Rouen, Its History and Monuments / A Guide to Strangers

The door of the librarians, at the northern extremity of the transept, has been named so, from the booksellers shops formerly situated on each side of the court. Commenced in 1280, this portal was only finished in 1478. It was the usual entrance of great personnages, except the king and the princes of the blood, who entered the church by the great western porch. The bas-relief over the door had never been finished: the two lower compartments are the only ones. The court, which is before the porch of the librarians, was formerly a burying ground. They ceased to inter, because a murder had been committed in it and it had not been purified. This entrance to the church is ornamented with an infinite number of bas-reliefs, some representing subjects from the bible, others extremely comical and even licentious; several of these sculptures have of late been cleaned to be moulded. To the left, when facing the door, we perceive a man without his head, negligently leaning on his elbow: in his right hand a head is seen, which is that of a pig.

If we wish to view the northern side, we must enter the cour de l'Albane.[12] The collateral chapels are lighted by nine windows, which are surmounted by different ornaments. We also perceive, on some of the lower windows of the tower of Saint-Romain, the round arch of the XI^th century; from which one may conjecture that this portion of the tower was spared from the conflagration, in the year 1200.

The porch of the Calende, was built at the same period as that of the booksellers, and is nearly disposed in the same manner. Above the door, we distinguish a large bas-relief, which is divided into three compartments: the lower one, says M^r Gilbert, represents Joseph sold by his brethren; that in the middle; the funeral of Jacob; and the upper one Jesus-Christ on the cross. To the right and left of the porch, are several large statues, which are more or less mutilated, and a profusion of bas-reliefs, most of which represent the history of Joseph.

The facade of this porch, like that of the booksellers, is accompanied by two square towers of handsome proportions, and having large pointed windows.

On the tower which still exists in the centre, there was formerly a handsome pyramid of three hundred and ninety six feet in height, a monument of the talents of Robert Becquet and of the liberality of cardinal d'Amboise, the second of the name. It was commenced in the month of june 1542, and terminated in the month of august 1544.

This beautiful pyramid was destroyed by fire, on the 15^th of september 1822; at seven o'clock in the morning it had already fallen; two hours after, the roof of the choir, that of the transept and the third part of the roof of the nave, had equally fallen in. The melted lead of the roof was bought by M. Firmin Didot and converted into types for printing.

We cannot give too many praises to the zeal of M. de Vansay, prefect of the department at that time: the misfortune happened on the 15^th september, and already on the 26^th of the same month, the government having been informed and solicited by that magistrate, ordered M. Alavoine, one of the best architects, to go to Rouen, and confer with the prefect on the means of remedying the havoc caused by the fire. Early in the year 1823, the roofs of a aisles had already been repaired; and a portion of the nave had been covered with lead, by the 15^th march of the same year. The roofs of the choir and of the whole transept, were also soon repaired; but, for these parts, a copper covering was preferred as being more solid and less liable to be destroyed. The raising and renewing the lantern was terminated in 1829.

From this new platform, the pyramid will rise majestically in the air, and of it we already discover thirteen floors (the pyramid will be completed with one more), each of four metres fifty centimetres, that is to say a height of fifty eight metres, or about one hundred and eighty feet. The spire of the church was first erected of stone but was overthrown by the electric fluid, after that, it was twice built of wood, and both times it became the prey of the flames; to rebuild it with wood would have been gathering materials for a third fire, but now it is made of cast iron and in open work. At the summit of the spire, there will be a small lantern surrounded by a gallery for the purpose of meteorological observations. The total weight of the spire when completed, will be 600,000 kilogrammes, or about 1,200,000 pounds. It is composed of 2,540 pieces, not including 12,879 iron pins[13]. Lastly, this magnificent pyramid will reach an elevation of 436 feet; that is to say 40 feet higher than the former, and will only be 13 feet less than the highest pyramid of Egypt[14].

SAINT-OUEN.

The abbey of Saint-Ouen, is the most ancient, in Rouen and in the whole province of Normandy.

Founded in 533, during the reign of Clothaire I^st and the episcopate of Flavius, the sixteenth archbishop of Rouen, (comprehending Saint-Nienise), this abbey flourished particularly under the illustrious prelate, whose name it bears and who enriched it with his patrimony.

The 14^th of may, in the year 841, the Normans landed at Rouen; the following day they burned the abbey of Saint-Ouen.

Rollo, having become a Christian, and a peaceable possessor of Normandy, ordered the abbey to be repaired, and had the relics restored which the monks had carried off to secure them from the profanation of the Normans.

The monastery soon took the name of Saint-Ouen; instead of that of Saint-Peter, by which it was previously known.

The dukes Richard I and Richard II followed the example of Rollo, and continued the restoration of the abbey.

Such was the reputation of this monastery, that the emperor Otho, who had laid siege to the town during the reign of Richard I^st, surnamed Sans-Peur, demanded a safe conduct to come and perform his devotions at Saint-Ouen.

Nicolas, son of Richard III^rd, and the fourth abbot under William the conqueror, caused the edifice, which had subsisted until then, to be demolished, and laid the first stone of a new church in 1046. Nicolas died too soon to complete the work; it was not finished until the year 1226, by William Ballot, the sixth abbot, who caused it to be dedicated in the same year, on the 17^th of october, by Geoffroy, archbishop of Rouen.

The cloister and other buildings necessary for the use of the monks were finished under Rainfroid, the seventh abbot; but, in 1236, only ten years after the completion of this church, the work of eighty years was destroyed by fire in one day.

Through the liberality of the empress Matilda and Henry II^nd, her son, the monks of Saint-Ouen succeeded in rebuilding their monastery; but it was again completely destroyed by fire in 1248.

At last, the celebrated Jean (John) or Roussel Marc d'argent, the twenty-fourth abbot, was elected in 1303. Fifteen years later, he laid the first stone of the present magnificent church, which is so generally admired. In one and twenty years, during which the works of this edifice proceeded, the choir, the chapels, the pillars which support the tower, and the greater part of the transept were finished. These buildings cost 63,036 livres five sous tournois, or about 2,600,000 francs of the present money.

The edifice was not entirely completed until the beginning of the XVI^th century; but, the tower existed before the end of the XV^th. An english tourist[15] has expressed the following sentiments on this magnificent church:

«You gaze, and are first-struck with its matchless window: call it rose, or marygold, as you please. I think, for delicacy and richness of ornament, this window is perfectly unrivalled. There is a play of line in the mullions, which, considering their size and strength, may be pronounced quite a master-piece of art. You approach, regretting the neglected state of the lateral towers, and enter, through the large and completely-opened centre doors, the nave of the abbey. It was towards sun-set when we made our first entrance. The evening was beautiful; and the variegated tints of sunbeam, admitted through the stained glass of the window, just noticed, were perfectly enchanting. The window itself, as you look upwards, or rather as you fix your eye upon the centre of it, from the remote end of the abbey, or the Lady's chapel, was a perfect blaze of dazzling light: and nave, choir, and side aisles, seemed magically illumined. We declared instinctively that the abbey of Saint-Ouen could hardly have a rival; certainly no superior.»

«The grand western entrance presents you with the most perfect view of the choir, a magical circle, or rather oval, flanked by lofty and clustered pillars, and free from the surrounding obstruction of screens, etc. Nothing more airy and more captivating of the kind can be imagined. The finish and delicacy of these pillars are quite surprising. Above, below, around, every thing is in the purest style of the XIV^th and XV^th centuries. On the whole, it is the absence of all obtrusive and unappropriate ornament which gives to the interior of this building that light, unencumbered, and faery-like effect which so peculiarly belongs to it, and which creates a sensation that I never remember to have felt within any other similar edifice.»

The length, within the walls, is four hundred and sixteen feet eight inches (about four hundred and fifty feet english measure), which may be divided in the following manner: The nave, two hundred and forty four feet; the choir, one hundred and two feet; the remaining portion, to the extremity of the chapel of the Virgin, seventy feet eight inches; in the whole, eight feet eight inches more than the Cathedral. The height under the keystone is one hundred feet. The breadth, including the aisles, is seventy eight feet; viz: thirty four feet for the nave, and twenty two feet for each aisle. The transept is one hundred and thirty feet in length, by thirty four in width.

The church is lighted by one hundred and twenty five windows placed in three rows not including the three rosaces. The second row lights a circular inner gallery, which is above the aisles, and several of them offer paintings of great beauty. Amongst others Saint-Romain is represented making himself master of the Gargouille, and forcing the Seine to return to its bed.

Against the first pillar to the right, on entering by the Western porch, is placed a large marble vessel containing holy water. By a very curious optical effect, we can see the roof of the church in its entire length.

The choir was formerly separated by a magnificent screen, of which we find an engraving in the History of the Abbey, by Pommeraye. This screen, was erected in 1462 by the munificence of the cardinal d'Estouteville; in 1562, it was partly destroyed by the calvinists, and repaired in 1655, by William Cotterel, grand prior of Saint-Ouen. This fine structure entirely disappeared at the revolution.

Eleven chapels, including the one dedicated to the Virgin, surround the choir of the church. The first, in going towards the eastern extremity, contains the baptismal font, and is dedicated to Saint-Martial. There also, was formerly a very curious clock, which has disappeared within the last forty years. A small figure of Saint-Michael came out and struck the hours on a figure representing satan and then disappeared.

In the second chapel, following the same direction, Alexander de Berneval, one of the architects of the church, was buried in 1440. He is represented, on the sepulchral stone which covers his remains, by the side of his pupil; the following inscription is engraved on this stone in gothic letters:

We also remark the statue of Sainte-Cécile, which is placed between two pillars of the corinthian order. The other chapels, except that of the Virgin, do not offer any thing remarkable.

English tourists will find in the latter, the tomb of the youngest son of Talbot; the following is the epitaph:

The interior of the church contains several fine paintings, such as: The miracle of the loaves, by Daniel Hallé, and a Visitation, by Deshayes, of Rouen, in the chapel of the Virgin; an opening of the holy gate, by Léger, of Rouen, behind the pulpit on the wall of the aisle. This painting has been much spoiled by the damp. The different chapels also contain some less worthy of notice.

The great tower is altogether a monument of great beauty. Its height is about one hundred feet above the roof of the church. It is surmounted by a crown wrought in openwork and of a fine effect. The total height of the tower is two hundred and forty four feet, from the pavement of the church. It is supported, in the interior of the edifice, by four pillars, each formed of a group of twenty four columns.

The whole body of the church is supported, to the exterior, by thirty four arches, forming with the buttresses by which they are supported, a most magnificent ensemble.

The western porch from its unfinished state does not offer any thing remarkable except the rosace of which we have already spoken.

The southern porch, commonly called des Marmquzels, merits much more the attention of the curious, by the astonishing variety of sculptures, which ornament it. We may especially admire two pendants of a very bold execution.

Above the door, is a bas-relief, which is divided into three parts, representing the different circumstances of the sepulture of the Virgin, of her assumption and entrance into heaven. This porch is assuredly one of the most pure, light and perfect samples of gothic architecture. During the revolution, the church, of Saint-Ouen was converted into a smithy. Afterwards they here celebrated the decadary feasts, promulgated laws, pronounced marriages, and even gave a great breakfast to the conscripts of the year VII, the first who went under that denomination. At last it was restored to its primitive use, the only one worthy of it, for we may say of Saint-Ouen: Hic vere est domus Dei.

The ancient abbey-house of Saint-Ouen was demolished, in 1816. So many historical recollections were attached to the existence of this edifice, that its loss is much regretted by the friends of the arts. This mansion was the ordinary place of abode of the kings of France, on their passage through this town. Henry II, Charles IX, Henri III, Henry IV, Lewis XIII successively inhabited it. Henry IV^th, resided there four months; it was from this house that he addressed to the aldermen of his good town of Rouen those words which will never be forgotten: Mes amis, soyez-moi bans sujets, et je vous serai bon roi, el le meilleur roi que vous ayez jamais eu.

In the public garden, formerly that of the monastery, and which lies to the north, east and south sides of the church, is a very curious construction, in the form of a tower, called the Chambre aux Clercs. It is without doubt a fragment of one of the churches, which succeeded each other on this spot. It is situated at the north-east angle of the northern transept. Its architecture is of the XI^th century. People have remarked, that it holds as much resemblance to the remains of a strong castle, as to a fragment of a religious edifice. The interior is divided into two stories, the second contains the works of the clock.

The meridian placed against the wall, to the north of the basin, is that which ornamented the ancient exchange. On the lower extremity of the obelisk, we remark a woman seated, representing Commerce. The figure of Time points to the solar line. In 1815, the medallion of Lewis XV^th was replaced, which had been taken away in 1792. This monument is by Paul Slodtz, a statuary of the last century.

SAINT-MACLOU.

In the year 1228, this parish was situated without the walls of the town. In that year, Geoffroy de Capreville granted a portion of ground belonging to himself, and situated in the parish of Saint-Maclou, without the town. At that time the church of Saint-Maclou was only a chapel, of which the construction was not very remarkable. About the middle of the XV^th century, the erection of the present edifice was commenced. In the year 1511, the works were far advanced, the platform which was to support the steeple having been already built.

This church was formerly called the fille aînée de Mg^r l'archevêque. The sacred oils were kept in this church, and were distributed to the different parishes of the diocese. This privilege was shown by two vases, supported on two iron bars on each side of the cross, which surmounted the great porch. In the general processions, the cross of Saint-Maclou took precedence of all others, and led the procession.

The church is one hundred and forty two feet in length, by seventy six feet in breadth, taking in the aisles. Its height, from the pavement of the nave to the extremity of the ancient steeple, was about two hundred and forty feet. This handsome steeple, in the form of a cone, rose to a height of one hundred and fifteen feet above the lantern: one could ascend to the cross, by the exterior of it, without a ladder. In 1705, it was shaken by a hurricane; thirty years later, it became dangerous: and they were obliged to take down the greater part of it. It was almost destroyed during the revolution, when its whole covering of lead was taken off, to make bullets. At present they are repairing the belfry which was erected instead of that steeple.

The interior of the church merits the whole attention of the curious. I will mention particularly the beautifully sculptured staircase, which leads to the organ. The authors of the picturesque and romantic travels into ancient France, have not forgotten to place this gothic jewel in their work.

The great porch of Saint-Maclou is very remarkable. It had formerly three very commodious entrances; but, they have contrived, at I do not know what time, to build a house before and quite close to the southwest door way; which, in consequence is closed up.

The municipal administration lately decided that this house should be pulled down, that the door which it closes up may be opened; but it will be of no use but for the general appearence of the front of the edifice, as this door does not present, like the others, any very interesting details of architecture. It is more than probable that they existed formerly, but, being hid from view, the door was taken off and replaced by the plain one, which exists at present; this loss must be deeply felt, when we contemplate the sculpture, which ornamented the other entrances and which strangers will not fail to admire, either in the western front or the northern porch from the rue Martainville. These sculptures, which are attributed to the celebrated Jean Goujon, consist principally of bas-reliefs representing different subjects from the Bible, such as the death of the Virgin, on the door in the rue Martainville; the baptism of Jesus-Christ, on the door of the great porch, etc. On the small door to the left, are also some very curious bas-reliefs.

Saint-Maclou still preserves almost the whole of its ancient painted glass windows, which are composed in general of isolated figures of saints, covered with canopies and in the style of the Renaissance. The lower portions of these paintings have been very much mutilated.[16]

Almost opposite the northern porch of the church, we find the entrance to what was formerly the burying ground of Saint-Maclou, which answered the same purpose in Rouen, as that of the SAINT-INNOCENTS, in Paris. M.E.-H. Langlois has discovered, on the columns of the buildings which surrounded this ancient churchyard, the fragments, unfortunately almost shapeless, of a macabre dance.

SAINT-PATRICE.

This church was built in 1535, on the ground and in place of a smaller one. The chapel of the passion, which is to the right on entering the choir, dates from 1648, as well as the side of the edifice, which faces the rue Saint-Patrice. Quite near the church, and in buildings belonging to the parish, a community of priests had been founded in 1641, at the expense of the curate; they had several privileges allowed by the king. They could enter fifteen muids of wine, without paying duty for it, they could take eight bushels of salt in the year, from the kings stores and at the merchant's price, and give the right of committimus to all ecclesiastics, after a year's residence in the town.

The church of Saint-Patrice, has some stained glass windows of the greatest beauty. They are of the XVI^th century, which was the most brilliant period of painting on glass in France.

M^r Langlois, in his excellent work, which I have already cited, gives a description of the painted glass windows. The whole interior of the chapel, which is situated at the extremity on the left side, and facing the east, is remarkable for the beauty of its windows. Most of them bear the date of their execution, and the name of the donor. The pulpit of Saint-Patrice was formerly in the church of Saint-Lô; it is of the style of the Renaissance, and in good taste.

SAINTE-MADELEINE.

From the avenue of the Mont-Riboudet, we perceive this elegant church at the end of a row of young trees. It is built after the plans of Lebrument and ornamented by the chisel of Jadoulle; this modern building is distinguished by the beauty of its architecture and of its sculptures. It was terminated and consecrated the 7^th april 1781.

The front, which faces the south, is composed of a peristyle, supported by four corinthian columns. In the pediment, above the entablature, we perceive a bas-relief, which represents a woman suckling children, the symbol of charity. The representation of this virtue could not have been better placed, than on the front of a church adjoining the Hôtel-Dieu.

The interior of the edifice is composed of a nave and two aisles, at the upper extremity of the nave rises an arched dome, which is surmounted on the outside by an obelisk supporting a globe.

Several costly pictures decorate the chapels. Those which are perceived at the extremities of the two aisles are more particularly esteemed. They are by Vincent, a distinguished painter of the french school. That on the right represents the cure of the blind man; that on the left, the cure of the paralytic.

The chapel of the religiouses of the Hotel-Dieu, is situated behind the high altar.

(For a description of the hospital, see farther on, the article on civil monuments).

SAINT-SEVER.

In the commencement of the VI^th century, Rouen possessed a bishop of this name. At first, it might be natural to think that this bishop was the patron of the church of Saint-Sever; but it is not so. The following legend, is the history of this foundation, in a few words.

In the reign of Richard I^st, third duke of Normandy, two ecclesiastics of Rouen made a pilgrimage to the sepulchre of Saint-Sever, bishop of Avranches. The body of the saint was deposited in the neighbourhood of Mont-Saint-Michel, in a church surrounded by forests. A priest lived alone in the neighbourhood. The two ecclesiastics, from an excess of devotion resolved to carry away the remains of the bishop. The priest heard of it and put a stop to their enterprise. They returned to Rouen, and humbly begged Richard, whose consent they easily obtained to authorize the removal of the remains, and in spite of the tears and remonstrances of the inhabitants, they carried off the holy relics, which they forwarded to Rouen. The procession rested at the hamlet of Emendreville (now the suburb of Saint-Sever). Here the miracle, which had already been shown several times on the road, was renewed again, that is to say, the shrine which contained the remains of the saint became so heavy, that it was impossible to raise it, until they had made a vow to build a chapel on that spot; such is the origin of the church of Saint-Sever. Till then this place had been called Emendreville. It retained that denomination about four centuries afterwards; but at last it took the name of the saint, in whose honour the parochial church had been built. The present church was consecrated on the 27^th january 1538. Neither its interior or exterior offer any thing worthy of notice.

SAINT-ROMAIN.

This was the chapel of the ancient Carmes déchaussés. Those fathers obtained letters patent on the 27^th july 1624. They purchased a house at the entrance of the suburb Bouvreuil; which was then in the parish of Saint-Godard, and laid the foundations of their monastery. The duke of Longueville, laid the first stone of their church on the 20^th november 1643, which they demolished in 1678, to build a new one, of which the first stone was laid in the month of july 1679, by M^r Pierre de Bec-de-Lièvre, first president of the Cour des Aides, who untill the time of his death, which took place in july 1685, paid the whole expenses of the building. After his death, his two sons MM. Pierre and Thomas-Charles de Bec-de-Lièvre, finished the edifice at their own expense. This is the present church: it was consecrated on the 21^st of december 1687. In 1791, it was dedicated to Saint-Romain, as one of the chapels of ease of the town of Rouen. After having been shut for a time, it was again placed amongst the chapels of ease, in 1802. It is now a parochial church. On the front, which faces the east, we find the following inscription in large, letters of gold:

SANCTO ROMANO

PATROCINANTE.

This church contains some extremely curious antiquities. The first, without doubt, is the monument of the archbishop Saint-Romain, which is of granite, and forms, if I may say so, the high altar in the choir, as the top of the high altar covers the monument, which is elsewhere very plainly seen. It was formerly in the crypt of Saint-Godard, where Saint-Romain was buried. It was brought afterwards to this church on the 20^th february 1804. The ashes of the illustrious prelate had been dispersed by the calvinists, in 1562.

We may also admire the beautiful painted glass windows, which were brought partly from Saint-Maur, Saint-Etienne-des-Tonneliers, and Saint-Martin-sur-Renelle. The following is an explanation: In the first chapel, a Transfiguration, to the left on entering. In the next chapel a holy Family. This chapel contains also a beautiful small marble statue of Saint-Louis, and a bas-relief, by Jadoulle, representing Tobit burying the dead. The firsts chapel to the right, contains the font: there is a remarkable painted glass, divided into six partitions, which represents the history of Adam. It is in this chapel that we find a very curious cover of some baptismal-fonts, which was brought from the ancient church of Saint-Etienne. The bas-reliefs, which ornament it, represent the Passion of Jesus-Christ. In the sort of lantern, which surmounts the cover, is a Resurrection. These sculptures on wood, which are of great beauty, are of the beginning of the XVI^th century. At the farther end of the chapel, is a fresco painting by Pécheux representing the baptism of Jesus-Christ.

In the next chapel, which is dedicated to Saint-Theresa, we see Sainte-Geneviève, the patroness of Paris. In her left hand she holds a book, and in her right a lighted taper. Satan tries to blow it out with a pair of bellows, while, behind the saint, an angel is ready to light it again. These different painted glasses were brought from Saint-Maur.

In the chapel of Saint-Joseph, is a painted window representing Saint-Stephen before his judges. In the chapel of the Virgin, which is opposite, we see Saint-Stephen stoned; these two painted windows belonged to the church of Saint-Etienne-des-Tonneliers.

Some glasses of the higher windows, brought from Saint-Martin-sur-Renelle, represent the passion of our Lord.

In the choir, in the chapel to the left, Tobit burying the dead, above we see the resurrection of Lazarus; in the same window Job on the dunghill; and underneath, the Lord's supper.

In another chapel of the choir, opposite to the former, is Jesus-Christ in the temple, overthrowing the tables of the money-changers; beside it, is the rich man at table; Lazarus is at the outside of the door. The stained glass of these two chapels belonged to Saint-Maur. Most of them, from the richness of their coloring, and the perfection of their execution, are very remarkable.

Under the dome at the lop of the nave, are five different fresco, paintings which represent different acts relative to the life of the patron of the church. One represents the consecration of Saint-Romain as bishop; in another, he overthrows the pagan temples; farther on, is the miracle of the dragon or Gargouille; next to it, is the procession of the shrine to obtain the deliverance of a prisoner, a ceremony which was instituted after the miracle of which we have already spoken. The apotheosis of Saint-Romain crowns these four paintings.

At the top of the sanctuary, behind the high altar, there is also another fresco by Pêcheux, representing the agony of Jesus-Christ. The painting receives the light from above, by an opening made expressly for that purpose.

The organ, which was made by M^r Lebreton, of Rouen, was received on the 11^th july 1830. It is composed of four keys, forty two registers, and one pedal. Although modern, the church of Saint-Romain, merits as we see, to be examined in all its details.

SAINT-GODARD.

The origin of Saint-Godard is unknown, all that can be affirmed is that there existed anciently on this spot a chapel dedicated to the Virgin. This latter circumstance induced the belief for a long time, that the first Cathedral was erected on this place. It will suffice, to establish the contrary, to say that the church of Saint-Godard, was included within the interior of the town only at the commencement of the XIII^th century.

In the year 533, and not 530 as Farin says, whose chronology is often erroneous, the archbishop saint Godard was interred in the subterraneous chapel of this church, which then changed its ancient name for that of the holy prelate, whose remains it had received. Saint-Romain was also interred in the same chapel.

It was only after different additions that the church of Saint-Godard became what we now see it. It is one hundred and fifteen feet long, by seventy eight broad. In 1556, its organ was a very small one; it was afterwards enlarged; but, in 1562, it was destroyed by the calvinists. The present organ, which was established in 1640, is the work of a scotchman, named George Lesselié.

The church of Saint-Godard, when suppressed at the second circumscription of the churches of Rouen, saw all its ornaments and riches pass to the parishes of Saint-Ouen and Saint-Patrice. Amongst the ornaments, we will mention its admirable painted windows, which were the finest in France, according to Farin and Levieil,[17] whose opinion has become an authority. A great many of these glasses were broken in the chambre aux clercs of Saint-Ouen. When, reopened for religious purposes, in 1806, the church of Saint-Godard became again possessed of two of its finest windows: that of the chapel of the Virgin, to the right facing the choir, and that of the chapel of Saint-Nicolas, on the opposite side. The first represents the mother of the saviour, and the kings of Judea from whom she was descended. The celestial head of the Virgin is of astonishing beauty of composition.

The window of the chapel dedicated to Saint-Nicolas represents different acts of the life of saint Romain; and the painter, one may imagine, has not forgotten the history of the Gargouille. These two windows are each thirty two feet high by twelve in width. Nothing can be comparable to the beauty of the colour of these two windows; from thence came the proverb, in speaking of wine of a purple colour: It is the colour of the windows of Saint-Godard.

SAINT-NICAISE.

The church, that is to say, the primitive chapel which was built on this spot, was one of those which were founded, about the middle of the VII^th century, by the illustrious archbishop saint Ouen. It was at that time very far out of the city, since the limits on this side of the town extended only as far as the streets de l'Aumône, and Robec, during the life-time of saint Ouen. It was only six hundred years after, under saint Louis, that the church of Saint-Nicaise was comprehended within the interior of the town. The choir of this church is remarkable for the symmetry of its proportions. Its organ was placed in 1634. The remainder of the architecture of this church does not offer any thing to fix the attention. At the eastern extremities of the aisles, we perceive two mutilated painted glass windows; but which nevertheless call forth the admiration of the connaisseur. The one of them represents the three christian virtues, the other, two figures of the same description, with that of a bishop. The heads are very beautiful, and the draperies quite dazzling, from their brilliant colours.

SAINT-VINCENT.

This church was formerly called Saint-Vincent-sur-Rive, because it was situated on the bank of the river. The treasurers of Saint-Vincent had the salt measures in their keeping, they were deposited in a small tower at the entrance of the church, for that purpose. When the boats loaded with salt passed by the church, they had to give a certain quantity to the parish, which has been since replaced by an annual sum of 140 livres. Saint-Vincent, like most other catholic temples, was pillaged in 1562 by the calvinists.

Saint-Vincent is a handsome production of the renaissance. The architecture of the interior is light and gracious, if we except the ornaments, which are not in very good taste, and which have been fastened on the pillars of the choir, in the middle of the last century, after the designs of the architect De France.

The painted glases of this church are very remarkable. At the lower extremity of the right aisle, in looking towards the choir, we perceive a pane of glass, a part of which is done on pasteboard by Albert-Durer, representing the virgin kneeling beside several of the apostles. The draperies of the former are in admirable gothic style; the heads of the others are also very fine.

In the northern aisle, that is to say, to the left on entering by the great porch, opposite the choir, we remark a window representing the history of saint John the baptist. The lower pannel represents the Decapitation of the saint, whose head they are carrying to Herod, who is seated at table with Herodias. In the next window, in going towards the eastern extremity, there is a view of the church of Saint-Ouen, but it is unfortunately broken. We can only now distinguish its tower.

In the chapel to the left of the choir, there is a window representing the miracle attributed to Ferdinand, better known under the name of saint Anthony of Padua, and taken from the lives of the saints, by the reverend father François Giry.

The interior of Saint-Vincent, and especially the southern aisle, still offers some very fine painted windows which are unfortunately very much injured.

SAINT-VIVIEN.

This church has given its name to the street in which it is situated. It was formerly but a chapel in the midst of meadows and marshes. In the year 1209, it was situated, without the town. It was formerly low and dark; in 1636, the roof was raised to a greater height. Before the year 1661, the organ was placed, in the left aisle: at this period, it was placed in its present situation. This church does not offer any thing very remarkable, unless perhaps its lofty steeple, in the form of a sugar loaf.

CHAPELS OF EASE.

SAINT-GERVAIS.

Saint-Gervais was perhaps after the virgin, the first person to whom an altar was erected in Rouen. Neither Pommeraye, Farin, Toussaint-Duplessis, nor several other modern writers, have spoken of the origin of this church; the following is a sketch of it.

In 386, saint Victrice, then archbishop of Rouen, received from Saint-Ambroise a box of relics, amongst which were the remains of Saint-Gervais. Saint-Victrice caused a church to be erected in which were to be deposited those venerable remains. The archbishop tells us that he worked with his own hands, and that he even helped to carry the stones on his shoulders. Should not the temple where the remains of Saint-Gervais had been deposited, have been named after this martyr? Was it natural to give another name? Certainly not; and we may conclude therefore that the present church of Saint-Gervais has been erected on the ground where that formerly stood, which Saint-Victrice had caused to be built; and which afterwards was raised into an abbey, and is at the present time a chapel of ease. The church of Saint-Gervais suffered considerably during the religious contests: in the year 1591, it was almost destroyed. At that time the royal army had taken possession of it and had established a battery near to it, which caused great havoc in the town of Rouen, this army was commanded by the Marquis de Villars, for the league.

Strangers should not forget to visit an extremely curious ancient monument, the crypt of Saint-Gervais. It is immediately under the choir of the church. The descent is by a stair-case composed of twenty eight stone steps. The length of this subterranean chapel is thirty five feet, by sixteen in breadth and fifteen in height. The two first archbishops of Rouen, saint Mellon and saint Avitien, are buried under the two arcades, which we perceive on the right and left at the foot of the stair-case. These arcades had been walled up at the time of the religions troubles; in 1723, they were opened again. The monument of saint Mellon is that to the left on entering. We here discover the only vestiges of roman architecture, which are to be found in this town. The roman road, which existed sixteen centuries ago, between the ancient Rothomagus and Juliobona, passed close to this church.

William the Conqueror, when mortally wounded by the pummel of his saddle, on his way to Paris, caused himself to be carried to the priory of Saint-Gervais, where he died on the 9^th of september 1087.

SAINT-HILAIRE.

In the year 1562, the calvinists entered by force into the town of Rouen, by the suburb of Saint-Hilaire, and destroyed at the same time the church of that name. It was rebuilt twenty eight or thirty years after. Like the church of Saint-Vivien, it has given its name to the quarter in which it is situated; and like it also, offers nothing worthy the attention of the antiquary.

SAINT-PAUL.

Farin and some other authors have said that this had been an ancient temple of Adonis; nothing however proves, or justifies such an assertion; and we only see in this, a popular tradition on which we must not rely.

Formerly this little church was very curious in some of its portions. It is the only one in Rouen, which offers the three semi-circular absides, which we find in most of the monuments of the XI^th century. The middle is the highest and projects farther out than the other two. There is a row of curious figures on the outside of the edifice in its whole circumference: some of which are represented with great moustaches. According to M^r Cotman, who has remarked figures of a similar description in different parts of Normandy, these great moustaches must at first have been a satire upon the Saxons who wore them, when at the same time the Normans had their heads completely shaved. Robert Wace tells us that at the battle of Hastings the English took the Normans for an army of priests.

In the interior of the edifice, the triple choir was separated from the nave by a semi-circular arcade, the capital of which was covered with sculptures, which have been unfortunately destroyed. This nave was modern, and dated only from the commencement of the XVII^th century, the most ancient portion is from the commencement of the XI^th century.

The modern portion was destroyed some years since. A new church in the form of an ancient basilica has been erected close to it, from the designs of M^r Du Boullay. Antiquaries will learn with pleasure that the administration of the town has taken measures to preserve the three absides of the ancient little edifice, with the intention of using it as a sacristy to the new church.

The walk, at the extremity of which the church of Saint-Paul is situated, was formed in 1692 and 1693; but was only the planted in 1729. The whole space from watering place to the foot of mount Saint-Catherine was formerly a vast meadow with a few gardens. The road when finished was called the Chemin neuf; it is now called the cours Dauphin, so named in memory of the birth of the dauphin, son of Lewis XV^th.

At the extremity of this avenue there are several springs of mineral waters. They are called the waters of Saint-Paul, from the name of the parish. There are also several of similar description in the quarter Martainville, called la Marequerie.

PROTESTANT WORSHIP.

SAINT-ÉLOI.

Before the Seine was enclosed in its present bed, the church of Saint-Eloi was situated on an Island. Afterwards, without changing place, it found itself situated on the terres neuves, like the other churches, Saint-Etienne-des-Tonneliers, Saint-Clément, and Saint-Martin-du-Pont. In 1030, under the duke Robert, those new lands were considered as suburbs of Rouen: In suburbia Rotomagensi ecclesiam sancti Eligii, etc.

The church of Saint-Eloi was formerly considered as one of the best lighted in the town of Rouen. There were, a short time since, but are now walled up, three windows, of which the painted glass was executed in the XVI^th century; they have been transferred to Saint-Mary's, to ornament the museum of antiquities. Formerly there was a well in the choir, but which is now filled up, from which the water was drawn up by a chain, from whence the proverb, still used in Rouen, is derived: «It is cold as the chain of the well of Saint-Eloi.»

This church has been granted for protestant worship, since 1803. The number of persons who profess this worship in Rouen, is about 2,000. The service commences at eleven o'clock in the morning. English service is also performed in this church at three o'clock in the afternoon.

The place Saint-Eloi does not offer any thing worthy of notice; it was the ancient burying ground of the parish of that name: and has since become the poultry and game market.

CHURCHES CLOSED IN 1791,

WHICH DESERVE THE ATTENTION OF THE ANTIQUARY.

SAINT-PIERRE-DU-CHATEL,

At the top of the rue Nationale.

This religious edifice, which is of the XV^th century, did not offer any thing remarkable but its tower, which is entire.

SAINT-ANDRÉ-DANS-LA-VILLE,

Rue aux Ours, near the rue de la Vicomté, was erected between the years 1526 and 1557.

SAINT-ÉTIENNE-DES-TONNELIERS,

At the corner of the street of that name, and the rue des Iroquois.

The construction of this edifice, dates from the commencement of the XVI^th century.

SAINT-PIERRE-L'HONORÉ,

Rue des Bons-Enfans, at the corner of the rue Ecuyère.

SAINTE-CROIX,

Rue Sainte-Croix-des-Pelletiers, at the top of the street.

SAINT-SÉPULCHRE,

At the corner of the streets Saint-George and de la Vicomté.

SAINT-LAURENT,

In the street of that name. Its tower merits principally the attention of the traveller; it was commenced in 1490 and finished in 1501. The screen of Saint-Laurent was considered a chef-d'œuvre of architecture.

CIVIL MONUMENTS.

HÔTEL-DE-VILLE (TOWN-HALL).

The modern building which stands near the northern transept of the church of Saint-Ouen was the dormitory of the monks. It is now the town hall. The offices occupy the ground and first floor, the library and gallery of paintings the second. The great stair-case is remarkable for its elegance and lightness; it has been compared to that at Somerset house. On the first landing we find in a niche, the statue of Lewis XV^th in his youth, from the chisel of Lemoine. The great stair-case, next the church, constructed from the designs of Lebrument, the architect of the Madeleine, is distinguished by the boldness of its architecture; it leads to the library and gallery of paintings. The new facade of the town hall is composed of two wings which are parallel at their extremities, and a peristyle between the two former, but which does not so far project. Two columns of the corinthian order support the pediment, on which the armorial bearings of the town are sculptured; they are supported on one side by Mercury and the attributes of Commerce, and on the other by Industry in the likeness of Minerva. On the first floor of the southern wing, there is a very fine room, which is used for the meetings of the municipal body; one of the rooms on the second floor has been devoted to the meetings of the royal academy, their former room having been joined to the public library.

The ancient town-hall, which was built in the year 1608, was situated at the corner of the rue Thouret and the rue de la Grosse-Horloge, and near the tower of the belfry; the only portion of this building which remains, is that which faces the rue Thouret. This edifice having fallen into ruin, it was decided that a new town-hall should be erected. In 1757, a plan was adopted, and the monument was to be raised at the western extremity of the old market place; but after having laid out one million of francs, on the foundations alone, they became terrified at the enormous sum, which it would require. The municipal administration still possesses the model in relief of the said monument: it was of very curious architecture and may still be seen at the Museum.

ARCHIEPISCOPAL PALACE.

This edifice adjoins the Cathedral church. The principal body of the building, which faces the street, was begun and partly finished in 1461, by the cardinal d'Estouteville; but death overtook this prelate before he had completed the whole. It does not appear that his successor, Robert de Croixmare, continued the works. It was, according to Farin, the cardinal George d'Amboise I^st, who terminated the edifice. The only remarkable portion of the interior of this edifice is that named the gallery of the states. It is decorated with four large paintings by Robert. They represent views of Havre, Dieppe, Rouen and Gaillon, the once celebrated chateau of the archbishops of Rouen, and built by the cardinal d'Amboise I^st, with the savings which he made from his salary, from the profits of his legation, and from the large fines which he levied, with the knowledge of the king, on the rebel towns of Italy.

In 1508, when Lewis XII^th with his queen came to Rouen, he alighted at the archiepiscopal palace. The dauphin Francis of Valois, son of Francis I^st, inhabited it also in 1531.

The modern building which looks on the garden, and which is to the right on entering, was erected at the commencement of the last century. The library, which is appropriated to the chapter of the cathedral, is situated on the first floor.

PALACE OF JUSTICE.

When we say that the Palais-de-Justice was erected by Lewis XII^th, in 1499, as a court of exchecquer, which that prince had arranged should be held at Rouen, we must not comprehend that part of the building called the salle des Procureurs, or attorneys hall, which dates from 1493, and which was erected (as we have mentioned at the article exchange), as a place of meeting for the merchants of the town. Even at the present time, this hall calls forth the admiration of the best architects. Its length is one hundred and fifty feet, by fifty in breadth. Its lofty roof is not supported by a single pillar; the ingenuity of the work is here contrasted with its boldness of conception. The only ornaments which decorate the walls of the hall are elegant empty niches, which are detached in relief, and at equal distances. The principal staircase, which leads up to the salle des Procureurs, was erected a few years since, under the superintendence of M. Gregoire. The Conciergerie and prisons are situated under this hall.