POINTED ECCLESIASTICAL ARCHITECTURE—THE CHURCHES OF ST. OUEN, ST. MACLOU, ST. PATRICE, AND ST. GODARD.

(Rouen, June, 1818.)

In the religious buildings, the subject of my preceding letters, I have endeavored to point out to you the specimens which exist at Rouen, of the two earliest styles of architecture. The churches which I shall next notice belong to the third, or decorated style, the æra of large windows with pointed arches divided by mullions, with tracery in flowing lines and geometrical curves, and with an abundance of rich and delicate carving.

This style was principally confined in England to a period of about seventy years, during the reigns of the second and third Edward. In France it appears to have prevailed much longer. It probably began there full fifty years sooner than with us, and it continued till it was superseded by the revival of Grecian or Italian architecture. I speak of France in general, but I must again repeat, that my observations are chiefly restricted to the northern provinces, the little knowledge which I possess of the rest being derived from engravings. No where, however, have I been able to trace among our Gallic neighbors the existence of the simple perpendicular style, which is the most frequent by far in our own country, nor of that more gorgeous variety denominated by our antiquaries after the family of Tudor.

So long as Normandy and England were ruled by the same sovereign, the continual intercourse created by this union caused a similarity in their architecture, as in other arts and customs; and therefore the two earliest styles of architecture run parallel in the two countries, each furnishing the counterpart of the other. Whether or not the decorated style was transmitted to England from the continent, is a question which cannot be solved, until our collections of continental architecture shall become more extensive. After the reign of Henry VIth, our intercourse with Normandy wholly ceased; and, left to ourselves, many innovations were gradually introduced, which were not known to the French architects, who, with nicer taste, adhered to the pure style which we rejected. Hence arose the perpendicular style of pointed architecture, a style sufficiently designated by its name, and obviously distinguished from its predecessors, by having the mullions of its windows, its ornamental pannelling, and other architectural members and features, disposed in perpendicular lines. Finally, however, both countries discarded the Gothic style, though at different æras. The revival of the arts in Europe, in consequence of the capture of Constantinople and of the greater commercial intercourse between transalpine Europe and Italy, gradually gave rise to an admiration of the antique: imitation naturally succeeded admiration; and buildings formed upon the classical model generally replaced the Gothic. Italian architects found earlier patrons and earlier scholars, in France, than amongst us, our intermediate style being chiefly distinguished by its clumsiness.

I will not detain you by any attempt at a comparison between the relative beauties of the Gothic and Grecian architecture, or their respective fitness for ecclesiastical buildings. The very name of the former seems sufficient to stamp its inferiority; and perhaps you will blame the employment of a term which was obviously intended at the outset as an expression of contempt; but I still retain the epithet, as one generally received, and therefore, commonly understood. It may be added, that the modern French seem to be the only Goths, in the real and true acceptation of the word. They, to the present day, build Gothic churches; but, instead of confining themselves to the prototypes left them, they are eternally aiming at alterations, under the specious name of improvements. Horace was indignant that, in the Augustan age, the meed of praise was bestowed only upon what was ancient: the architects of this nation of recent date seem under the influence of an opposite apprehension. They build upon their favorite poet:—

"Loin d'ici ce discours vulgaire

Que l'art pour jamais dégénère,

Que tout s'éclipse, tout finit;

La nature est inépuisable,

Et le génie infatigable

Est le Dieu qui la rajeunit."

But they overlook, what Voltaire makes an indispensable requisite, that art must be under the guidance of genius: when it is not so, and caprice holds the reins, the result cannot fail to be that medley of Grecian, Norman, Gothic, and Gallic, of which this country furnishes too many examples.

The church of St. Ouen is unquestionably the noblest edifice in the pointed style in this city, or perhaps in France; the French, blind as they usually are to the beauties of Gothic architecture, have always acknowledged its merits. Hence it escaped the general destruction which fell upon the conventual churches of Rouen, at the time of the revolution; though, during the violence of the storm, it was despoiled and desecrated. At one period, it was employed as a manufactory, in which forges were placed for making arms; at another, as a magazine for forage.

Nor was this the first instance of its being violated; for, like most of the religious buildings at Rouen, it was visited in the sixteenth century with the fury of the Calvinists[[91]], who burned the bodies of St. Ouen, St. Nicaise, and St. Remi, in the midst of the temple itself; and cast their ashes to the winds of heaven. The other relics treasured in the church experienced equal indignities. All the shrines became the prey of the eager avarice of the Huguenots; and the images of the saints and martyrs, torn from their tabernacles, graced the gibbets which were erected to receive them in various parts of Rouen.

Dom Pommeraye, in reciting these deplorable events, rises rather above his usual pitch of passion: "O malheur!" he exclaims, "ces corps sacrés, ces temples du Saint Esprit, qui avoient autrefois donné de la terreur aux Démons, ne trouverent ni crainte ni respect dans l'esprit de ces furieux, qui jetterent au feu tout ce qui tomba entre leurs mains impies et sacrilèges!"—The mischief thus occasioned was infinitely more to be lamented, he adds, than the burning of the church by the Normans;—"stones and bricks, and gold and jewels, may be replaced, but the loss of a relic is irreparable; and, moreover, the abbey thus forfeits a portion of its protection in heaven; for it is not to be doubted, but that the saints look down with eyes of peculiar favor upon the spots that contain their mortal remains; their glorified souls feeling a natural affection towards the bodies to which they are hereafter to be united for ever," on that day, when

"Ciascun ritrovera la trista tomba,

Ripigliera sua carne e sua figura,

Udira ciò che in eterno rimbomba."

The outrages were curiously illustrative of the spirit of the times; the quantity of relics and ornaments equally characterise the devotion of the votaries, and the reputed sanctity of the place.

The royal abbey of St. Ouen had, indeed, enjoyed the veneration of the faithful, during a lengthened series of generations. Clothair is supposed to have been the founder of the monastery in 535; though other authorities claim for it a still higher degree of antiquity by one hundred and thirty years. The church, whoever the original founder may have been, was first dedicated to the twelve apostles; but, in 689, the body of St. Ouen was deposited in the edifice; miracles without number were performed at his tomb; pilgrims flocked thither; his fame diffused itself wider and wider; and at length, the allegiance of the abbey was tranferred to him whose sanctity gave him the best claims to the advocation.

Changes of this nature, and arising from the same cause, were frequent in those early ages: the abbey of St. Germain des Prés, at Paris, was originally dedicated to St. Vincent; that of Ste. Genevieve to St. Peter; and many other churches also took new patrons, as occasion required. According to one of the fathers of the church, the tombs of the beatified became the fortifications of the holy edifices: the saints were considered as proprietors of the places in which their bodies were interred, and where power was given them, to alter the established laws of nature, in favor of those who there implored their aid. But the aid which they afforded willingly to all their suitors, they could not bestow upon themselves. And oft, when the sword of the heathen menaced the land, the weary monks fled with the corpse of their patrons from the stubborn enemy. Thus, St. Ouen himself, on the invasion of the Normans, was transported to the priory of Gany, on the river Epte, and thence to Condé; but was afterwards conveyed to Rouen, when Rollo embraced Christianity. Other causes also contributed to the migration of these remains: they were often summoned in order to dignify acts of peculiar solemnity, or to be the witnesses to the oaths of princes, like the Stygian marsh of old,

"Dii cujus jurare timent et fallere numen."

William the Conqueror, upon the dedication of the abbey of St. Stephen, collected the bodies of all the saints in Normandy[[92]].

Those who wish to be informed of the acts and deeds of St. Ouen, may refer to Pommeraye's history of the convent, in which thirty-seven folio pages are filled with his life and miracles; the latter commencing while he was in long clothes. The monastery, under his protection, continued to increase in reputation; and, in the year 1042, the abbatial mitre devolved upon William, son of Richard IInd, Duke of Normandy, who laid the foundation of a new church, which, after about eighty years, was completed and consecrated by William Balot, next but one to him in the succession[[93]].

But this church did not exist long: ten years only had elapsed when a fire reduced it, together with the whole abbey, to ashes. An opportunity was thus afforded to the sovereign to shew his munificence, and Richard Cœur de Lion was not tardy in availing himself of it; but a second fire in 1248 again dislodged the monks; and they continued houseless, till the abbot, Jean Rousel, better known by the name of Mardargent, laid the foundation in 1318, of the present structure, an honor to himself, to the city, and to the nation. By this prelate the building was perfected as far as the transept: the rest was the work of subsequent periods, and was not completed till the prelacy of Bohier, who died in the beginning of the sixteenth century.

To speak more properly, I ought rather to say that it was not till then brought to its present state; for it was never completed. The western front is still imperfect. According to the original design, it was to have been flanked by magnificent towers, ending in a combination of open arches and tracery, corresponding with the outline and fashion of the central tower. These towers, which are now only raised to the height of about fifty feet, jut diagonally from the angles of the facade; and it was intended that, in the lower division, they should have been united by a porch of three arches, somewhat resembling the west entrance of Peterborough; and such as in this town is still seen, at St. Maclou, though on a much larger scale. Pommeraye has given an engraving of this intended front, taken from a drawing preserved in the archives of the abbey. The engraving is miserably executed; but it enables us to understand the lines of the projected building. Pommeraye has also preserved details of other parts of the church, among them of the beautiful rood-loft erected by the Cardinal d'Etouteville, and long an object of general admiration. The bronze doors of this screen were of a most singular and elegant pattern: Horace Walpole imitated them in his bed-room, at Strawberry-Hill. The rood-loft, which had been maimed by the Huguenots, was destroyed at the revolution; when the church was also deprived of its celebrated clock, which told the days of the month, the festivals, and the phases of the moon, and afforded other astronomical information. Such gazers as heeded not these mysteries, were amused by a little bronze statue of St. Michael, who sallied forth at every hour, and announced the progress of time, by the number of strokes which he inflicted on the Devil with his lance.

It is impossible to convey by words an adequate idea of the lightness, and purity, and boldness of St. Ouen. My imperfect description will be assisted by the sketches which I inclose. Of their merits I dare not speak; but I will warrant their fidelity; The flying buttresses end in richly crocketed pinnacles, supported by shafts of unusual height. The triple tiers of windows seem to have absorbed the solid wall-work of the building. Balustrades of varied quatrefoils run round the aisles and body; and the centre-tower, which is wholly composed of open arches and tracery, terminates, like the south-tower of the cathedral, with an octangular crown of fleurs-de-lys. The armorial symbol of France, which in itself is a form of great beauty, was often introduced by the French architects of the middle ages, amongst the ornaments of their edifices: it pleases the eye by its grace, and satisfies the mind by its appropriate and natural locality.

The elegance of the south porch is unrivalled. This portion of the church was always finished with care: it was the scene of many religious ceremonies, particularly of espousals. Hence they gave it a degree of magnitude which might appear disproportionate, did we not recollect that the arch was destined to embower the bride and the bridal train. The bold and lofty entrance of this porch is surrounded within by pendant trefoil arches, springing from carved bosses, and forming an open festoon of tracery. The vault within is ornamented with pendants, and the portal which it shades is covered with a profusion of sculpture: the death, entombment, and apotheosis of the Virgin, form the subjects of the principal groups. The sculptures, both in design and execution, far surpass any specimens of the corresponding æra in England. But this porch is now neglected and filled with lumber, and the open tracery is much injured. I hope, however, it will receive due attention; as the church is at this time under repair; and the restorations, as far as they go, have been executed with fidelity and judgment.

The perspective of the interior[[94]] is exceedingly impressive: the arches are of great height and fine proportions. If I must discover a defect, I should say that the lines appear to want substance; the mouldings of the arches are shallow. The building is all window. Were it made of cast iron, it could scarcely look less solid. This effect is particularly increased by the circumstance of the clerestory-gallery opening into the glazed tracery of the windows behind, the lines of the one corresponding with those of the other. To each of the clustered columns of the nave is attached a tabernacle, consisting of a canopy and pedestal, evidently intended originally to have received the image of a saint. It does not appear to have been the design of the architect that the pillars of the choir should have had similar ornaments; but upon one of them, at about mid-height, serving as a corbel to a truncated column, is a head of our Saviour, and, on the opposite pillar, one of the Virgin: the former is of a remarkably fine antique character. The capitals of the pillars in this part of the church were all gilt, and the spandrils of the arches painted with angels, now nearly effaced. The high altar is of grey marble, relieved, by a scarlet curtain behind, the effect of which is simple, singular, and good. Round the choir is a row of chapels, which are wholly wanting to the nave. The walls of these chapels have also been covered with fresco paintings; some with figures, others with foliage. The chapels contain many grave-stones displaying indented outlines of figures under canopies, and in other respects ornamented; but neglected, and greatly obliterated, and hastening fast to ruin. It is curious to see the heads and hands, and, in one instance, the crosier of a prelate, inlaid with white or grey marble; as if the parts of most importance were purposely made of the most perishable materials. I was much interested by observing, that many of these memorials are almost the exact counterparts of some of our richest English sepulchral brasses, and particularly of the two which are perhaps unrivalled, at Lynn[[95]].—How I wished that you, who so delight in these remains, and to whom we are indebted for the elucidation of those of Norfolk, had been with me, while I was trying to trace the resemblance; and particularly while I pored over the stone in the chapel of Saint Agnes, that commemorates Alexander Berneval, the master-mason of the building!

According to tradition, it was this same Alexander Berneval who executed the beautiful circular window in the southern transept. But being rivalled by his apprentice, who produced a more exquisite specimen of masonry in the northern transept, he murdered his luckless pupil. The crime he expiated with his own life; but the monks of the abbey, grateful for his labors, requested that his body might be entombed in their church; and on the stone that covers his remains, they caused him to be represented at full length, holding the window in his hand.

These large circular windows, sometimes known by the name of rose windows, and sometimes of marigold windows, are a strong characteristic feature of French ecclesiastical architecture. Few among the cathedrals or the great conventual churches, in this country, are without them. In our own they are seldom found: in no one of our cathedrals, excepting Exeter only, are they in the western front; and, though occasionally in the transepts, as at Canterbury, Chichester, Litchfield, Westminster, Lincoln and York, they are comparatively of small size with little variety of pattern. In St. Ouen, they are more than commonly beautiful. The northern one, the cause of death to the poor apprentice, exhibits in its centre the produced pentagon, or combination of triangles sometimes called the pentalpha.—The painted glass which fills the rose windows is gorgeous in its coloring, and gives the most splendid effect. The church preserves the whole of its original glazing. Each inter-mullion contains one whole-length figure, standing upon a diapered ground, good in design, though the artist seems to have avoided the employment of brilliant hues. The sober light harmonizes with the grey unsullied stone-work, and gives a most pleasing unity of tint to the receding arches.

Among the pictures, the-best are, the Cardinal of Bologna opening the Holy Gate, instead of the Pope, in the nave; and Saint Elizabeth stopping the Pestilence, in the choir: two others, in the Lady-Chapel, by an artist of Rouen, of the name of Deshays, the Miracle of the Loaves, and the Visitation, are also of considerable merit.—Deshays was a young man of great promise; but the hopes which had been entertained of him were disappointed by a premature death.

A church like this, so ancient, so renowned, and so holy, could not fail to enjoy peculiar privileges. The abbot had complete jurisdiction, as well temporal as spiritual, over the parish of St. Ouen; in the Norman parliament he took precedence of all other mitred abbots; by a bull of Pope Alexander IVth, he was allowed to wear the pontifical ornaments, mitre, ring, gloves, tunic, dalmatic, and sandals; and, what sounds strange to our Protestant ears, he had the right of preaching in public, and of causing the conventual bells to be rung whenever he thought proper. His monks headed the religious processions of the city; and every new archbishop of the province was not only consecrated in this church, but slept the evening prior to his installation at the abbey; whence, on the following day, he was conducted in pomp to the entrance of the cathedral, by the chapter of St. Ouen, headed by their abbot, who delivered him to the canons, with the following charge,—"Ego, Prior Sancti Audoeni, trado vobis Dominum Archiepiscopum Rothomagensem vivum, quem reddetis nobis mortuum."—The last sentence was also strictly fulfilled; the dean and chapter being bound to take the bodies of the deceased prelates to the church of St. Ouen, and restore them to the monks with, "Vos tradidistis nobis Dominum Archiepiscopum vivum; nos reddimus eum vobis mortuum, ita ut crastinâ die reddatis eum nobis."—The corpse remained there four and twenty hours, during which the monks performed the office of the dead with great solemnity. The canons were then compelled to bear the dead archbishop a second time from the abbey cross (now demolished) to the abbey of St. Amand[[96]], where the abbess took the pastoral ring from off his finger, replacing it by another of plain gold; and thence the bearers proceeded to the cathedral. These duties could not be very agreeable to portly, short-winded, well-fed dignitaries; and consequently the worthy canons were often inclined to shrink from the task. In the case of the funeral of Archbishop d'Aubigny, in 1719, they contented themselves with carrying him at once to his dormitory; but the prior and monks of St. Ouen instantly sued them before the parliament, and this tribunal decreed that the ancient service must be performed, and in default of compliance, the whole of their temporalities were to be put under sequestration: it is almost needless to add, that a sentence of excommunication would scarcely have been so effectual in enforcing the execution of the sentence.

The gardens formerly belonging to the abbey are at this time a pleasant promenade to the inhabitants of the town: the remains of the monastic buildings are converted into an Hôtel de Ville, where also the library and the museum are kept, and the academy hold their sittings. No remains, however, now exist of the abbatial residence, which was built by Anthony Bohier, in the beginning of the sixteenth century, and which, according to the engraving given of it by Pommeraye, must have been a noble specimen of domestic architecture. The sovereigns of France always took up their abode in it, during their visits to Rouen.—The circular tower called the Tour des Clercs, mentioned in a former letter, is the only vestige of Norman times.—The cloister corresponded with the architecture of the church: the south side of the quadrangle attached to the northern aisle still exists, but blocked up and dilapidated, and converted into a sort of cage for those who are guilty of disturbances during the night.

The church of St. Maclou is unquestionably superior to every other in the city, except the cathedral and St. Ouen. Its principal ornament are its carved doors, produced during the reign of Henry IIIrd, by Jean Goujon, a man so eminent as to have been termed the Corregio of sculpture; but they have been materially injured by repairs and alterations by unskilful hands. Within the church, near the west entrance, is a singularly elegant stair-case, in filagree stone-work, which formerly led to the organ.—This building was erected in the year 1512, and chiefly by voluntary contributions, if such can be called voluntary as were purchased by promises from the archbishop, first of forty, and then of one hundred, days' indulgences, to all who would contribute towards the pious labor.—The central tower resembles that of the cathedral, both in the interior and the exterior. It now appears truncated; but it was originally surmounted by a spire, which was of such beauty, that even Italian artists thought it worthy to be engraved and held out as a model at Rome[[97]]. The spire, however, was greatly injured by a hurricane, in 1705, and it was at last taken down thirty years afterwards. To the triple porch, I have already alluded, in describing the intended front of St. Ouen. The general lines of the church, are such as in England would be referred to the fourteenth century: on a closer examination, however, the curious eye will discover the peculiar beauties of the French Gothic. Thus the bosses of the groined roof are wrought and perforated into filagree, the work extending over the intersections of the groins, which are seen through its reticulations. Such bosses are only found in the French churches of the sixteenth century. In other parts, the interior closely resembles the style of the cathedral[[98]].

St. Patrice is a building of the worst style of the commencement of the sixteenth century: to use the quaint phraseology of Horace Walpole, it exhibits "that betweenity which intervened when Gothic declined and Palladian was creeping in." The paintings on the walls of this church, and the stained glass in its windows, are more deserving of notice than its architecture. The first are of small size, and generally better than are seen in similar places. One of them is after Bassan, an artist, whose works are not often found in religious edifices in France. The painted windows of the choir deserve unqualified commendation. They are said to have been removed from St. Godard. Each is confined to a single subject; among which, that of the Annunciation is esteemed the best.

To this church was attached a confraternity[[99]], established in 1374, under the name of the Guild of the Passion. Its annual procession, which continued till the time of the revolution, took place on Holy-Thursday. It consisted of the usual pageantry; a host of children, dressed like angels, increased the train, which also included twelve poor men, whose feet the masters of the brotherhood publicly washed after mass. Like some other guilds, they were in possession of a pulpit or tribune, called, in old French, a Puy, from which they issued a general invitation to all poets, who were summoned to descant upon the themes which were commemorated by their union. The rewards held out to the successful candidates were, in the true monastic spirit of the guild, a reed, a crown of thorns, a sponge, or some other mystic or devotional emblem. Occasionally, too, they gave a scenic representation of certain portions of religious history, according to the practice of early times. The account of the Mystery of the Passion having been acted in the burial-ground of the church of St. Patrice, so recently as September, 1498, is preserved by Taillepied[[100]], who tells us, that it was performed by "bons joueurs et braves personages." The masters of this guild had the extraordinary privilege of being allowed to charge the expence attendant on the processions and exhibitions, upon any citizen they might think proper, whether a member or otherwise.

The neighboring church of St. Godard possesses neither architectural beauty, nor architectural antiquity; for, although it occupies the scite of an edifice of remote date, yet the present structure is coeval with St. Patrice. It has been supposed that this church was the primitive cathedral of the city[[101]]. One of the proofs of this assertion is found in a procession which, before the revolution, was annually made hither by the chapter of the present cathedral, with great ceremony, as if in recognition of its priority. The church was originally dedicated to the Virgin; but it changed its advocation in the year 525, when St. Godard, more properly called St. Gildard, was buried here in a subterranean chapel; and, for the reasons before noticed, the old tutelary patroness was compelled to yield to the new visitor. In the succeeding century, St. Romain, a saint of still greater fame, was also interred here; and, as I collect from Pommeraye[[102]], in the same crypt. This author strenuously denies the inferences which have been drawn from the annual procession, which he maintains was performed solely in praise and in honor of St. Romain; for the chapter, after having paid their devotions to the Host, descended into the chapel, to prostrate themselves before the sepulture of the saint; on which subject, an antiquary[[103]] of Rouen has preserved the following lines:—

"Ad regnum Domini dextrâ invitatus et ore,

Huic sacra Romanus credidit ossa loco;

Sontibus addixit quæ cæca rebellio flammis,

Nec tulit impietas majus in urbe scelus.

Quid tanto vesana malo profecit Erynnis?

Ipsa sui testis pignoris extat humus.

Crypta manet, memoresque trahit confessio cives,

Nec populi fallit marmor inane fidem.

Orphana, turba, veni, viduisque allabere saxis,

Est aliquid soboli patris habere thorum."

The body of St. Godard was carried to Soissons; but the tomb, which, has doubtfully been designated as appropriated either to him or to St. Romain, was left to the church, and remained there at least till the revolution. I have even been told that it is there still; but I had no opportunity of going down into the chapel to verify this point. It consisted, or rather consists, of a single slab of jasper, seven and a half feet long, by two feet wide, and two feet four inches thick. Upon it was this inscription:—

"Malades, voulez-vous soulager vos douleurs?

Visitez ce tombeau, baignez-le de vos pleurs;

Rechauffez vos esprits d'une divine flame;

Touchez-le settlement du doigt,

Et vous y trouverez (si vous avez la foi)

Et la santé du corps, et la santé de l'ame."

The building retains, at this time, only two of its celebrated painted windows; but they are fortunately the two which were always considered the best. One of them represents the history of St. Romain; the other, the genealogy of Jewish kings, from whom the Holy Virgin descended. Rouen has, from a very early period, been famous for its manufactories of painted glass. But the windows of this church were still esteemed the chef d'œuvre of its artists; and these had so far passed into a proverb, that Farin[[104]] tells us it was common throughout France to say, in recommendation of choice wine, that "it was as bright as the windows of St. Godard." The saying, however, was by no means confined to Rouen, for it was also applied to the windows of the Ste. Chapelle, at Dijon.

It was at St. Godard that the burst of the reformation was first manifested. The Huguenots, taking courage from the secret increase of their numbers, broke into the building, in 1540, demolished the images, and sold the pix to a goldsmith. But the man suffered severely for his purchase: he was shortly afterwards sentenced, by a decree of the parliament, to be hanged in front of his shop; and two of those concerned in the outrage also suffered capital punishment. The spark thus lighted, afterwards increased into a conflagration; and, to this hour, there is a larger body of Protestants at Rouen, than in most French towns.

I do not expect that you will reproach me with the prolixity of these details. The subject is attractive to me, and I feel that you will accompany me with pleasure in my pilgrimage, from chapel to shrine, dwelling with me in contemplation on the relics of ancient skill and the memorials of the piety of the departed. Nor must it be forgotten, that the hand of the spoliator is falling heavily on all objects of antiquity. And the French seem to find a source of perverse and malignant pleasure in destroying the temples where their ancestors once worshipped: many are swept away; a greater number continue to exist in a desecrated state; and time, which changes all things, is proceeding with hasty strides to obliterate their character. The lofty steeple hides its diminished head; the mullions and tracery disappear from the pointed windows, from which the stained glass has long since fallen; the arched entrance contracts into a modern door-way; the smooth plain walls betray neither niches, nor pinnacles, nor fresco paintings; and in the warehouse, or manufactory, or smithy, little else remains than the extraordinary size, to point out the original holy destination of the edifice.

Footnotes:

[91] The following brief statement of their excesses is copied from a manuscript belonging to the monastery: the full detail of them engages Pommeraye for nearly seven folio pages:—"Le Dimanche troisiéme de May, 1562, les Huguenots s'étans amassez en grosse troupe, vinrent armez en grande furie dans l'Eglise de S. Ouen, où étant entrez ils rompirent les chaires du choeur, le grand autel, et toutes les chapelles: mirent en pieces l'Horloge, dont on voit encore la menuiserie dans la chapelle joignant l'arcade du costé du septentrion, aussi bien que celles des orgues, dont ils prirent l'étaim et le plomb pour en faire des balles de mousquet: puis ils allumerent cinq feux, trois dedans l'Eglise et deux dehors, où ils brûlerent tous les bancs et sieges des religieux, auec le bois des balustres des chapelles, les bancs et fermetures d'icelles, plusieurs ornemens et vestemens sacrez, comme chappes, tuniques, chasubles, aubes, vne autre partie des plus riches et precieux ornemens de broderie et drap d'or ayant esté enlevée en l'hôtellerie de la pomme de pin, où ils les brûlerent pour en auoir l'or et l'argent. Ils firent la mesme chose des saintes reliques, qu'ils brûlerent, ayant emporté l'or, l'argent, et les pierreries des reliquaires."—Histoire de l'Abbaye Royale de St. Ouen, p. 205.

[92] Farin, Histoire de Rouen, IV. p. 134.

[93] Histoire de l'Abbaye Royales de Saint Ouen, p. 204.

[94] The following are the dimensions of the interior of the building, in French feet:

Length of the church416
Ditto of the nave234
Ditto of the choir108
Ditto of the Lady-Chapel66
Ditto of the transept130
Width of ditto34
Ditto of nave, without the aisles 34
Ditto, including ditto78
Height of roof100
Ditto of tower240

[95] Figured in Cotmans Norfolk Sepulchral Brasses.

[96] The house of the abbess of St. Amand is still standing, though neglected, and in a great degree in ruins. What remains, however, is very curious; and is, perhaps, the oldest specimen of domestic architecture in Rouen. It is partly of wood, the front covered with arches and other sculpture in bas-relief, and partly of stone.

[97] Farin, Histoire de Rouen, IV. p. 156.

[98] The dimensions of the building, in French feet, are,—

Length of the nave70
Ditto of choir40
Ditto of Lady-Chapel30
Ditto of the whole building140
Width of ditto76
Height to the top of the lanthorn 142

[99] Farin, Histoire de Rouen, IV. p. 168.

[100] Antiquitéz et Singularitéz de la Ville de Rouen, p. 186.

[101] Farin, Histoire de Rouen, IV. p. 132.

[102] Histoire des Archevêques de Rouen, p. 130.

[103] La Normandie Chrétienne, p. 487.

[104] Histoire de Rouen, IV. p. 134.