[24] ["Sterne reproaches the French for their hyperbolical language: the air of the country had probably some influence on M. Dibdin when he adopted this phrase." LICQUET.]
[25] ["Signifying, that the French postilions do not ride like the English." LICQUET.]
[26] ["Dieppe for a long time was the rival of Argentan and Caen in the lace-manufactory: at the present day, this branch of commerce is almost annihilated there."--LICQUET.]
[27] [In a note attached to the previous edition--I have said, "Here also, as well as at Rouen; they will have it that the ENGLISH built the Churches." Upon which M. Licquet remarks thus: "M. Dibdin's expression conveys too general an idea. It is true that popular opinion attributes the erection of our gothic edifices to the ENGLISH: but there exists another opinion, which is not deceptive upon this subject." What is meant to be here conveyed? Either the popular opinion is true or false; and it is a matter of perfect indifference to the author whether it be one or the other. For Mons. Licquet's comfort, I will freely avow that I believe it to be false.]
[28] [Louis XVIII.]
[29] The French Antiquaries have pushed the antiquity of this castle to the 11th century, supposing it to have been built by William d'Arques, Count of Tallon, son of the second marriage of Richard Duke of Normandy. I make no doubt, that, whenever built, the sea almost washed its base: for it is known to have occupied the whole of what is called the Valley of Arques, running as far as Bouteilles. Its position, in reference to the art of war, must have been almost impregnable. Other hypotheses assign its origin to the ninth or tenth century. Whenever built, its history has been fertile in sieges. In 1144, it was commanded by a Flemish Monk, who preferred the spear to the crosier, but who perished by an arrow in the contest. Of its history, up to the sixteenth century, I am not able to give any details; but in the wars of Henry IV. with the League, in 1589, it was taken by surprise by soldiers in the disguise of sailors: who, killing the centinels, quickly made themselves masters of the place. Henry caused it afterwards to be dismantled. In the first half of the eighteenth century it received very severe treatment from pillage, for the purpose of erecting public and private buildings at Dieppe. At present (in the language of the author of the Rouen Itinerary) "it is the abode of silence--save when that silence is interrupted by owls and other nocturnal birds." The view of it in Mr. Cotman's work is very faithful.
[30] The Itinéraire de Rouen, 1816, p. 202, says, absurdly, that this church is of the XIth century. It is perhaps with more truth of the beginning of the XIVth century. A pleasing view of it is in Mr. Dawson Turner's elegant Tour in Normandy, 1818, 8vo. 2 vol. It possessed formerly a bust of Henry IV., which is supposed to have been placed there after the famous battle of Arques gained by Henry over the Duke of Mayenne in 1589.
[31] The blue gown and red petticoat; or vice versa.
[32] [I am anxious that the above sentence should stand precisely as it appeared in the first edition of this work; because a circumstance has arisen from it, which could have been as little in the anticipation, as it is in the comprehension, of the author. A lady, of high connections, and of respectable character, conceived the passage in question to be somewhat indecorous; or revolting to the serious sense entertained by all Christians, and especially by CHRISTIAN MINISTERS, of the mode of devoting the Sabbath day. In consequence, being in possession of a copy of this work, she DIVIDED it into two; not being willing to sully the splendour of the plates by the supposed impurity of such a passage:--and the prints were accordingly bound APART. The passage--as applied to the FRENCH PEOPLE-- requires neither comment nor qualification; and in the same unsophisticated view of religious duties, the latter part may be as strictly applied to the ENGLISH.]
[33] The dress of the sailors is the same as it was in the XIVth century; and so probably is that of the women. The illuminations in Froissard and Monstrelet clearly give us the Norman cauchoise.