[An illustration of a ship, symbolizing the symbol of Paris]

Histoire de Paris

Cour de Rohan
Ouvert en 1735 le passage du commerce Saint-André reliait la rue Saint-André des Arts à la rue de l’Ancienne-Comédie. Il fut prolongs en 1776 vers la rue des Boucheries, à l’emplacement du trottoir sud du boulevard Saint-Germain dont le perecment amputa son parcours. Son trace est celui du fossé de l’enceinte de Philippe Auguste; la base d’une tour subsiste dans le magasin du n°4. Le passage conserve le souvenir de l’imprimerie de Marat et de la guillotine de Schmidt. Par une breche pratiquée dans l’enceinte, on penetre dans une succession de cours bordées de maisons anciennes, dont un bel hôtel du XVle siècle. La dernière cour, dite de Rohan, déformation de Rouen, abritait la demeure parisienne des archevêques de Rouen. Elle donne sur la rue du Jardinet.

[Illustration of the Court]

One of the series of signs describing historical places in Paris. The signs were placed starting in 1992 and are also called sucettes Starck (Starck’s Lollipops) after Philippe Starck who designed them.

The sign depicts the courtyard that was once the seat of the archbishops of Rouen, the place also housed the printing house of the revolutionary Jean-Paul Marat and Schmidt’s guillotine, one of the first prototypes of the guillotine.

The place was photographed on the same day Click for a larger image Click for a larger image

The illustration in the center of the sign is shown here at magnification Click for a larger image

Translation of the text on the sign:

[An illustration of a ship, symbolizing the symbol of Paris]

History of Paris

Cour de Rohan
Opened in 1735, the Saint-André commerce passage linked rue Saint-André des Arts to rue de l’Ancienne-Comédie. It was extended in 1776 towards rue des Boucheries, on the site of the southern sidewalk of boulevard Saint-Germain, the extension of which cut off its route. Its trace is that of the ditch of the enclosure of Philippe Auguste; the base of a tower remains in the store at No. 4. The passage preserves the memory of Marat’s printing press and Schmidt’s guillotine. Through a breach made in the enclosure, you enter a succession of courtyards lined with old houses, including a beautiful 16th century hotel. The last courtyard, called Rohan, a corruption of Rouen, housed the Parisian residence of the archbishops of Rouen. It overlooks rue du Jardinet.

[Illustration of the Court]