To the English traveller Angers is in point of historic interest without a rival among the towns of France. Rouen indeed is the cradle of our Norman dynasty as Angers of our Plantagenet dynasty; but the Rouen of the Dukes has almost vanished while Angers remains the Angers of the Counts. The physiognomy of the place--if we may venture to use the term--has been singularly preserved. Few towns have it is true suffered more from the destructive frenzy of the Revolution; gay boulevards have replaced "the flinty ribs of this contemptuous city," the walls which play their part in Shakspere's 'King John'; the noblest of its abbeys has been swept away to make room for a Prefecture; four churches were demolished at a blow to be replaced by the dreariest of squares; the tombs of its later dukes have disappeared from the Cathedral. In spite however of new faubourgs, new bridges, and new squares, Angers still retains the impress of the middle ages; its steep and narrow streets, its dark tortuous alleys, the fantastic woodwork of its houses, the sombre grimness of the slate-rock out of which the city is built, defy even the gay audacity of Imperialist prefects to modernize them. One climbs up from the busy quay along the Mayenne into a city which is still the city of the Counts. From Geoffry Greygown to John Lackland there is hardly one who has not left his name stamped on church or cloister or bridge or hospital. The stern tower of St. Aubin recalls in its founder Geoffry himself; the nave of St. Maurice, the choir of St. Martin's, the walls of Roncevray, the bridge over Mayenne, proclaim the restless activity of Fulc Nerra; Geoffry Martel rests beneath the ruins of St. Nicholas on its height across the river; beyond the walls to the south is the site of the burial place of Fulc Rechin; one can tread the very palace halls to which Geoffry Plantagenet led home his English bride; the suburb of Roncevray, studded with buildings of an exquisite beauty, is almost the creation of Henry Fitz-Empress and his sons.