The Christian bishops were the shield after Rome fell, between the trembling conquered races and the first wave of conquering barbarian invasion. The strength of their faith we have seen already in the crypt of St. Gervais. This little altar, and the tiny shrine of St. Godard watched infant Rouen from beyond its walls. An edict in 399 had destroyed the rural temples of the old Pagan faith. About 450 a new law recommended the conversion of the old temples within the towns into churches. So in these years we may suppose that the first building had risen on the site of the Cathedral, with St. Herbland's earliest church in front, and upon other eyots in the Seine the shrines of St. Martin de la Roquette, St. Clement, and St. Eloi. When Julia Bona was finally deserted, Rouen became the home of a count, who held, under Clovis, administrative, judicial and military power. By the next century the town must have grown to a considerable size and importance. Yet there is absolutely nothing of Merovingian Rouen left except the few poor ornaments in the glass cases of the Musee des Antiquites. Here you will see some of the characteristically shaped bronze axe-heads of the period; but by far the larger part of what is left is woman's gear. Beside the axes there are a few lance and arrow-heads; but the finger rings (still on the bones that wore them) are numerous; there are necklaces too, and bracelets; nails and buttons, styles for writing, pins, needles, combs, and pottery. By such pitiful trifles that have survived the pride and strength of all their owners, you may be fitly introduced to the next chapter in the pageant of historic Rouen, the tale of Fredegond and Brunhilda. [Illustration] CHAPTER III _Merovingian Rouen_ "Consurgit pater in filium, filius in patrem, frater in fratrem, proximus in propinquum." Literally not one stone remains in Rouen to which I can point you as a witness of the tragedy in which the names of Fredegond and Brunhilda will always live. Yet the part of their tragedy which was played in Rouen must be told, if you are clearly to fashion for yourself that web of many faded colours which is to be the background for the first figures recognisable as flesh and blood, the northern pirates. It is a story which points as clearly to the downfall of Merovingian society and the coming of a new race, as ever any tale of Rome's decline and fall pointed to the coming of the barbarians.