The church[[15]] was entered by a long narrow porch.--The nave is a fine specimen of Norman architecture, but is remarkable in that style for one striking peculiarity, that the eight wide circular arches on either side, which separate it from the aisles, are alternately supported by round pillars and square piers; the latter having semi-cylindrical columns applied to each of their sides. The capitals are ornamented with rude volutes. The arches in the triforium are of nearly the same width as those below, but considerably less in height. There is no archivolt or moulding or ornament. Above these there is only one row of windows, which, like all the rest, are semi-circular headed; but they have neither angular pillars, nor mouldings, nor mullions. These windows are rather narrow externally, but within the opening enlarges considerably. The windows in the upper and lower tiers stand singly: in the intermediate row they are disposed by threes, the central one separated from the other two by a single column.--The inside of the nave is striking from its simplicity: it is wholly of the eleventh century, except the reparations already mentioned, which were made in 1688.--The choir and Lady-Chapel are nearly demolished; and only some fragments of them are now standing: they were of pointed architecture, and posterior to the nave by at least two centuries.
A smaller church, dedicated to St. Peter, stood near the principal one, with which it was connected by means of a corridor of pointed arches. There are other instances of two churches being erected within the precincts of one abbey, as at Bury St. Edmund's. St. Peter's was a building at least of equal antiquity with the great church. But it had undergone such alterations in the year 1334, during the prelacy of the twenty-seventh abbot, William Gemblet, that little of the original structure remained. He demolished nearly the whole of the nave, for the sake of adding uniformity to the cloisters of the monastery.--M. Le Prevost, however, is of opinion, that the ruins of Jumieges contain nothing more interesting to an antiquary than the west end of the portion of building, which subsequently served as the nave. It is a mass of flint-work; and he considers it as having belonged to the church that existed before the incursion of the Normans.
The cloisters, which stood to the south-west of St. Peter's, are now almost wholly destroyed.--To the west of them is a large hall or gallery, known by the name of la Salle des Chevaliers. It is entered by two porches, one towards the north-west, the other towards the south-west[[16]], both full of architectural beauty and curiosity. I know of no authority for their date; but, from the great variety and richness of their ornaments, and the elegant taste displayed in the arrangement of these, I should suppose them to have been erected during the latter half of the twelfth century: one of the arches is unquestionably pointed, though the cusp of the arch is very obtuse. The slight sketch which accompanies this letter, represents a fragment of the inner door-way of the south-west porch, and may enable you to form your own judgment upon the subject.
The stones immediately over the entrance are joggled into each other, the key-stone having a joggle on either side.--I have not observed this peculiarity in any other specimen of Norman masonry.--Between these porches apartments, along the interior of which runs a cornice, supported by grotesque corbels, and under it a row of windows, now principally blocked up, disposed in triplets, a trefoil-headed window being placed between two that are semi-circular, as seen in the accompanying drawing. The date of the origin of the trefoil-headed arch has been much disputed: these perhaps are some of the earliest, and they are unquestionably coeval with the building.
The stupid and disgraceful barbarism, which is now employing itself in the ruins of Jumieges, has long since annihilated the invaluable monuments which it contained.--In the Lady-Chapel of the conventual church was buried the heart of the celebrated Agnes Sorel, mistress of Charles VIIth, who died at Mesnil, about a league from this abbey, during the time when her royal lover was residing here.--Her death was generally attributed to poison; nor did the people hesitate in whispering that the fatal potion was administered by order of the Queen. Her son, the profligate tyrant Louis XIth, detested his father's concubine; and once, forgetting his dignity and his manhood, he struck the Dame de Beauté.--The statue placed upon the mausoleum represented Agnes kneeling and offering her heart to the virgin; but this effigy had been removed before the late troubles: a heart of white marble, which was at the foot of the tomb, had also disappeared. According to the annals of the abbey, they were destroyed by the Huguenots. The tomb itself, with various brasses inlaid upon it, remained undisturbed till the period of the revolution, when the whole memorial was removed, and even her remains were not suffered to rest in peace. The slab of black marble which covered them, and which bore upon its edges the French inscription to her memory, is still in existence; though it has changed its place and destination. The barbarians who pillaged the convent sold it with the rest of the plunder; and it now serves as a threshold to a house near the Mont aux Malades, at Rouen[[17]]. The inscription, which is cut in very elegant Gothic characters, is as follows: a part of it is, however, at present hidden by its position:--"Cy gist Agnes Surelle, noble damoiselle, en son vivant Dame de Roqueferriere, de Beaulté, d'Yssouldun, et de Vernon sur Seine, piteuse entre toutes gens, qui de ses biens donnoit largement aux gens d'église et aux pauvres; qui trespassa le neuvieme jour de Fevrier, l'an de grace 1449.--Priez Dieu pour elle."--It is justly to be regretted, that some pains are not taken for the preservation of this relic, which even now would be an ornament to the cathedral.--The manor-house at Mesnil, where the fair lady died, still retains its chimneys of the fifteenth century; and ancient paintings are discernible on the walls.
The monument in the church of St. Peter, generally known by the name of le tombeau des énervez, was of still greater singularity. It was an altar-tomb, raised about two feet above the pavement; and on the slabs were carved whole-length figures, in alto-relievo, of two boys, each about sixteen years of age, in rich attire, and ornamented with diadems, broaches, and girdles, all copiously studded with precious stones. Various traditions concerning this monument are recorded by authors, and particularly at great length by Father du Plessis[[18]].--The nameless princes, for such the splendor of their garb denotes them to have been, were considered, according to a tradition which prevailed from very early times, as the sons of Clovis and Bathilda, who, in the absence of their father, were guilty of revolt, and were punished by being hamstrung; for this is the meaning of the word énervez.--According to this tradition, the monks, in the thirteenth century, caused the monument to be ornamented with golden fleurs-de-lys, and added the following epitaph:--