But there are other doorways rich in detail also. Of these the northern, the “Portail des Libraires,” was so-called because the courtyard before it was once filled with booksellers’ shops, in the same way as the space round our own old St Paul’s in London. This is a most impressive entrance, and the innumerable sculptured figures which decorate it are representative of Ovid’s Metamorphoses. It was begun in 1280 and finished in 1470. The southern door has also its own name: it is the Portail de la Calende.
The great drawback to the Cathedral is the difficulty of seeing it at a “middle” distance. From afar it rears itself with splendid majesty over the house roofs, but nearer it is too much hemmed in and enclosed by houses. One has no place to stand in such a position as to see it in right perspective.
A STREET IN ROUEN
The interior is graceful enough, and the delicate arcade running round choir and transepts is attractive. One great defect, which at the same time is a curious feature, is the cutting in two of the nave arches by a sort of false story with a second and shorter arch over the primary one. The effect is unpleasing and inharmonious. How infinitely more graceful the arcades would have been if allowed to rise to their natural height, may be gathered from the instances in the side aisles.
The dust of Rollo and William Longsword lie within the great walls, while an empire mightier than ever their wildest dreams foreshadowed, governed by their descendant, covers half the earth, and its sons and daughters come to do homage at the cradle of their kings. There is here also the heart of Richard Cœur de Lion, though Richard himself lies at Fontevrault.
The churches in Rouen are almost innumerable, and in many, notably St Patrice and St Vincent, the glory of the old stained glass in the windows is a great attraction. But out of all the two which every visitor goes to see are St Maclou and St Ouen. St Maclou is quite small, but no one who has seen, under favourable conditions, its curious convex western façade will ever forget it. The fine, deeply recessed doorways, with their magnificent carved doors, are unique. The stonework is like lace; and the stone is of that variety which shows artificial shadows in its stains. The whole appearance is so original, so unlike the conventional western façade, that the beauty is heightened by the rarity which tends to emphasise the impression. The interior is disappointing, and there is a mass of metal high over the altar, which looks as if it might suddenly descend, and cause ruin to all beneath. St Ouen is the fifth church on the same site. It can be observed at leisure from the green garden that lines its sides, and it is wonderful, with its coronet tower and flying buttresses. It was built in the first half of the fourteenth century and restored in 1846, when the western façade was added; and if possible it is better to make a détour to avoid the western façade, or the memory of an almost perfect piece of work will be blurred. It was in the garden beside St Ouen that two scaffolds were erected on the 24th of May 1431. On one was placed Joan of Arc, strictly guarded by armed men, and on the other stood the dignitaries and judges who had gathered to hear her recantation. This and her submission she formally made, saying all that her persecutors wished, but afterwards, having fallen back into her “errors” and announcing that saints still visited her and voices spoke mysteriously, she was adjudged a witch, and condemned to death.
THE TOWERS OF ST OUEN
One of the oddest bits of Rouen, and one which it is to be hoped will be long cherished, is to be found in the Rue de la Grosse Horloge. The great clock itself is a marvellous work in gilt, standing on a low, heavy archway which bestrides the street, as Temple Bar bestrode Fleet Street before a utilitarian age hustled it away. In London, the only specimen of this kind of gateway, suffered to remain over a public street, is the gateway of St John’s, Clerkenwell. La Grosse Horloge conceals an older clock of the fourteenth century, and itself dates from 1529, when it was put up on the newly completed arch. The inner part of the arch is highly carved, the chief figure being the Good Shepherd. Close at hand is a strongly built and well-designed tower or belfry, begun in 1389 and finished about a hundred years later. It contains a deep-toned bell, from which the hour of curfew sounds sonorously every night. This bell, whose name is Rouvel, is cherished by the citizens, as in times of danger and distress they have been summoned by its tongue echoing over the walls and roofs for many a hundred years. In 1382 a new tax on merchandise was imposed by the French Government, and its first enforcement was demanded at Rouen. The people rose in revolt, named one of themselves king, and made him solemnly revoke the tax. The procession gathered as it went, mockery turned to riot, blood was shed, and condign punishment followed. The Duke of Anjou, at the head of troops, marched in the king’s name to the city to enforce order, and as it was Rouvel who had called the men of the city to rebellion, he commanded that the belfry should be destroyed. So it was; but the citizens preserved their bell, and very soon after began building a new tower for him, so Rouvel’s deep-throated notes still vibrate every night.