberto Salazar,
Oscar Martínez, Eduardo Moreno and Ruben Conde
Chapter 3 Adipose Measurement Using Micro MRI 37
Yang Tang and Rex A. Moats
Chapter 4 Image Processing Quality Analysis for Particle
Based Peptide Array Production on a Microchip 55
Jenny Wagner, Felix Löffler, Tobias Förtsch, Christopher Schirwitz,
Simon Fernandez, Heinz Hinkers, Heinrich F. Arlinghaus,
Florian Painke, Kai König, Ralf Bischoff, Alexander Nesterov-Müller,
Frank Breitling, Michael Hausmann and Volker Lindenstruth
Chapter 5 Digital Restoration by Denoising and
Binarization of Historical Manuscripts Images 73
Dimitrios Ventzas, Nikolaos Ntogas and Maria-Malamo Ventza
Chapter 6 Applications of Image Processing
Technique in Porous Material Characterization 109
Ming Gan and Jianhua Wang
Chapter 7 Accurate Spectral Measurements and Color Infrared
Imagery of Excised Leaves Exhibiting Gaussian
Curvature from Healthy and Stressed Plants 123
Christopher R. Little and Kenneth R. Summy
Chapter 8 A Comparative Study of Some Markov Random Fields and
Different Criteria Optimization in Image Restoration 143
José I. De la Rosa, Jesús Villa, Ma. Auxiliadora Araiza,
Efrén González and Enrique De la Rosa

Preface
This book presents a wide range of applications on image processing that fits areas of
engineers such as acquisition, sensing, optimization, medicine, biomedicine, materials,
agriculture and text image processing. It is suggested to students, scientists and
researchers in the field. Its most important feature is the way the authors allow
newcomers with a little background in mathematics to go through all the topics
presented without getting lost or discouraged to actually understand image
acquisition, enhancement, restoration, preparation, and compression. The
mathematical principles are clearly explained by the authors. Another nice distinctive
characteristic of the book is the detailed explanation on practical issues and fully
developed applications that allow the reader to thoroughly understand how to solve
problems professionally and how to implement standard and advanced image
processing algorithms.
The book covers many topics that one expects to find in a modern image application
book such as a coded structured light projection method for high-frame-rate 3D image
acquisition, high density devices applied to a gamma-camera implementation, adipose
measurement using micro MRI, image processing quality analysis for particle based
peptide array production on a micro chip, digital restoration by denoising and
binarization of historical manuscripts images, applications of image processing
technique in porous material characterization, accurate spectral measurements and
color infrared imagery of excised leaves exhibiting Gaussian curvature from healthy
and stressed plants and a comparative study of some Markov random fields and
different criteria optimization in image restoration.
The various algorithms suggested in the book, are a valuable tool for experimenting
and helping the reader to grasp the secrets associated with the advanced image
processing techniques and algorithms. This book fits the needs of image acquisition
and applications engineers to many application fields.
Professor Dr. D.E. Ventzas
Department of Computer Science and Telecommunications,
Technological Educational Institute of Larissa,
Greece

0
A Coded Structured Light Projection Method for
High-Frame-Rate 3D Image Acquisition
Idaku Ishii
Hiroshima University
Japan
1. Introduction
Three-dimensional measurement technology has recently been used for various applications
such as human modeling, cultural properties recording, machine inspection of industrial
parts, and robot vision. The light-section method and coded structured light
projection method are well-known active measurement methods that can accurately obtain
three-dimensional shapes by projecting light patterns on the measurement space. These active
measurement methods have been applied to practical systems in real scenes because they
are robust regarding texture patterns on the surfaces of the objects to be observed, and have
advantages in calculation time and accuracy. Following recent improvements in integration
technology, three-dimensional image measurement systems that can operate at a rate of 30 fps
or more have already been developed [1, 2]. In many application ﬁelds, dynamic analysis tools
to observe dynamic changes in high-speed phenomena in three-dimensional shapes at high
frame rates are required. Off-line high-speed cameras that can capture images at 1000 fps or
more have already been put into practical use for analyzing high-speed phenomena; however,
many of them can only record high-speed phenomena as two-dimensional image sequences.
In this chapter, we propose a spatio-temporal selection type coded structured light projection
method for three-dimensional shape acquisition at a high frame rate. Section 2 describes the
basic principle and related work on coded structured light projection methods. Section 3
describes our proposed coded structured light projection method that can alternate a temporal
encoding and a spatial encoding adaptively according to the temporal changes of image
intensities so as to accurately obtain a three-dimensional shape of a moving object. In section 4,
several experiments were performed for several moving objects, and our proposed algorithm
was evaluated by capturing their three-dimensional shapes at 1000 fps on a veriﬁcation system
comprising an off-line high-speed camera and a high-speed DLP projector.
2. Coded structured light projection method
Our proposed three-dimensional measurement method can be described in terms of the
coded structured light projection method proposed by Posdamer et al. [3]. In this section,
we describe its basic principles and the related previous coded structured light projection
methods.
2.1 Basic principle
In the coded structured light projection method, a projector projects multiple black and white
’zebra’ light patterns whose widths are different onto the objects to be observed, as shown in
1

2 Will-be-set-by-IN-TECH
Figure 1. A three-dimensional image is measured by capturing the projection images on the
objects using a camera whose angle of view is different from that of the projector. When n
patterns are projected on the objects, the measurement space is divided into 2n vertical pieces,
corresponding to the black and white areas of the zebra light patterns. Thereafter, we can
obtain the n-bit data at each pixel in the projection image, corresponding to the presence of
the light patterns. The n bit data is called a space code, and it indicates the projection direction.
Based on the relationship between such a space code and the measurement directions that are
determined by pixel positions, we can calculate depth information at all pixels of an image
using triangulation.
2.2 Related work
Posdamer et al. [3] have used multiple black and white light patterns with a pure binary
code as shown in Figure 1. In this case, serious encoding errors may occur, even when there
is a small amount of noise, because the brightness boundaries of the multiple projection
patterns with a pure binary code exist at the same positions. To solve this problem,
Inokuchi et al. [4] proposed a technique for minimizing encoding errors using boundaries
introduced in the form of multiple light patterns with a gray code. Bergmann [5] proposed
an improved three-dimensional measurement method that combines the gray code pattern
projection method and a phase shift method; in this method, the number of projection
patterns increases. Caspi et al. [6] proposed an improved gray code pattern projection
method that can reduce the number of projection patterns using color patterns. In these
methods, three-dimensional shapes can be measured as high-resolution three-dimensional
images because depth information is calculated at every pixel; however, it is difﬁcult to
accurately measure the three-dimensional shapes of moving objects because multiple light
patterns are projected at different timings.
Y
Z
Projector
Camera
7 6 5 4 3 2 1 0
7 6 5 4 3 2 1 0
Pattern 1
Space code value 㹢
Pattern 2
Pattern 3
1 1 1 1 0 0 0 0 = Pattern1(MSB)
1 1 0 0 1 1 0 0
1 0 1 0 1 0 1 0
= Pattern2
= Pattern3
Projection Pattern
Fig. 1. Coded structured light projection method.
2 Advanced Image Acquisition, Processing Techniques and Applications

A Coded Structured Light Projection Method for High-Frame-Rate 3D Image Acquisition 3
On the other hand, several three-dimensional measurement methods that use only a single
projection pattern for spatial encoding have also been proposed. Maruyama et al. [7] proposed
a method that can measure three-dimensional shapes by encoding the spatial codes on the
basis of slits when a light pattern with multiple slits of different lengths is projected on the
object to be observed. Durdle [8] proposed a measurement method based on a single light
pattern that periodically arranges multiple slits with three grayscale levels. These methods
have a disadvantage that some ambiguity exists in spatial encoding when there are pixels
whose brightness are the same as that of its spatial neighborhood. To improve this ambiguity
in spatial encoding, several methods introduced color slit pattern projections based on de
Bruijin sequences as a robust coded pattern projection [9, 10]; this spatial encoding depends
on the color surface reﬂectance properties of the object to be observed. These spatial encoding
methods can measure the three-dimensional shapes of moving objects by projecting only a
single light pattern; however, their spatial resolution is not as accurate as those obtained
with the methods that use multiple light patterns because most of them assume local surface
smoothness of objects in spatial encoding with a single light pattern projection.
3. Spatio-temporal selection type coded structured light projection method
3.1 Concept
As described in the previous section, the coded structured light projection method using
multiple light patterns enables highly accurate three-dimensional measurement of static
objects. The projection method using a single light pattern is robust when the object to be
observed is moving rapidly. In this chapter, we propose a spatio-temporal selection type
coded structured light projection method that attempts to combine the advantages of both
temporal encoding methods and spatial encoding methods, that is, high accuracy in the case
of a static object and robustness in the case of a moving object. The main features of our
proposed method are in the following:
• Projection of multiple coded structured light patterns that enable both temporal encoding
along the time axis and spatial encoding in the spatial domain.
• Adaptive selection of encoding types in every local image region by calculating the image
features that are dependent on the measured object’s motion.
Consequently, temporal encoding using multiple light patterns is selected so as to allow
accurate three-dimensional measurement in the case in which there is no motion, while spatial
encoding using a single light pattern is selected for robust three-dimensional measurement in
the case in which the brightness changes dynamically. The concept of our proposed coded
structured light projection method is shown in Figure 2.
3.2 Proposed coded structured light pattern
In the spatio-temporal selection type coded structured light projection method, when the size
of a projected binary image I(x, y, t) is given by Ix × Iy pixels and the space code is n bits,
I(x, y, t) can be expressed by the following equation:
I (x, y, t) = G
x
m
+ t

mod n, y

, (1)
where x is the greatest integer less than or equal to x, and m is the unit width of a light
pattern in the x direction. G(k, y) represents n types of one-dimensional gray code patterns
3
A Coded Structured Light Projection Method for High-Frame-Rate 3D Image Acquisition

time
Temporal encoding
Spatial encoding
Previous frame
static area
moving area
t
t-1
t-2
code value t
t-1
t-2 t
t-1
t-2
i+1
i
i-1 i+1
i
i-1
i i+1
i-1
code value
Current frame
Fig. 2. Concept of our proposed algorithm.
in the y direction (0 ≤ k ≤ n − 1), which can minimize encoding errors on code boundaries.
G(k, y) is given by:
G(k, y) =

y × 2k
Iy
+
1
2

mod 2. (2)
The coded pattern deﬁned by Eq.(1) has the following properties:
• The coded pattern has a periodic branched pattern based on the gray code.
• The coded pattern shifts in the x direction over time.
These features of the coded pattern enable spatio-temporal selection type encoding that can
select not only encoding along the time axis, but also encoding in the spatial domain.
As an example of the coded patterns, the coded patterns at time t = 0, 1, 2, and 3 are shown in
Figure 3 when the number of bits of the space codes is set at n = 8. The numbers k(= 0, . . . , 7)
at the bottom of each image indicate that the one-dimensional pattern in the y direction is
set to G(k, y). In Figure 3, the space code can be generated only using spatial neighborhood
information because eight gray code patterns from G(0, y) to G(7, y) are periodically arranged
in a single image. From Eq.(1), the projection pattern also shifts to the left after a certain period
of time; the gray code pattern on the same pixel changes G(0, y), G(1, y), G(2, y), . . ., every unit
time. Similarly, a space code can be obtained at each pixel along the time axis.
3.3 Spatio-temporal selection type encoding algorithm
3.3.1 Calibration between a projection pattern and a captured image
When the shifting light pattern is projected using a projector to measure the three-dimensional
shape of objects; the projection results are captured as an image by a camera whose angle of
view is different from that of the projector. To calculate space codes using this captured image,

012345670123456701234567
234567012345670123456701
t = 0
123456701234567012345670
345670123456701234567012
t = 1
t = 2 t = 3
x
y
012345670123456701234567
234567012345670123456701
t = 0
123456701234567012345670
345670123456701234567012
t = 1
t = 2 t = 3
x
y
Fig. 3. Coded structured light patterns for spatio-temporal selection.
Projector
Camera
x
y
x
y
…
1
0
2
i
η
ξ
η
ξ )
,
( η
ξ
F
Captured image
)
,
( y
x
R
Fig. 4. Spatial relationship between a projector and a camera.
the type of gray code patterns expressed in Eq. (1), G(0, y), . . . , G(7, y), that is projected at each
pixel on the captured image must be identiﬁed after the captured image has been binarized.
Figure 4 shows the spatial relationship between the xy-coordinate system of a projector and
the ξη-coordinate system of a camera. It is assumed that the x-axis and ξ-axis are parallel for
light patterns projected from the projector and images captured by the camera.
5

Here, a region corresponding to a gray code pattern G(k, y) is assumed to be a rectangular
area in the captured image. When the number of rectangular areas is assumed to be i, the i-th
rectangular area ri on the projector coordinate system can be defined as follows:
ri =

(x, y) |
x
m

= i . (3)
Here, a rectangular area ri is assumed to be projected onto a rectangular area r
i in the camera
coordinate system. To make a correspondence between ri and r
i, the following light pattern
R(x, y) is projected as a reference pattern that divides the measurement space on the captured
image into multiple rectangular areas:
R(x, y) =
x
m
+ 1

mod 2. (4)
F(ξ, η) is the image captured when the reference light pattern R(x, y) is projected; the region
number at pixel (ξ, η) can be matched with that at h(ξ, η). h(ξ, η) is defined as the number
of switching obtained by counting the changes in brightness until reaching pixel (ξ, η) when
scanning F(ξ, η) in the positive direction of the ξ-axis. A rectangular area r
i on the camera
coordinate system can be assigned as follows:
r
i = {(ξ, η) | h(ξ, η) = i} . (5)
In the space encoding discussed below, the initially given map h(ξ, η) can uniquely specify
the number of a rectangular area i at a pixel (ξ, η) in the captured image via Eq. (5). Thus, we
can judge which gray code pattern of G(0, y), . . . , G(7, y) is projected on pixel (ξ, η) at time t.
3.3.2 Space encoding types
Next, we put forward a method of space code calculation that can select coded patterns
temporally and spatially according to brightness changes in the captured images, which are
strongly dependent upon an object’s motion in the images. Figure 5 shows the types of gray
code patterns that are projected onto a part of the given line for eight frames when the light
patterns defined by Eqs. (1) and (2) are projected. In the figure, the vertical axis represents
time, and the horizontal axis represents the number of rectangular areas. We show an example
of spatio-temporal selection type encoding at a given pixel (ξ, η). There are four bits in the
time direction and three bits in the space direction; they are referred to to obtain space code
values at pixel (ξ, η). Thus, a space code value at pixel (ξ, η) in a rectangular area i uses not
only temporal encoding or spatial encoding in a single direction, but also spatio-temporal
selection type encoding (which refers image information both temporally and spatially).
In this study, we introduce n selectable space code values pX(ξ, η, t) at pixel (ξ, η) at time
t, whose number of referred bits in time and space (excluding the specified pixel) are (n −
1, 0), (n − 2, 1), . . . , (0, n − 1), respectively. Here, n is the number of bits of space code, and
p(= 1, . . . , n) is an alternative parameter for space coding; the space encoding is close to the
space pattern selection when p is small, whereas it is close to the temporal one when p is large.
Here, g(ξ, η, t) is a binarized image obtained from a camera at time t; it corresponds to coded
structured light patterns. The binarized image g(ξ, η, t) belonging to a rectangular area i

Projected
over time
Current
Past
7
6
5
4
3
2
1
0
6
5
4
3
2
1
0
7
5
4
3
2
1
0
7
6
4
3
2
1
0
7
6
5
3
2
1
0
7
6
5
4
2
1
0
7
6
5
4
3
1
0
7
6
5
4
3
2
0
7
6
5
4
3
2
1
7
6
5
4
3
2
1
0
6
5
4
3
2
1
0
7
5
4
3
2
1
0
7
6
4
3
2
1
0
7
6
5
3
2
1
0
7
6
5
4
2
1
0
7
6
5
4
3
1
0
7
6
5
4
3
2
0
7
6
5
4
3
2
1
Current
Past
Transition of pattern in local area
Temporal Reference
Temporal Reference
Coding pixel
Coding pixel
Spatial Reference
Spatial Reference
i i+1 i+2 i+3
t
t-1
t-2
t-3
t-4
t-5
t-6
t-7
i-1
i-2
i-3
i-4
t
i
Fig. 5. Spatio-temporal selection type encoding (p = 4).
is abbreviated as igt. The space code pX(ξ, η, t) is abbreviated as pXt. Eqs. (6)–(13) are
enumerated as examples of selectable space code values when n = 8.
1
Xt = i
gt−4
i
gt−3
i
gt−2
i
gt−1
i
gt
i
gt−7
i
gt−6
i
gt−5 , (6)
2
Xt = i
gt−4
i
gt−3
i
gt−2
i
gt−1
i
gt
i+1
g
t
i
gt−6
i
gt−5 , (7)
3
Xt = i
gt−4
i
gt−3
i
gt−2
i
gt−1
i
gt
i+1
g
t
i+2
g
t
i
gt−5 , (8)
4
Xt = i
gt−4
i
gt−3
i
gt−2
i
gt−1
i
gt
i+1
g
t
i+2
g
t
i+3
g
t , (9)
5
Xt = i−4
g
t
i
gt−3
i
gt−2
i
gt−1
i
gt
i+1
g
t
i+2
g
t
i+3
g
t , (10)
6
Xt = i−4
g
t
i−3
g
t
i
gt−2
i
gt−1
i
gt
i+1
g
t
i+2
g
t
i+3
g
t , (11)
7
Xt = i−4
g
t
i−3
g
t
i−2
g
t
i
gt−1
i
gt
i+1
g
t
i+2
g
t
i+3
g
t , (12)
8
Xt = i−4
g
t
i−3
g
t
i−2
g
t
i−1
g
t
i
gt
i+1
g
t
i+2
g
t
i+3
g
t , (13)
where ig
t = ig
t(ξ, η, t) is a value obtained via spatial neighborhood processing, and which is
set to 0 or 1. The value 1 is taken when the numbers of 0, 1 of the binarized image g(ξ, η, t) are
counted in the ξ direction for the nearest i-th rectangular area to pixel (ξ, η).
Figure 6 shows eight space encoding types as deﬁned by Eqs. (6)–(13). The example in Figure
5 is a case of p = 4: four bits are referred to in the time direction and four bits are referred to in
the spatial neighborhood. When the objects to be observed are not in motion, space encoding
that refers only to information along the time axis (p = 1) is effective, that is, it is equivalent
to the conventional gray code pattern projection method [4]. In the case of p = 8, the space
encoding type, it refers only to information in a single projected image; this encoding type is
effective in measuring the three-dimensional shapes of moving objects because its accuracy
is completely independent of the motion of objects. However, there is a disadvantage in
that measurement errors increase when undulated shapes are measured because the space
encoding measurement when p = 8 assumes spatial smoothness for the shape.
7

1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
t
t t
t t
t t
t
p = 1 p = 2 p = 3 p = 4
t
t t
t t
t t
t
p = 5 p = 6 p = 7 p = 8
Temporal Reference
Temporal Reference Coding pixel
Coding pixel
Spatial Reference
Spatial Reference
1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
1 2 3 4 5 6 7 0
2 3 4 5 6 7 0 1
3 4 5 6 7 0 1 2
4 5 6 7 0 1 2 3
5 6 7 0 1 2 3 4
6 7 0 1 2 3 4 5
7 0 1 2 3 4 5 6
0 1 2 3 4 5 6 7
Fig. 6. Types of encoding.
3.3.3 Adaptive selection of encoding types
Considering the brightness changes in space code images, we introduce a criterion for the
adaptive selection of encoding types defined by Eqs. (6)–(13). In the introduced criterion, we
use the frame differencing feature obtained by differentiating a space code image T(ξ, η, t) at
time t from a space code image S(ξ, η, t − 1) at time t − 1. T(ξ, η, t) is the space code image
that refers only to information along the time axis, and S(ξ, η, t − 1) is the space code image
in a previous frame selected using the following equation:
D(ξ
, η
, t) = ∑
(ξ,η)∈q(ξ,η)
T(ξ, η, t) ⊕ S(ξ, η, t − 1), (14)
where ⊕ refers to the logical exclusive OR operation, and q(ξ, η) refers to the ξ-th and
η-th s × s-pixel block area in the ξ and η directions, respectively. T(ξ, η, t0) is initially set
to S(ξ, η, t0 − 1) at the start time t0 to generate the space codes. After differentiation, the
criterion D(ξ, η, t) is provided for every divided square image region (each unit of which is
s × s pixels), by calculating the summation of the differentiation result in Eq. (14). D(ξ, η, t)
corresponds to the number of pixels where the values of T(ξ, η, t) are different from those of
S(ξ, η, t − 1) in the block area q(ξ, η).
When moving objects are measured, the space code image T(ξ, η, t) is not always encoded
correctly because it refers only to the information along the time axis, which requires multiple
images at different frames. However, the space code image S(ξ, η, t) generated by the
spatio-temporal selection type encoding defined by Eq. (15) is robust to errors caused by
moving objects. Thus, the criterion D(ξ, η, t) can be defined with a frame differencing
calculation for every block area to detect the coding errors caused by motion.
Based on the criterion D(ξ, η, t) , the spatio-temporal encoding type p = p(ξ, η, t) is selected
from the encoding types pXt, which are defined by Eqs. (6)–(13) for every block area q(ξ, η)
at time t. In this study, a spatio-temporal selection type space code image S(ξ, η, t) at various

times t is determined using the calculated encoding types for all the block areas as follows:
p(ξ
, η
, t) =
⎧
⎨
⎩
n (D(ξ, η, t) = s2)
nD(ξ, η, t)
s2

+ 1 (otherwise)
. (15)
Figure 7 shows an example of our newly introduced criterion for spatio-temporal encoding
Previous frame
Current frame
(b) Code image
by temporal-spatial reference
(a) Code image
by temporal reference
− =
(c) An Image that showed
level of brightness change
Fig. 7. Criterion for spatial-temporal encoding.
when a human extends and contracts his fingers. In the figure, (a) a space code image
T(ξ, η, t) coded using temporal reference, (b) a space code image S(ξ, η, t − 1) coded using
temporal-spatial reference in a previous frame, and (c) selected spatial encoding types
p(ξ, η, t), are shown. In (c), the value of p increases when the gray-level tone becomes darker.
It can be observed that the number of the spatio-encoding type, p, increases if code errors are
caused by the motion of fingers, whereas p decreases in the area in which motion is slight.
This fact indicates that space codes that are robust to motion are selected for the dynamically
changing scenes, and space codes that enable accurate shape measurement are selected for
the static scenes. Thus, the spatio-temporal encoding type can be selected both adaptively
and according to the defined criterion based on frame differencing features for space code
images.
3.4 Correction of misalignment in the projected image
Next, we consider a misalignment problem in the projected image, and introduce a correction
method to reduce misalignment errors in space code images. Figure 8 shows a framework for
our method of correcting the misalignment of the projected image. When ideally projecting,
as shown in (a), the projected black and white zebra patterns are accurately matched with the
initially assigned rectangular areas r
i, and we can always observe the same value of 0 or 1 at
all the pixels on a certain line segment in the ξ direction in the same rectangular area when
the projected zebra pattern has a width of several pixels. However, when there is a certain
displacement between the projected zebra patterns and the initially assigned rectangular
areas, as shown in (b), there are cases in which there are both black and white pixels on a
certain line segment, even in the same rectangular area. This ambiguity may generate errors,
especially around the edge boundaries of the black and white zebra patterns, when computing
space code images in the coded structure light projection method.
To avoid this ambiguity (caused by the displacement between the projected zebra patterns
and the initially assigned rectangular areas), the pixel values of 0 or 1 in the same rectangular
9

(a) no misalignment (b) with misalignment (c) correction method
line segment
error
error
select 0 or 1
rectangular areas rectangular areas rectangular areas
projected
image
projected
image
projected
image
binarized data binarized data
correct ambiguous
binarized data corrected
by a representative value
Fig. 8. Correction of misalignment in the projected image.
area are calibrated by replacing with a representative value on a certain line segment in the ξ
direction; the representative value on a certain line segment in the ξ direction is determined
to have the pixel value of 0 or 1 when its number surpasses that of its opposite value on the
given line segment in the same rectangular area, as shown in (c). Thus, we can reduce the
inﬂuence of the misalignment of the projected image and correct the correspondence between
the projected zebra patterns and the initially assigned rectangular areas.
As an example, Figure 9 shows the corrected space code images when a human hand is
observed using our structured light projection method. Before correction, many slit-like
noises can be observed around the edge boundaries of the black and white stripe patterns.
By introducing the correction process, we can reduce this slit-like noise and obtain the correct
space code images, which correspond to the fact that the hand shape smoothly varies in space.
(a) before correction (b) after correction
Fig. 9. Corrected space code images for a human hand.

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Ruellette-au-Marais-des-Porcherons, was renamed in 1792 Rue
Chantereine, referring to the very numerous frogs (rana = frog) which
filled the air of that then marshy district with their croaking. Buonaparte
lived there at one time, hence the name given in 1798, taken away in 1816,
restored by Thiers in 1833. By a curious coincidence, an Order of Nuns, “de
la Victoire,” so called to memorize a very much earlier victory—Bouvines
1214—owned property here. On the site of No. 60, now a modern house let
out in flats, stood in olden days the chief entrance to l’hôtel de la Victoire, a
remarkably handsome structure built in 1770, sold and razed in 1857—alas!
At the end of the court at No. 58 we see the ancient hôtel d’Argenson, its
salon kept undisturbed from the days when great politicians of the past met
and made decisive resolutions there. The Bains Chantereine at No. 46 has
been théâtre Olymphique, théâtre des Victoires Nationales, théâtre des
Troubadours, and was for a few days in 1804 l’Opéra Comique; No. 45,
with its busts and bas-reliefs, dates from 1840. Rue Taitbout, begun in 1773,
lengthened by the union of adjoining streets, records the name of an
eighteenth-century municipal functionary. Isabey, Ambroise Thomas and
Manuel Gracia lived in this old street, and at No. 1, now a smart café, two
noted Englishmen, the Marquis of Hertford and Lord Seymour, lived at
different periods. No. 2 was once the famous restaurant Tortoni. No. 30, as
a private hôtel, sheltered Talleyrand and Mme Grand. We see interesting
vestiges at No. 44. The Square d’Orléans is the ancient Cité des Trois
Frères, in past days a nest of artists and men of letters: Dumas, George
Sand, Lablache, etc.

R
CHAPTER XXXV
ON THE WAY TO MONTMARTRE
UE DE CLICHY was once upon a time the Roman road between Paris
and Rouen, taking in its way the village Cligiacum. For long in later
days it was known as Rue du Coq, when the old château stood near its
line. It was in a house of Rue de Clichy, inhabited by the Englishman
Crawford, that Marie-Antoinette and her children had a meal on the way to
Varennes. The three successive “Tivoli” were partly on the site of No. 27, in
this old street. There too was the “Club de Clichy,” whose members
opposed the government of the Directoire. The whole district leading up to
the heights of Montmartre was then, as now, a quarter of popular places of
amusement, the habitation of artistes of varying degree, but we find here
few old-time vestiges. Where Rue Nouvelle was opened in 1879 the prison
de Clichy, a debtor’s prison, had previously stood. No. 81 is the four-footed
animals’ hospital founded in 1811. Zola died at No. 21 Rue de Bruxelles.
Heine lived from 1848-57 at No. 50 Rue Amsterdam. Rue Blanche was Rue
de la Croix-Blanche in the seventeenth century. Berlioz lived at No. 43.
Roman remains were found beneath Nos. 16-18. Rue Pigalle has been
known by six or seven different names, at one time that of Rue du Champ-
de-Repos, on account of the proximity of the cemetery St-Roch. No. 12
belonged to Scribe, who died there (1861). No. 67 is an ancient station for
post-horses. Place Pigalle was in past days Place de la Barrière de
Montmartre. The fountain is on the site of the ancient custom-house. Puvis
de Chavannes and Henner had their studios at No. 11, now a restaurant. Rue
de la Rochechouart made across abbey lands, the lower part dating from
1672, records the name of an abbess of Montmartre. Gounod lived at No.
17 in 1867. Halévy in 1841. The Musée Gustave Moreau at No. 14 was the
great artist’s own hôtel, bequeathed with its valuable collection to the State
at his death in 1898. Marshal Ney lived at No. 12. In Rue de la Tour des
Dames a windmill tower, the property of the nuns of Montmartre, stood
undisturbed from the fifteenth century to the early part of the nineteenth.
The modern mansion at No. 3 (1822) is on land belonging in olden days to
the Grimaldi. Talma died in 1826 at No. 9. Rue la Bruyère has always been

inhabited by distinguished artists and literary men. Berlioz lived for a time
at No. 45. Rue Henner, named after the artist who died at No. 5 Rue la
Bruyère, is the old Rue Léonie. We see an ancient and interesting house at
No. 13. No. 12 hôtel des Auteurs et Compositeurs Dramatiques, a society
founded in 1791 by Beaumarchais.
Rue de Douai reminds us through its whole length of noted literary men
and artists of the nineteenth century. Halévy and also notable artists have
lived at No. 69. Ivan Tourgueneff at No. 50. Francisque Sarcey at No. 59.
Jules Moriac died at No. 32 (1882). Gustave Doré and also Halévy lived for
a time at No. 22. Claretie at No. 10. Edmond About owned No. 6.
The old Rue Victor-Massé was for long Rue de Laval in memory of the
last abbess of Montmartre. At No. 9, the abode of an antiquarian, we see
remarkably good modern statuary on the Renaissance frontage. No. 12 till
late years was l’hôtel de Chat Noir, the first of the artistic montmartrois
cabarets due to M. Salis (1881). At No. 26 we turn into Avenue Frochot,
where Alexandre Dumas, père, lived, where at No. 1 the musical composer
Victor Massé died (1884), and of which almost every house is, or once was,
the abode of artists. Passing down Rue Henri-Monnier, formerly Rue Breda,
which with Place Breda was, during the first half of the nineteenth century,
a quarter forbidden to respectable women, we come to Rue Notre-Dame de
Lorette. It dates from the same period as the church built there (1823-37),
and wherein we see excellent nineteenth-century frescoes and paintings.
This street, like most of those around it, has been inhabited by men of
distinction in art or letters: Isabey, Daubigny, etc. Mignet lived there in
1849. Rue St-Georges dates from the early years of the eighteenth century.
Place St-Georges was opened a century later on land belonging to the
Dosne family. Mme Dosne and her son-in-law lived at No. 27. The house
was burnt down in 1871, rebuilt by the State, given to l’Institut by Mlle
Dosne in 1905, and organized as a public library of contemporary history.
Nos. 15-13, now the Illustration office, date from 1788. Auber died at No.
22 (1871). The hôtel at No. 2 was owned by Barras and inhabited at one
time by Mme Tallien.
The three busy streets, Rue Laffitte, Rue le Peletier, Rue Drouot, start
from boulevard des Italiens, cross streets we have already looked into, and
are connected with others of scant historic interest.

Rue Laffitte, so named in 1830 in memory of the great financier who
laid the foundation of his wealthy future when an impecunious lad, by
stooping, under the eye of the commercial magnate waiting to interview
him, to pick up a pin that lay in his path. Laffitte died Regent of the Banque
de France. So popular was he that when after 1830 he found himself forced
to sell his handsome mansion No. 19—l’hôtel de la Borde—a national
subscription was got up enabling him to buy it back. Offenbach lived at No.
11. At No. 12 we find an interesting old court. The great art lover and
collector, the Marquis of Hertford, lived at No. 2, the old hôtel d’Aubeterre.
No. 1, once known as la Maison Dorée, now a post office, was the old hôtel
Stainville inhabited by the Communist Cerutti who, in his time, gave his
name to the street. Mme Tallien also lived there. For some years before
1909 it was the much frequented Taverne Laffitte.
In Rue Le Peletier, the Opera-house burnt down in 1783, was from the
early years of the nineteenth century on the site of two old mansions: l’hôtel
de Choiseul and l’hôtel de Grammont. On the site of No. 2, Orsini tried to
assassinate Napoléon III. At No. 22 we see a Protestant church built in the
time of Napoléon I.
Rue Drouot, the Salle des Ventes, the great Paris “Auction-rooms” at No.
9, built in 1851, is on the site of the ancient hôtel Pinon de Quincy,
subsequently a Mairie. The present Mairie of the arrondissement at No. 6
dates from 1750. In the Revolutionary year 1792 it was the War Office, then
the Salon des Étrangers where masked balls were given: les bals des
Victimes. No. 2 the Gaulois office, almost wholly rebuilt at the end of the
eighteenth century and again in 1811, was originally a fine mansion built in
1717, the home of Le Tellier, later of the duc de Talleyrand, and later still
the first Paris Jockey Club (1836-57). The famous dancer Taglioni also
lived here at one time.
Rue Grange-Batelière was a farm—la grange bataillée—with fortified
towers, owned in the twelfth century by the nuns of Ste-Opportune. At No.
10 we see the handsome hôtel with fine staircase and statues, built in 1785
for a gallant captain of the Gardes Françaises. There in the days of
Napoléon III was the Cercle Romantique, where Victor Hugo, A. de Musset
and other literary celebrities were wont to meet.

T
CHAPTER XXXVI
ON THE SLOPES OF THE BUTTE
HE Rue du Faubourg Montmartre is one of the most ancient of Paris
roadways, for it led, from the earliest days of French history, to the hill-
top where St-Denis and his two companions had been put to death. Only
once has the ancient name been changed—at the Revolution, when it was
for a time Faubourg Marat. We see here a few old-time houses. The bathing
establishment at No. 4 was a private hôtel in the days of Louis XV. Scribe
lived at No. 7. The ancient cemetery chapelle, St-Jean-Porte-Latine, stood
from 1780-1836 on the site of No. 60.
Rue des Martyrs, named in memory of the Christian missionaries who
passed there to their death, so called in its whole length only since 1868,
has ever been the habitation of artists. We see few interesting vestiges.
From 1872 it has been a market street. Costermongers’ carts line it from end
to end several days a week. The restaurant de la Biche at No. 37 claims to
date from 1662. The once-famous restaurant du Faisan Doré was at No. 7.
The short streets opening out of this long one date for the most part from
the early years of the nineteenth century and form, with the longer ones of
the district, the Paris artists’ quarter.
Rue de la Tour d’Auvergne records the name of an abbess of
Montmartre. Victor Hugo lived at No. 41 at the time of the coup d’état, fled
thence to exile in England. The school at No. 31 is on the site of gardens
once hired for the children of the duc d’Orléans, the pupils of Mme de
Genlis, to play in, then owned by Alphonse Karr. We see at No. 14 a
charming statue “Le joueur de flute.”
Rue Rochechouart records the name of another abbess. At No. 7, now a
printing house, abbé Loyson gave his lectures. Rue Cadet, formerly Rue de
la Voirie, records the name of a family of gardeners, owners of the Clos
Cadet, from the time of Charles IX. Nos. 9, 16, 24 are eighteenth-century
structures. Rue Richer was known in the earlier years of the eighteenth
century as Rue de l’Égout. Augustin Thierry lived here for two years (1831-
33). No. 18 was the office of the modern revolutionary paper La Lanterne.

Marshal Ney lived at the hôtel numbered 13. The Folies Bergères at No. 32
was built in 1865 on the site of the hôtel of comte Talleyrand-Périgord. In
Rue Saulnier, recording the name of another famous family of gardeners,
we see at No. 21 the house once inhabited by Rouget de Lisle, composer of
the “Marseillaise.” Rue Bergère was in seventeenth-century days an
impasse. Casimir Delavigne lived at No. 5. Scribe in his youth at No. 7, in
later life at a hôtel on the site of No. 20, which was in eighteenth-century
days the home of M. d’Étiolles, the husband of La Pompadour. The
Comptoir d’Escompte at No. 14 was built in 1848, on the site of several old
hôtels, notably hôtel St-Georges, the home of the marquis de Mirabeau,
father of the orator.
Rue du Faubourg Poissonière, its odd numbers in the 9th its even ones in
the 10th arrondissement, shows us many interesting old houses and we find
quaint old streets leading out of it. It dates as a thoroughfare from the
middle of the seventeenth century, named then Chaussée de la Nouvelle
France. Later it was Rue Ste-Anne, from an ancient chapel in the vicinity,
yielding finally in the matter of name to the all-important fish-market to
which it led—the poissonnerie des Halles. In the court at No. 2 we find a
Pavillon Louis XVI. The crimson walls of the Matin office was in past days
the private hôtel where colonel de la Bedoyère was arrested (1815). We see
interesting old houses at Nos. 9-13. No. 15, in old days hôtel des Menus
Plaisirs du Roi, was with two adjoining houses taken at the end of the
eighteenth century for the Conservatoire de Musique, an institution founded
(1784) by the marquis de Breteuil, as the École Royale de Chant et de
Déclamation, with the special aim of training artistes for the court theatre.
Closed at the Revolution, it was reopened in calmer days and, under the
direction of Cherubini, became world-famed. Ambroise Thomas died there
in 1895. In 1911 the Conservatoire was moved away to modern quarters in
Rue de Madrid and the old building razed.
The balcony on the garden side at No. 19, an eighteenth-century house
with many interesting vestiges, is formed of a fifteenth-century gravestone.
Cherubini lived at No. 25. The church St-Eugène which we see in Rue
Cecile, its interior entirely of cast iron, was so named by Napoléon III’s
express wish as a souvenir of his wedding. The fine hôtel at No. 30 was the
home of Marshal Ney. Nos. 32, 42, 42 bis, 52 and 56 where Corot died in
1875, the little vaulted Rue Ambroise-Thomas, opening at No. 57, the fine
house at No. 58, and Nos. 65 and 80, all show us characteristic old-time

features. At No. 82 we see an infantry barracks, once known as la Nouvelle
France, a Caserne des Gardes Françaises. Its canteen is said to be the old
bedroom of “sergeant Bernadotte,” destined to become King of Sweden.
Here Hoche, too, was sergeant. The bathing establishment of Rue de
Montholon, opening out of the faubourg at No. 89, was the home of Méhul,
author of le Chant du Départ; he died here in 1817. The street records the
family name of the General who went with Napoléon to St. Helena. Another
abbess of Montmartre is memorized by Rue Bellefond, a seventeenth-
century street opening at No. 107. The first Paris gasworks was set up on
the site of No. 129. At No. 138 we see a wooden house, in Gothic style,
beautifully made, owned and lived in by a carpenter who plies his trade
there. Avenue Trudaine is modern (1821), named in memory of a Prévôt des
Marchands of the seventeenth and early years of the eighteenth century. The
Collège Rollin, at No. 12, is on the site of the ancient Montmartre
slaughterhouses. The painter Alfred Stevens died at No. 17 in 1906.

T
CHAPTER XXXVII
THREE ANCIENT FAUBOURGS
ARRONDISSEMENT X. (ENTREPÔT)
HE chief thoroughfares of historic interest in this arrondissement are the
two ancient streets which stretch through its whole length: Rue du
Faubourg St-Denis and Rue du Faubourg St-Martin, and the odd-
number side of Rue du Faubourg du Temple.
Rue du Faubourg St-Denis, the ancient road to the abbey St-Denis,
known in earlier days in part as Faubourg St-Lazare, then as Faubourg-de-
Gloire, has still many characteristic old-time buildings. The Passage du
Bois-de-Boulogne was the starting-place for the St-Denis coaches. At No.
14 we find an interesting old court; over Nos. 21-44 and at 33 of the little
Rue d’Enghein old signs; No. 48 was the Fiacre office in the time of the
Directoire, then the famous commercial firm Laffitte and Caillard. Where
we see the Cour des Petites-Écuries, the courtesan Ninon de Lenclos had a
country house. Félix Faure, Président of the French Republic from 1895 to
1899, was born at No. 65 in 1841. The old house No. 71 formed part of the
convent des Filles Dieu. The houses Nos. 99 to 105 were dependencies of
St-Lazare, now the Paris Prison for Women, which we come to at No. 107,
originally a leper-house, founded in the thirteenth century by the
hospitaliers de St-Lazare. It was an extensive foundation, possessing the
right of administering justice and had its own prison and gallows. The
Lazarists united with the priests of the Mission organized by St-Vincent-de-
Paul, and in their day the area covered by the cow-houses, the stables, the
various buildings sheltering or storing whatever was needed for the
missioners, stretched from the Faubourg St-Denis to the Rues de Paradis, de
Dunkerque and du Faubourg Poissonnière. At one time, when leprosy had
ceased to be rife in Paris, the hospital was used as a prison for erring sons of
good family. In 1793 it became one of the numerous revolutionary prisons;
André Chenier, Marie Louise de Montmorency-Laval, the last abbess of
Montmartre, were among the suspects shut up there; and the Rue du
Faubourg St-Denis was renamed Rue Franciade. St-Lazare was specially

obnoxious to Revolutionists, for there the Kings of France had been wont to
make a brief stay on each State entry into the city, and there, on their last
journey out of it, they had halted in their coffin, on the way to St-Denis. The
remains of an ancient crypt were discovered in 1898 below the pavement.
Rue de l’Échiquier was opened in 1772, cut through convent lands.
Stretching behind No. 43, till far into the nineteenth century, was the
graveyard of the parish Notre-Dame-de-Bonne-Nouvelle. No. 48 was the
well-known dancing-hall, Pavillon de l’Échiquier, before and under the
Directoire. Rue du Paradis, in the seventeenth century Rue St-Lazare, is
noted for its pottery shops. At No. 58 Corot, the great landscape painter
who lived hard by, had his studio. The capitulation of Paris in 1814 was
signed at No. 51, the abode of the duc de Raguse. Leading out of Rue de
Chabrol at No. 7 we find the old-world Passage de la Ferme-St-Lazare and
a courtyard, relics of the Lazarists farm. Rue d’Hauteville, so called from
the title of a Prévôt des Marchands, comte d’Hauteville, was known in
earlier times as Rue la Michodière, his family name. In the court at No. 58
we come upon a hôtel which was the abode of Bourrienne, Napoléon’s
secretary; its rooms are an interesting example of the style of the period.
The pillared pavilion at No. 6 bis, Passage Violet, dates only from 1840.
Rue de Strasbourg, where the courtyard of the Gare de l’Est now
stretches, was the site in olden days of one of the great Paris fairs, the Foire
St-Laurent, held annually, lasting two months, a privilege of the Lazarist
monks. It was at this fair that the first café-concerts were opened. The
Comédie-Italienne, too, first played there. Rue de la Fidélité, on the eastern
side of the Faubourg St-Denis, records the name given to the church St-
Laurent in Revolution days; it lies across the site of the couvent des Filles-
de-la-Charité founded by St-Vincent-de-Paul and Louise de Marillac, of
which we find some traces at No. 9.
The northern end of Rue du Faubourg St-Martin was long known as Rue
du Faubourg St-Laurent; zealously stamping out all names recording saints,
the Revolutionists called this long thoroughfare Faubourg du Nord. We find
ancient houses, vestiges of past ages, at every step, and the modern
structures seen at intervals are on sites of historic interest. The baker’s shop
at No. 44, “A l’Industrie,” claims to have existed from the year 1679. No.
59 is the site of the first Old Catholic church, founded in 1831 by abbé
Chatel. The Mairie at No. 76 covers the site of an ancient barracks, and of a
bridge which once spanned the brook Ménilmontant. An ancient arch was

found beneath the soil in 1896. Rue des Marais, which opens at No. 86,
dates from the seventeenth century. Here till 1860 stood the dwelling of the
famous public headsman Sanson and of his descendants, painted red! At
No. 119 we see the chevet of the church St-Laurent, the only ancient part of
the church as we know it. In the little Rue Sibour, opening at No. 121,
recording the name of the archbishop of Paris who died in 1857, we find an
ancient house, now a bathing establishment. No. 160 covers land once the
graveyard of les Récollets. The short Rue Chaudron records the name of a
fountain once there. The bulky fountains higher up are modern (1849), built
by public subscription.
Rue du Château d’Eau was formed of two old streets: Rue Neuve St-
Nicolas-St-Martin and Rue Neuve St-Jean, joined in 1851 and named after
a fountain formerly in the centre of the what is now Place de la République.
At No. 39 we see the house said to be the smallest in the city—its breadth
one mètre. In the walls of the tobacconist’s shop at No. 55, “la Carotte
Percée,” we see holes made by the bullets of the Communards in 1871. At
No. 6 of the modern Rue Pierre-Bullet, now a gimp factory, we find a house
of remarkable interest, beautifully decorated by its builder and owner, the
artist Gonthière, who had invented the process of dead-gilding. Ruin fell on
the unhappy artist. His house was seized in 1781 and he died in great
poverty in 1813.
Crossing the whole northern length of the arrondissement is the busy
commercial Rue Lafayette, its one point of interest for us the church St-
Vincent-de-Paul, built in the form of a Roman basilica between the years
1824-44, on the site of a Lazariste structure known as the Belvédère. Within
we see fine statuary; and glorious frescoes, the work of Flandrin, cover the
walls on every side. None of the streets in the vicinity of the church show
points of historic interest.
Rue Louis-Blanc, existing in its upper part in the eighteenth century
under another name, prolonged in the nineteenth, has one tragically historic
spot, that where it meets Rue Grange-aux-Belles. On that spot from the year
1230, or thereabouts, to 1761, on land owned by comte Fulcon or Faulcon,
stood the famous gibet de Montfaucon. It was of prodigious size, a great
square frame with pillars and iron-chains, sixteen pendus could hang there
at one time. The most noted criminals, real or supposed, many bearing the
noblest names of France, were hung there, left to swing for days in public
view—the noblesse from the Court and the peuple from the sordid streets

around crowding together to see the sight. The ghastly remains fell into a pit
beneath the gibet and so found burial. Later a more orderly place of
interment was arranged on that hill-top. The church of St-Georges now
stands on the site.
Rue de la Grange-aux-Belles, so well known nowadays as the seat at No.
33 of the C.G.T.—the Conféderation du Travail, where all Labour questions
are discussed, and where in these days of great strikes, the Paris Opera on
strike gave gala performances, was originally Rue de la Grange-aux-Pelles,
a pelle or pellée being a standard measure of wood. The finance minister
Clavière, Roland’s associate, lived here and the authorities borrowed from
him the green wooden cart which bore Louis XVI to the scaffold. The
painter Abel de Payol lived at No. 13 (1822). A Protestant cemetery once
stretched across the land in the centre of the street down to Rue des Écluses
St-Martin. There, in 1905, were found the remains of the famous corsaire
Paul Jones, transported in solemn state to America shortly afterwards.
Turning into Rue Bichat we come to the Hôpital St-Louis, founded by
Henri IV. The King had been one of many sufferers from an epidemic
which had raged in Paris in the year 1606. On his recovery the bon Roi
commanded the building of a hospital to be called by the name of the saint-
king, Louis IX, who had died of the plague some three hundred years
before. The quaint old edifice with red-tiled roofs, old-world windows, fine
archways surrounding a court bright with flowers and shaded by venerable
trees, carries us back in mind to the age of the bon Roi to whom the hospital
was due. No. 21 was the hospital farm. In Rue Alibert, erewhile an impasse,
we see one or two ancient houses, at the corner a pavilion of the time of
Henri IV, the property of the hospital. Rue St-Maur runs on into the 11th
arrondissement, a street formed in the nineteenth century by three
seventeenth-century roads, one of which was Rue Maur or des Morts. We
notice old houses and ancient vestiges here and there.
Rue du Faubourg du Temple marks the boundary between
arrondissement X and XI, an ancient thoroughfare climbing to the heights
of Belleville with many old houses and courts, mostly squalid, and some
curious old signs. On the site of No. 18 Astley’s circus was set up in 1780.
The Rue de la Fontaine au Roi (seventeenth century), in 1792 Rue
Fontaine-Nationale, shows us at No. 13 a house with porcelaine decorations
set up here in 1773. Beneath the pavement of Rue Pierre-Levée a druidical
stone was unearthed in 1782. Rue de Malte refers by its name to the

Knights Templar of Malta, across whose land it was cut. We see an ancient
cabaret at No. 57. Rue Darboy records the name of the archbishop of Paris,
shot by the Communards in 1871; Rue Deguerry that of the vicar of the
Madeleine who shared his fate. The church of St-Joseph is quite modern,
1860, despite its blackened walls. Avenue Parmentier running up into the
10th arrondissement is entirely modern, recording the name of the man who
made the potato known to France.
Rue des Trois-Bornes shows us several old-time houses and at No. 39 a
characteristic old court. We find some characteristic vestiges also in Rue
d’Angoulême. In Rue St-Ambroise we see the handsome modern church
built on the site of the ancient church des Annociades. The monastery of the
Annociades was sold in lots, and became in part by turns a barracks, a
military hospital, a hospital for incurables, and was razed to the ground in
1864. At Musée Carnavalet we may see bas-reliefs taken from the fountain
once on the space before the church. Rue Popincourt, which gives its name
to the arrondissement, records the existence in past days of a sire Jean de
Popincourt whose manor-house was here, and a sixteenth-century village,
which became later part of Faubourg St-Antoine. Rue du Chemin-Vert dates
from 1650, but has few interesting features. Parmentier died at No. 68 in
1813.

W
CHAPTER XXXVIII
IN THE PARIS “EAST END”
E are now in the vicinity of the largest and most important of the Paris
cemeteries—Père Lachaise. But it lies in the 20th arrondissement. The
streets of this 10th arrondissement leading east approach its boundary
walls—its gates. Rue de la Roquette comes to it from the vicinity of the
Bastille. La Roquette was a country house built in the sixteenth century, a
favourite resort of the princes of the Valois line. Then, towards the end of
the seventeenth century, the house was given over to the nuns Hospitalières
of Place-Royale. The convent, suppressed at the Revolution, became State
property and in 1837 was used as the prison for criminals condemned to
death. The guillotine was set up on the five stones we see at the entrance to
Rue Croix-Faubin. The prisoners called the spot l’Abbaye des Cinq Pierres.
It was there that Monseigneur Darboy and abbé Deguerry were put to death
in 1871. On the day following fifty-two prisoners, chiefly monks and Paris
Guards, were led from that prison to the heights of Belleville and shot in
Rue Haxo. Read à ce propos Coppée’s striking drama Le Pater. La
Roquette is now a prison for youthful offenders, a sort of House of
Correction.
Lower down the street we find here and there an ancient house or an old
sign. The fountain at No. 70 is modern (1846). The curious old Cour du
Cantal at No. 22 is inhabited mostly by Auvergnats. Rue de Charonne,
another street stretching through the whole length of the arrondissement, in
olden days the Charonne road, starts from the Rue du Faubourg St-Antoine,
where at No. 1 we see a fountain dating from 1710. Along its whole length
we find vestiges of bygone times. It is a district of ironmongers and workers
in iron and workman’s tools. A district, too, of popular dancing saloons. At
No. 51 we see l’hôtel de Mortagne, built in 1711, where Vaucanson first
exhibited his collection of mechanical instruments. Bequeathed to the State,
that collection was the nucleus of the Conservatoire des Arts et Métiers:
Arts and Crafts Institution (see p. 64). Here the great mechanic died in
1782. No. 97, once a Benedictine convent, was subsequently a private

mansion, then a factory, then in part a Protestant chapel. The École
Maternelle at No. 99 was in past days a priory of “Bon Secours”
(seventeenth century). No. 98 is on the site of a convent razed in 1906.
There are remains of another convent at Nos. 100, 102. No. 161 was the
famous “Maison de Santé,” owned by Robespierre’s friend Dr. Belhomme,
to which he added the adjoining hôtel of the marquis de Chabanais. There,
during the Terror, he received prisoners as “paying guests.” His prices were
enormous and on a rising scale ... the guests who could not pay at the
required rate were turned adrift on the road to the guillotine. These walls
sheltered the duchesse d’Orléans, the mother of Louis-Philippe, protected
by her faithful friend known as comte de Folmon, in reality the deputé
Rouzet, and many other notable persons of those troubled years. On the left
side of the door we see the figures 1726, relic of an ancient system of
numbering. The Flemish church de la Sainte Famille at 181 is modern
(1862).
Crossing Rue de Charonne in its earlier course, we come upon the
sixteenth-century Rue Basfroi, a corruption of beffroi, referring to the belfry
of the ancient church Ste-Marguerite in Rue St-Bernard. Ste-Marguerite,
founded in 1624 as a convent chapel, rebuilt almost entirely in 1712,
enlarged later, is interesting as the burial-place of the Dauphin, or his
substitute, in 1745, and as possessing a much-prized relic, the body of St.
Ovide, in whose honour the great annual fair was held on Place Vendôme. A
tiny cross up against the church wall marks the grave where the son of
Louis XVI was supposed to have been laid, but where on exhumation some
years ago the bones of an older boy were found. We see some other ancient
tombs up against the walls of what remains of that old churchyard, and on
the wall of the apse of the church two very remarkable bas-reliefs, the work
of an old-time abbé, M. Goy, a clever sculptor, to whom are due also many
of the statues in the park at Versailles. Within the church we see several
striking statues and a remarkable “Chapelle des Morts,” its walls entirely
frescoed in grisaille but in great need of restoration. From the end of Rue
Chancy, where at No. 22 we see an old carved wood balcony, we get an
interesting view of this historic old church.
Rue de Montreuil, leading to the village of the name, shows us many old
houses, one at No. 52 with statuettes and in the courtyard an ancient well,
and at No. 31, remains of the Folie Titon, within its walls a fine staircase
and ceiling, the latter damaged of late owing to a fire.

R
CHAPTER XXXIX
ON TRAGIC GROUND
UE DU FAUBOURG ST-ANTOINE forms the boundary between the
arrondissements XI and XII. From end to end it shows us historic
vestiges. It has played from earliest times an all-important part in
French history, leading, when without the city walls, to Paris and the
Bastille from the fortress of Vincennes and lands beyond, while from the
time of its incorporation with Paris, popular political demonstrations
unfailingly had their mise en scène in the Rue du Faubourg St-Antoine. In
the seventeenth century it was a country road in its upper part, the Chaussée
St-Antoine, and led to the fine Abbaye St-Antoine-des-Champs; the lower
part was the “Chemin de Vincennes.” Along this road, between Picpus and
the Bastille, the Frondeurs played their war-games. Turenne’s army fired
from the heights of Charonne, while the Queen-Mother, her son, Louis XIII,
and Mazarin watched from Père-la-Chaise. At No. 8 lived the regicide
Pépin, Fieschis’ accomplice. The sign, the “Pascal Lamb,” at No. 18 dates
from the eighteenth century. We see ancient signs all along the street. The
Square Trousseau at No. 118 is on the site of the first “Hospice des Enfants
Trouvés,” built in 1674 on abbey land. In 1792 it became the “Hôpital des
Enfants de la Patrie.” The head of princesse de Lamballe was buried in the
chapel graveyard there. What is supposed to be her skull was dug up here in
1904. In 1839 the hospital was made an annexe of the hôtel-Dieu, in 1880 it
was Hôpital Trousseau, then in the first years of this twentieth century razed
to the ground. At No. 184 the hospital St-Antoine retains some vestiges of
the royal abbey that stood there in long-gone days. Founded in 1198, it was
like all the big abbeys of the age a small town in itself, surrounded by high
fortified walls. At the Revolution it was sequestrated, the church
demolished. Till the early years of the nineteenth century, one of the most
popular of Paris fairs was held on the site of the old abbey, la Foire aux
pains d’épices, which had its origin in an Easter week market held within
the abbey precincts. The house No. 186 is on the site of the little chapel St-
Pierre, razed in 1797, where of old kings of France lay in state after their
death. Two daughters of Charles V were buried there. The fountain and

butcher’s shop opposite the hospital date from the time of Louis XV, built
by the nuns of the abbey and called la Petite Halle. The nuns alone had the
right to sell meat to the population of the district in those old days. Almost
every house and courtyard and passage along the whole course of this
ancient thoroughfare dates, as we see, from days long past. In the courts at
Nos. 245 and 253 we find old wells.
So we reach Place de la Nation, of yore Place du Trône, styled in
Revolution days Place du Trône Renversé, and the guillotine set up there
“en permanence”: there 1340 persons fell beneath its knife, 54 in one tragic
day. The two pavilions on the eastern side of the place were the custom-
houses of pre-Revolution days. The monument in the centre is modern
(1899). Of the streets and avenues leading from the place, that of supreme
interest is the old Rue Picpus, a curious name explained by some
etymologists as a corruption of Pique-Pusse, and referring to a sixteenth-
century monk of the neighbourhood who succeeded in curing a number of
people of an epidemic which studded their arms with spots like flea-bites
and who was called henceforth “le Père Pique-Pusse.” In previous days the
upper part of the road—it was a road then, not yet a street—had been
known as Chemin de la Croix-Rouge. Nos. 4 and 6 are the remains of an
eighteenth-century pavilion, a maison de santé—house of detention—where
in 1786 St. Just was shut up for petty thefts committed in his own family.
No. 10, a present-day maison de santé, is on the site of a hunting-lodge of
Henri IV. At No. 35 we see the Oratoire de Picpus, where is the statuette of
Notre-Dame, de la Paix, once on the door of the Capucine convent, Rue St-
Honoré; and here, behind the convent garden, we find the cimetière Picpus
and the railed pit where the bodies of the 1340 persons beheaded on the
Place du Trône Renversé were cast in 1793, André Chenier among the
number. Their burial-place was unknown until some years later, when a
poor woman, the daughter of a servant of the duc de Brissac, who, stealthily
watching from afar, had seen her father and her brother fall on the scaffold,
pointed it out. The site was bought, walled in, an iron cross set up over it.
Soon adjoining land was bought and the relatives of many of those who lay
in the pit were brought to be in death near to the members of their family
cut off from them in life by the Revolutionist axe. We see their tombs in the
carefully kept cemetery to which, from time to time, descendants of the
different families come to be laid in their last long sleep. In the corner
closest up against the walls surrounding the pit we see the Stars and Stripes

of the United States, the “star-spangled banner” keeping guard over the
grave of La Fayette. The nuns of the convent have charge of this
pathetically interesting cemetery. At No. 42 we see more convent walls
stretching to Rue de Reuilly, now enclosing a carriage factory. At No. 61 the
doors of yet another, put later to various secular uses. No. 76 is the Jewish
hospital, founded by Rothschild in 1852. No. 73 is the Hospice des
Vieillards, worked by the Petites Sœurs des Pauvres. On the wall at No. 88
we come upon an edict of Louis XV with the date 1727.
Running parallel with Rue Picpus is Rue de Reuilly, in long-gone days a
country road leading to the Château at Romiliacum, the summer habitation
of the early Merovingian kings. We see an ancient house at No. 12 and No.
11 was the historic brasserie owned by Santerre, commander-in-chief of the
Paris Garde Nationale, its walls supposed to date from 1620. Santerre
bought it in 1772. After the storming of the Bastille, two prisoners found
within its walls, both mad, one aged, the other a noted criminal, were
sheltered there: there the keys and chains of the broken fortress were
deposited. The barracks at No. 20 are on the site of ruins of the old
Merovingian castle. The church, modern, of St-Eloi at No. 36 has no
historic interest save that of its name, and no architectural beauty.
Rue de Charenton is another ancient street. It runs through the whole of
the arrondissement from Place de la Bastille to the Bois de Vincennes. From
1800-15 it went by the name Rue de Marengo, for through a gate on its
course, at the barrier of the village of Charenton and along its line,
Napoléon re-entered Paris after his Italian campaigns. In its upper part it
was known in olden days as Vallée de Fécamp. Through the house at No. 2,
with the sign “A la Tour d’Argent,” Monseigneur Affre got on to the
barricades in 1848, to be shot down by the mob a few moments later. No.
10 dates from the sixteenth century. The inn at No. 12 is ancient. At No. 26
we see the chapel of the Blind Hospital, the “Quinze-Vingts,” formerly the
parish church of the district. The Quinze-Vingts was founded by St. Louis
for three hundred gentilshommes, i.e. men of gentle birth, on their return
from the crusades; their quarters were till 1780 on land owned by the monks
of the Cloître St-Honoré. Then this fine old hôtel and grounds, built in 1699
for the Mousquetaires Noirs, were bought for them. In the chapel crypt the
tombstone of the first archbishop of Paris, Mgr de Gondi, was found a few
years ago, and bits of broken sixteenth-century sculpture of excellent
workmanship. The little Rue Moreau, which opens at No. 40, was known in

the seventeenth century as Rue des Filles Anglaises, for English nuns had a
convent where now we see the Passage du Chêne-Vert. We find
characteristic old houses in Rue d’Aligre and an interesting old place of the
same name, in Revolutionary days a hay and straw market. The short streets
and passages of this neighbourhood date, with scarce an exception, from the
seventeenth and eighteenth centuries. Rue de la Brèche-aux-loups recalls
the age when, in wintry weather, hungry wolves came within the sight of
the city. The statuette of Ste-Marguerite and the inscription of No. 277 date
from 1745. Passage de la Grande Pinte at No. 295 records the days when
drinking booths were a distinctive feature of the district. We see vestiges of
an ancient cloister at No. 306, and at No. 312 an old farmyard.

T
CHAPTER XL
LES GOBELINS
ARRONDISSEMENT XIII. (GOBELINS)
HE brothers Gobelin, Jehan and Philibert, famous dyers of the day,
established their great factory on the banks of the Bièvre about the year
1443. Jehan had a fine private mansion in the vicinity of his dye-works
known as Le Cygne. At a little distance, on higher ground, was another
hôtel known as la Folie Gobelin. The rich scarlet dye the brothers turned out
was greatly prized; their business prospered, grew into a huge concern. But
in the first year of the seventeenth century a Flemish firm of upholsterers
came to Paris and established themselves on the banks of the tributary of
the Seine, entirely replacing the Gobelins’ works. This in its turn yielded to
another firm, but the name remained unchanged. A few years later the firm
and all the buildings connected therewith were taken over by the State, and
in 1667, by the initiative of the minister Colbert, were organized as the
royal factory “des meubles de la Couronne.” On the ancient walls behind
the modern façade we see two inscriptions referring to the founders of the
world-famed factory. This hinder part of the vast building is of special
interest to the lover of old-world vestiges. The central structure, two wings
and the ancient chapel of the original building, still stand, and around on
every side we see quaint old houses in tortuous streets, courtyards of past
centuries, where twentieth-century work goes on apace, picturesque corners
densely inhabited by a busy population. For this is also the great tanning
district of the city. Curious old-world sights meet us as we wind in and out
among these streets and passages which have stood unchanged for several
hundred years. The artistic work of the great factory was from the first
given into the hands of men of noted ability, beginning in 1667 with
Charles le Brun; and from the first it was regarded as an institution of
special interest and importance. Visitors of mark, royal and other, lay and
ecclesiastical, were taken to see it. The Pope, when in Paris in 1805, did not
fail to visit “les Gobelins.” In 1826 the great Paris soap-works were
removed from Chaillot and set up here in connection with the dye-works.

The fine old building was set fire to by the Communards in 1871—much of
it burnt to the ground, many priceless pieces of tapestry destroyed. At No.
17 Rue des Gobelins, in its earlier days Rue de la Bièvre, crossed by the
stream so carefully hidden beneath its surface now, we see the old castel de
la Reine Blanche. It dates from the sixteenth century, on the site of a more
ancient castel, where tradition says the “bals des ardents” were given,
notably that of the year 1392 when the accident took place which turned
King Charles VI into a madman. But the “Reine Blanche,” for whom it was
first built, was probably not the mother of St. Louis, but the widow of
Philippe de Valois, who died in 1398. In the sixteenth century relatives of
the brothers Gobelin lived there. Then it was the head office of the great
factory. Revolutionists met there in 1790 to organize the attack of June
20th. In Napoléon’s time it was a brewery, now it is a tannery.
CASTEL DE LA REINE BLANCHE

Rue Croulebarbe, once on the banks of the Bièvre, has an old-world,
village-like aspect. The buildings bordering the broad Avenue des Gobelins
are devoid of interest, but beneath several of them important Roman
remains have been found, and besides the old streets running into the
avenue in the immediate vicinity of the Gobelins Factory, we find at
intervals other old streets and passages with many interesting vestiges; at
No. 37, the Cour des Rames. The city gate St-Marcel stood in past days
across the avenue where the house No. 45 now stands. In Rue Le Brun we
see the remains of the hôtel where, in the early years of the eighteenth
century, dwelt Jean Julienne, the master of the Gobelins. Rue du Banquier
shows many curious old-time houses.
In Rue de la Glacière on the western side of the arrondissement, so
named in long-gone days from an ice-house furnished from the Bièvre, and
in the short streets leading out of it, we find old houses here and there. Rue
de la Tannerie was until quite modern times Rue des Anglaises from the
couvent des Filles Anglaises, founded at Cambrai, established here in 1664
—the chief duty of the nuns being to offer prayers for the conversion of
England to Romanism! Disturbed at the Revolution, they returned to their
own land and the convent became a prison under the Terror. At No. 28 of
this old street we see vestiges of the chapel cloisters.
Covering a large area in the east of this arrondissement is the hospice
known as La Salpétrière. In long-past days a powder magazine stood on the
site: traces of that old arsenal may still be seen in the hospital wash-house.
The foundation of the hospice dates from Louis XIII, as a house for the
reception of beggars. The present structure, the work of the architect Vau,
was built in the seventeenth century, destined for the destitute and the mad.
The fine chapel was built a few years later. At the close of the century a
woman’s prison was added, whither went many of the Convulsionists of St.
Médard (see p. 150). Mme Lamotte concerned in the affaire du collier was
shut up here. And in a scene of the well-known operette Manon Lescaut is
shown within its walls. In September, 1792, the Revolutionary mob broke
into the prison, slew the criminals, opened the doors to the light women
shut up there. We see before us the “Cour des Massacres.” Then in 1883 la
Salpétrière was organized as the “Hospice de la Vieillesse-Femmes.” There
are five thousand beds. In 1908 the new hospital de la Pitié was built in its
grounds.

T
CHAPTER XLI
THE NEIGHBOURHOOD OF PORT-ROYAL
ARRONDISSEMENT XIV. (OBSERVATOIRE)
HE boundary-line between arrondissements XIII and XIV is Rue de la
Santé, the name of the great Paris prison which stands there. It brings us
to the vicinity of the Paris Observatory and of the Hôpital Cochin. The
prison is a modern structure on a site known as la Charbonnerie, because of
coal-mines once there. The Observatory, built over ancient quarries, was
founded by Louis XIV’s minister Colbert, in 1667. A spiral staircase of six
hundred steps leads down to the cellars that erewhile were mines. It was
enlarged in 1730 and again in 1810, and the cupolas were added at a later
date. A stretch of Rue du Faubourg St-Jacques borders its eastern side, and
there on the opposite side we see l’Hôpital Cochin, founded in 1780 by the
then vicar of St-Jacques-du-Haut-Pas, whose name it bears—enlarged in
recent years. At No. 34 of Rue du Faubourg St-Jacques we turn into the
seventeenth-century Rue Cassini, so named in 1790 to memorize the
seventeenth-century organizer of the Observatory. Here Balzac lived in
1829 in a house no longer standing. The great painter J. P. Laurens has an
hôtel here. We find a Louis XVI monument in a court at No. 10.
Subterranean passages, made and used in a past age by smugglers, have
been discovered beneath the pavement of this old street.
Rue Denfert-Rochereau has its first numbers in arrondissement V. This
was the “Via Infera,” the Lower Road of the Romans. The name Enfer,
given later, is said to refer, not to the place of torment, but to the hellish
noise persistently made in a hôtel there built by a son of Hugues Capet, the
hôtel Vauvert, hence the French expression, “envoyer les gens au diable
vert”—vert shortened from Vauvert, i.e. send them off—far away—to the
devil! Enfer became d’Enfert, to which in 1878 was added the name of the
general who defended Belfort in 1870: not exactly a happy combination!
Many persons of note have dwelt in this old street. No. 25 (arrondissement
V) is an ancient Carmelite convent, built, tradition says, on the site of a
pagan temple: an oratory-chapel dedicated to St. Michael covered part of

the site in early Christian days and a public cemetery. An ancient crypt still
exists. It was in the convent here that Louise de la Vallière came to work till
her death, in 1710. That first convent and church were razed in 1797. The
Carmelites built a smaller one on the ancient grounds in 1802, and rebuilt
their chapel in 1899. It did not serve them long. They were banished from
France in 1901. The chapel, crypt and some vestiges of the ancient convent
are before us here. Modern streets—Rue Val de Grâce opened in 1881, Rue
Nicole in 1864—run where the rest of the vast convent walls once rose. No.
57 is on the site of an ancient Roman burial-ground of which important
traces were found in 1896. No. 68, ancient convent of the Visitation. No. 72
built in 1650 as an Oratorian convent, a maternity hospital under the
Empire, now a children’s hospice. No. 71, couvent du Bon Pasteur—House
of Mercy—founded in the time of Louis XVI, bought by the Paris
Municipality in 1891, its chapel burnt by the Communards in 1871, rebuilt
by the authorities of the Charity, worked now by Sisters of St. Thomas de
Villeneuve. Within its walls we see interesting old-time features and
beneath are the walls of reservoirs dating from the days when water was
brought here from the heights of Rungis. No. 75, ancient Eudiste convent
and chapel; Châteaubriand once dwelt at No. 88 and with his wife founded
at No. 92 the Infirmerie Marie-Thérèse, named after the duchesse
d’Angoulême, daughter of Louis XVI, a home for poverty-stricken
gentlepeople, transformed subsequently into an asylum for aged priests.
Mme de Châteaubriand lies buried there beneath the high altar of the
chapel.
Avenue d’Orléans, in olden days Route Nationale de Paris à Orléans,
dating from the eighteenth century, and smaller streets connected with it,
show us many old houses, while in the Villa Adrienne, opening at No. 17,
we find a number of modern houses—pavilions—each bearing the name of
a celebrity of past time. Rue de la Voie-Verte was so named from the
market-gardens erewhile stretching here. Rue de la Tombe-Issoire runs
across the site of an ancient burial-ground where was an immense tomb,
said to have been made for the body of a giant: Isore or Isïre, who,
according to the legend, attacked Paris at the head of a body of Sarazins in
the time of Charlemagne. Here and there along this street, as in the short
streets leading out of it, we come upon interesting vestiges of the past,
notably in Rue Hallé, opening at No. 42. The pretty Parc Souris is quite
modern. We find old houses in Avenue du Chatillon, an eighteenth-century

thoroughfare. Rue des Plantes leads us to Place de Montrouge, in the
thirteenth century the centre of a village so named either after an old-time
squire, lord of the manor, Guis de Rouge, or because the soil is of red
sandstone. The squire, maybe, gained his surname from the soil on which
he built his château, while the village took its name from the squire. Rue
Didot, once known as Rue des Terriers-aux-Lapins, memorizes the great
printing-house founded in 1713. Rue de Vanves, leading to what was in
olden days the village of the name, crosses Rue du Château at the point
where in the eighteenth century the duc de Maine had a hunting-lodge. In
Avenue du Maine we see ancient houses at intervals. Rue du Moulin-Vert
recalls the existence of one of the numerous windmills on the land around
the city in former days. Rue de la Gaité (eighteenth century) has ever been
true to its name or the name true to the locality—one of dancing saloons
and other popular amusements. The Cinema des Mille Colonnes was in pre-
cinema days the “Bal des Mille Colonnes,” opened in 1833. Passing on up
Avenue du Maine we come to arrondissement XV.

R
CHAPTER XLII
IN THE SOUTH-WEST
ARRONDISSEMENT XV. (VAUGIRARD)
UE VAUGIRARD, originally Val Girard, which we enter here, on its
course from arrondissement VI (see p. 164), is the longest street in
Paris, a union of several streets under one name, extending on beyond
the city bounds. At No. 115 we find an ancient house recently restored by a
man of artistic mind; at No. 144, ancient buildings connected with the old
hospital l’Enfant-Jésus, its façade giving on Rue de Sèvres. At intervals all
along the street, and in the short streets opening out of it, we come upon
old-time houses, none, however, of special interest. In this section of its
course Rue de la Procession, opening at No. 247, dates from the close of the
fourteenth century, a reminiscence of the days when ecclesiastical
processions passed along its line to the church. Rue Cambronne, named
after the veteran of Waterloo, dates from the first Empire and shows us at
Nos. 98, 104, 117, houses of the time when it was Rue de l’École—i.e.
l’École Militaire.
The modern church St-Lambert in Rue Gerbert replaces the ancient
church of Vaugirard in Rue Dombasle, once Rue des Vignes, the centre of a
vine-growing district, where till recent years stood the old orphanage of St-
Vincent-de-Paul. Rue de la Croix-Nivert, traced in the early years of the
eighteenth century, records the existence of one of the crosses to be found
in old days at different points within and without the bounds of the city. In
Rue du Hameau, important Roman remains were found a few years ago. In
Rue Lecourbe, known in the seventeenth century as le Grand Chemin de
Bretagne, in the nineteenth century for some years as Rue de Sèvres, like
the old street it starts from at Square Pasteur, prehistoric remains were
found in 1903. Rue Blomet, the old Meudon road, was in past days the
habitation of gardeners, several old gardeners’ cottages still stand there. The
district known as Grenelle, a village beyond the Paris bounds till 1860, has
few vestiges of interest. The first stone of its church, St-Jean Baptiste, was
laid by the duchesse d’Angoulême, daughter of Louis XVI. The long

modern Rue de la Convention is known beyond its immediate vicinity
chiefly for the Hôpital Boucicaut built by the founder and late owner of the
Bon Marché.
Avenue Suffren, bounding this arrondissement on its even-number side,
dates from 1770. Rue Desaix was once le Chemin de l’Orme de Grenelle.
Rue de la Fédération memorizes the Fête de la Fédération held on the
Champ de Mars in 1790. The oldest street of the district is Rue Dupleix, a
road in the fifteenth century and known in the sixteenth century as Sentier
de la Justice or Chemin du Gibet, a name which explains itself. Then it
became Rue Neuve. The Château de Grenelle stood in old days on the site
of the barracks on Place Dupleix, used in the Revolution as a powder
factory; there in 1794 a terrific explosion took place, killing twelve hundred
persons. Where the Grande Roue turns, on the ground now bright with
flower-beds and grassy lawns, duels were fought erewhile. This is the
quarter of new streets, brand-new avenues.
Crossing the Seine at this point we find ourselves in arrondissement
XVI, for to its area south of the Étoile and surrounding avenues, were added
in 1860 the suburban villages of Passy and Auteuil.

W
CHAPTER XLIII
IN NEWER PARIS
ARRONDISSEMENT XVI. (PASSY)
E have left far behind us now Old Paris, the Paris of the Kings of
France, of the upheaval of Revolution days. The 16th arrondissement,
save in the remotest corners of Passy and Auteuil, suburban villages
still in some respects, is the arrondissement of the “Nineteenth Century and
After.” Round about the Étoile the Napoléonic stamp is very evident. It is
the district of the French Empire, First and Second. The Arc de Triomphe
was Napoléon’s conception. The broad thoroughfare stretching as Avenue
des Champs-Elysées to Place de la Concorde, as Avenue de la Grande
Armée to the boundary of Neuilly, was planned by Napoléon I, as were also
the other eleven surrounding avenues. The erections of his day and
following years were well designed, well built, solid, systematical,
mathematically correct, excellent work as constructions—spacious, airy,
hygienic, but devoid of architectural poetry. The buildings of the Second
Empire were a little less well designed, less well built and yet more
symmetrical, with a very marked utilitarian stamp and a marked lack of
artistic inspiration. Those of a later date, with the exception of some few
edifices on ancient models, are, alas! for the most part, utilitarian only—
supremely utilitarian. Paris dwelling-houses of to-day are, save for a fine
hôtel here and there, “maisons de rapport,” where rapport is plainly their
all-prevailing raison d’être. The new houses are one like the other, so like
as to render new streets devoid of landmarks: “Où sont les jours d’Antan,”
when each street, each house had its distinctive feature? Only in the Paris of
generations past.
Of Napoléon’s avenues seven, if we include the odd-number side of
Avenue des Champs-Élysées and of the Grande Armée, are in this
arrondissement. The beautiful Avenue du Bois-de-Boulogne is due to
Napoléon III, opened in 1854, as Avenue de l’Impératrice. Handsome
mansions line it on both sides. One spot remained as it had been before the
erection of all these fine hôtels until recent years—a rude cottage-dwelling

stood there, owned by a coal merchant who refused to sell the territory at
any price. Francs by the million were offered for the site—in vain. But it
went at last. In 1909 a private mansion worthy of its neighbour edifices was
built on the site.
Avenue Victor-Hugo began in 1826 as Avenue Charles X. From the short
Rue du Dôme, on high ground opening out of it, we see in the distance the
dôme of the Invalides. To No. 117 the first crêche opened in or near Paris, at
Chaillot (1844), was removed some years ago. Gambetta lived for several
years and died at No. 57, in another adjoining street, Rue St-Didier. At No.
124 of the Avenue we see a bust of Victor-Hugo, who died in 1885 in the
house this one replaces. Place Victor-Hugo began in 1830 as Rond-Point de
Charles X. The figure of the poet set up in 1902 is by Barrias. The church
St-Honoré d’Eylau dates from 1852. It was pillaged by the Fédérés in 1871.
Lamartine passed the last year of his life in a simple chalet near the square
named after him; his statue there dates from 1886.
General Boulanger lived at No. 3 Rue Yvon de Villarceau, opening out
of Rue Copernic. Rue Dosne is along the site of the extensive grounds left
by Thiers. At No. 46 Rond-Point Bugeaud we see the foundation Thiers, a
handsome hôtel bequeathed by the widow of the statesman as an institution
for the benefit of young students of special aptitude in science, philosophy,
history.
Avenue d’Eylau, planned to be Place du Prince Impérial, possessed till
recently, in a courtyard at No. 11, three bells supposed to be those of the
ancient Bastille clock.
Avenue Malakoff, began in 1826 as Avenue St-Denis. At No. 66 we see
the chapel of ease of St-Honoré d’Eylau, of original style and known as the
Cité Paroissiale St-Honoré.
Avenue Kléber began in 1804 as Avenue du Roi de Rome. Beneath the
pavement at No. 79 there is a circular flight of steps built in 1786, to go
down to the Passy quarries.
Rue Galilée, opening out of it at No. 55, began as Rue des Chemin de
Versailles. Rue Belloy was formed in 1886 on the site of the ancient
Chaillot reservoirs.
Avenue d’Iéna lies along the line of the ancient Rue des Batailles de
Chaillot, where, in 1593, without the city bounds, Henri IV and Gabrielle
d’Estrées had a house. Rue Auguste-Vaquerie is the former Rue des

Bassins. The Anglican church there dedicated to St-George dates from 1888
and is, like the French churches, always open—a friendly English church—
with beautiful decorations and furnishings. The short Rue Keppler dates
from 1772 and was at one time Rue Ste-Geneviève. Rue Georges-Bizet lies
along the line of an ancient Ruelle des Tourniquets, a name reminiscent of
country lanes and stiles; in its lower part it was of yore Rue des
Blanchisseuses, where clean linen hung out freely to dry. The Greek church
there, with its beautiful Iconostase and paintings by Charles Lemaire, is
modern (1895). Rue de Lubeck began as a tortuous seventeenth-century
road, crossing the grounds of the ancient convent of the Visitation.
The statue of Washington in the centre of Place d’Iéna, the scene of so
many momentous gatherings, was given by the women of the United States
“en mémoire de l’amitié et de l’aide fraternelle donnée par la France à
leurs frères pendant la lutte pour l’indépendance.” The Musée Guinet on
the site of the hippodrome of earlier years, an oriental museum, was opened
in 1888. Rue Boissière, in the eighteenth century in part Rue de la Croix-
Boissière, reminds us of the wooden crosses to which in olden days the
branches of box which replace palm were fixed on Palm Sunday. Along Rue
de Longchamp, then a country lane, seventeenth and eighteenth-century
Parisians passed in pilgrimage to Longchamp Abbey, while at an old farm
on the Rond-Point, swept away of late years, ramblers of note, Boileau and
La Fontaine among the number, stopped to drink milk fresh and pure. The
name of the Bouquet de Longchamp recalls the days when green trees
clustered there. Rue Lauriston, a thoroughfare in the eighteenth century,
was long known as Chemin du Bel-air.
Rue de Chaillot, which leads us to Avenue Marceau, was the High Street
of the village known in the eleventh century by the Roman name
Colloelum. It was Crown property, and Louis XI gave it to Philippe de
Commines. In 1659 the district became a Paris faubourg and in 1787 was
included within the city bounds. There on the high land now the site of the
Trocadéro palace and gardens, the Château de Chaillot, its name changed
later to Grammont, was built by Catherine de’ Medici. Henriette, widow of
Charles I of England, back in her own land of France, made it into a
convent (1651). Its first Superior was Mlle de Lafayette; its walls sheltered
many women of note and rank, Louise de la Vallière is said to have fled
thither twice, to be twice regained by the King. The chapel was on the site
of the pond in the Trocadéro gardens. There the hearts of the Catholic

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