Chapter IX: Part 9

The view of this church, etched by Mr. Cotman, is copied from a drawing made by Miss Elizabeth Turner. It represents the building, as seen from a seat in the gardens formerly belonging to the monastery, but now open to the public; and it is well calculated to convey a general idea of the character of the exterior of the building, including the central tower, which is wholly composed of open arches and tracery, and terminates, like the south tower of the cathedral, with an octangular crown of fleurs-de-lys. The plate also exhibits a portion of a circular chapel, now commonly known by the name of _la Chambre des Clercs_, the only remaining part of the church built by William Balot, in the beginning of the twelfth century. This chapel, the south porch, the central tower, and a specimen of ancient sculpture in the church, have been engraved by Mr. Turner, in his _Tour in Normandy_. The two first, of the same subjects, together with the western front, a general view of the church from the south, the curious bas-relief over the southern entrance, and a representation of the interior, have since been lithographized in M. Jolimont's _Monumens de la Normandie_. Considerable pains have been devoted in both these works, to the description and the history of the building; and to them the reader must be referred, who is unwilling to engage with the ponderous folio of Pommeraye.

NOTES:

[172] _Milton's Letters on the Fine Arts, written from Paris in the year 1815._ p. 183.

[173] Jolimont, from whom this quotation is borrowed, states, that it is to be found in the chronicle of an author of the name of Fridegode; and he proceeds with the following observations:--"The expression appears remarkable, as warranting the inference, that the style of architecture, which Fridegode calls _Gothic_, was in use in France as early as the commencement of the sixth century, the time assigned by him for the building of the first church of St. Ouen. But it is equally to be inferred, from the manner in which he notices it, that this style was not then common; and his subjoining, that it was made of square stones, (in opposition, most probably, to rubble) serves to point out that such an edifice was an extraordinary building for Rouen at that period. This idea receives confirmation, from the reflection, that the materials for forming the city were originally supplied out of the forests that inclosed it; so that, not only the houses of individuals, but the public edifices, were merely of wood. St. Gregory of Tours, speaking, in his fifth book, of a church at Rouen, dedicated to St. Martin, uses the following expression:--'_Quæ super muros civitatis ligneis tabulis fabricata est._'--Indeed, the few stone-buildings then at Rouen, were almost exclusively devoted to the purposes of fortification, and were of flint or sand-stone, rather than of free-stone. Every thing too tends to prove that architecture was then in its infancy in the capital of Neustria; or, if it ever had been more advanced there, which could have been only under the Roman sway, that it had retrograded into a barbarous state.--Moreover, the _Gothic style_, mentioned by Fridegode, was no other than a degeneration of the Roman, or, more properly, of the Lombardic architecture, distinguished by the circular arch, by insulated columns, by a paucity of ornaments, and by a general massiveness. It is by no means to be confounded with the style which has since passed under the same name, a style introduced about the beginning of the twelfth century, immediately after the crusades, with its ogee forms, slender clustered columns, and every portion of the building characterized by extreme lightness, yet still loaded with a profusion of crowded ornaments. If, however, this Lombardic style was practised as early as the fifth or sixth century, in a town so backward in the science of architecture as Rouen, what date is to be assigned for its introduction into other parts of France, where the knowledge of the fine arts disappeared for a much shorter period?--It must be left to the decision of antiquaries, whom this passage in Fridegode seems to have escaped, to determine how far the foregoing observations are just, and may serve to throw light upon the history of the style of architecture called _Gothic_, the origin of which in France has always been attended with great obscurity."

[174] St. Ouen was born A.D. 600, at the village of Sanci, near Soissons. He was of a noble family, and was educated in the abbey of St. Médar, at Soissons, whence he was removed, at an early age, to the court of Clothair II. At the court, he contracted an intimate friendship with St. Eloi; and, under Dagobert, became the favorite of the monarch, as well as his chancellor and minister of state. During the whole of his life, his strong turn to religion rendered him a warm patron of monastic establishments; and, among others, he founded the celebrated abbey of Rebais en Brie. He was still young when he renounced the world, embraced the ecclesiastical state, and devoted himself to the preaching of the gospel; shortly after which, at the request of the inhabitants of Rouen, he was appointed to succeed St. Romain, as their pastor. His consecration took place in 646, and was performed in the church of the monastery of St. Peter, since-called St. Ouen. It was also at his own particular desire, that he was there interred. His name occurs among those of the prelates who were present at the council of Châlons, in 650; he was likewise entrusted by the king with various important negociations; and, after an earthly career, passed, according to his historians, in the practice of every civil and apostolic virtue, he died at Clichy, near Paris, in the year 689.

[175] The following extract from the _Neustria Pia_, p. 35, bears witness at once to the merits of the abbot, and the light in which the building was regarded throughout France.--"Hic Abbatiam reperit bonis omnibus sufficienter munitam, pecunia et commeatu haud indigentem: quam et ipse sapienter ac religiosè gubernavit, locupletavit, et vehementer adauxit; tum possessionibus et redditibus, tum ædificiis ac reparationibus: Basilicam iliam admirabili structura compositam, totiusque Galliæ speciosissimam, construere coepit, anno 1318, die festo S. _Urbani_; quam continuavit ad ann. usque 1339, in festo Apostolorum SS. _Petri_ et _Pauli_: quo in opere expendit 63036 libras argenti, et quinque solidos Turonensis: (quæ nunc haud posset compleri ædificio pro 663036 libris, etiam aureis) quorum omnium tesserem vetera hujusce domus inclytæ monimenta nunc usque accuratè continent. De hujusmodi celeberrima æde, sic quidam neotericus verè locutus est. _Nunc est S._ Audoeni: _cujus mirabilis structura, hodieque dubium relinquit, si alia per Galliam splendidior et elegantior: Monasterium est tota quidem Europa, celeberrimum, sed Patroni sui sanctitate magis æstimandum._ cui alii adstipulantur. Et hoc, consilio et auxilio D. Caroli, Comitis _Valesii_: cui operi Carolus Valesius VI. Rex ann. 1380, dono dedit tria millia librarum ad instantiam Burgundiæ Ducis, sui patruelis."

PLATE LXXVII.

FOUNTAIN OF THE STONE CROSS, AT ROUEN.[176]

Rouen has long boasted a pre-eminence over the greater part of the cities of France, with respect to its public fountains. The chalk hills, with which it is surrounded, furnish an abundant supply of excellent springs; and the waters of these, led into different parts of the town, contribute in no less a degree to the embellishment of the city, than to the comfort of the inhabitants. The form of some, and the ornaments of others, are well deserving of attention, notwithstanding the injuries that have inevitably occurred from time, or the more cruel ones that have been caused by wanton mutilation. It is upon historical record, that there were several fountains at Rouen, as early as the twelfth century, but their number, which now exceeds thirty, received its principal increase towards the beginning of the sixteenth century; and it was then also that the idea seems first to have been conceived of making, what was originally designed only for convenience, subservient to beauty. For this new supply of ornamental fountains, Rouen is indebted to its great benefactor, the Cardinal Georges d'Amboise, who, uniting the Norman archiepiscopal mitre to the office of prime minister, under Louis XII. was no less able than he was willing, to render the most essential services to the seat of his spiritual jurisdiction. It was under the auspices of this archbishop, that the fountain here figured, one of the earliest of that period, was erected. He caused it to be built in the year 1500. The spot which it occupies, is the cross-way formed by the union of the streets, called St. Vivien, St. Hilaire, and Coqueraumont, a spot which, previously to the reign of St. Louis, was not included within the walls of the town, and which, even at the distance of one hundred years after that time, had not begun to be inhabited.

So ancient is the practice of placing stone crosses at the junction of roads in the vicinity of cities, that it would be difficult to assign any probable time for the erection of that which was replaced by the fountain that still bears its name. The waters of this fountain have their origin in a spring, which flows at the foot of a hill near the village of St. Léger, at some distance from Rouen. The execution of the structure unites a happy mixture of boldness in outline, and delicacy in details: its pyramidal form is graceful. It consists of three stories, gradually diminishing in height and diameter as they rise, and terminating in a cross, whose clumsy shape only renders the destruction of that which it replaces the more to be regretted. The form is octagon throughout; and upon every compartment in each of the stories, is carved, at a short distance from its base, a narrow cinquefoil-headed arch, surmounted by a triangular crocketed canopy. But the crockets and finials have been in most instances destroyed. The water issues from four pipes in the basement. Each of the arches of the lower tier serves as a tabernacle for a wooden statue of a Madonna, or saint, of wretched execution, a poor substitute for those that occupied the same niches previously to the troubles of 1792, at which time the religious character of the fountain marked it out as an object of popular vengeance. It was suffered to continue in its mutilated and degraded state, from that period till the year 1816, when the inhabitants of this part of the town undertook to restore it at their own expense. Their labors have hitherto proceeded no farther than filling the niches afresh with images, and doing such repairs as were absolutely necessary to keep the whole structure from falling into ruin. Even by this, however, they have secured themselves the good will of the archbishop, who consecrated the fountain with great pomp anew, on the 24th of August, 1816.

The resemblance between the _Fountain of the Stone Cross_, at Rouen, and the monumental crosses erected in England by King Edward I. to perpetuate the memory of his consort, Eleanor of Castillo, will not fail to strike the British antiquary. It is more than probable, that the idea of the former was borrowed from the latter, to which, however, it is very inferior in point of richness of ornaments, or beauty of execution.

NOTES:

[176] It is right to observe, that the accounts here given of this and the following article, are little more than a translation, in the second instance materially abridged, of what is published upon the same subjects, in _Jolimont, Monumens de la Normandie_.

PLATE LXXVIII.

PALACE OF JUSTICE, AT ROUEN.

The building here figured was, from its foundation, devoted to the purpose of the administration of justice; and, notwithstanding the many mutilations to which it has at different times been exposed, it still remains an interesting, and, in the city of Rouen, almost a unique specimen of the sumptuous architectural taste of the age in which it was erected.

Down to as late a period as the year 1499, there existed in Normandy no stationary court of judicature; but the execution of the laws was confided to an ambulatory tribunal, established, according to the chroniclers, by Rollo himself, and known by the name of the _Exchequer_. The sittings of this Norman exchequer were commonly held twice a year, in spring and autumn, after the manner of the ancient parliaments of the French kings; the places of session depending upon the pleasure of the sovereign, or being determined in general, like the English _Aula Regia_, by his presence. The inconveniences attendant upon such a mode of administering justice, became of course the more heavily felt, in proportion as the country increased in population and civilization. Accordingly, the states-general of the province, assembled in the last year of the fifteenth century, under the presidency of the Cardinal d'Amboise, petitioned Louis XII. who was then upon the throne, to appoint in the metropolis of the duchy a permanent judicature, in the same manner as had been previously done in others of the principal cities of the realm. The king was graciously pleased to accede to their request; and, by the words of the royal edict, not only was the exchequer rendered permanent in the good city of Rouen, but permission was also granted to the members to hold their sittings in the great hall of the castle, till such time as a suitable place should be prepared for their reception.

It was on this occasion that the _Palace of Justice_ was built; a piece of ground was selected for the purpose, that had been known by the name of the Jews' Close, from the time when Philip-Augustus expelled the children of Israel from France; and the foundations of the new structure were laid within a few months after the obtaining of the royal sanction. The progress, however, of the work, was not commensurate, in point of rapidity, with the haste with which it was undertaken; even in 1506 the labors were not brought to a conclusion, though, in that year, the exchequer was installed by the king in person, with great pomp, in the new palace. The sitting will long be memorable in the Norman annals, not only as being the first, but as having been selected by the sovereign, as an opportunity for bestowing various important favors upon the city and duchy.

The palace, in its present state, is composed of three distinct buildings, erected at different times, and forming collectively three sides of a parallelogram, whose fourth side is merely a wall. The court thus enclosed is spacious. One of these buildings, the front in the plate, goes by the name of the _Salle des Procureurs_. Its erection was six years anterior to that of the right-hand building, more properly called the _Palace of Justice_; and the object in raising it was, according to the edict of the bailiff upon the occasion, to serve as an exchange to the merchants, and put a stop to the impious practice of assembling, even upon feast-days, in the cathedral, for purposes of business. At a subsequent time, this hall was added to the Palace of Justice, and there was then built to it a chapel, now destroyed, in which mass was regularly celebrated twice a year,--upon the anniversary of the feast of St. Martin, the day of the meeting of parliament, and upon Ascension-Day. The service on the first of these days, went by the name of _la messe rouge_, because the members always attended in their scarlet robes: on the second, and more important occasion, it was called _la messe de la fierte_, being performed in commemoration of the deliverance of the prisoner, by virtue of the privilege of St. Romain.[177]--The exterior of the _Salle des Procureurs_ is comparatively simple: the most highly decorated part of it is the gable, which is flanked by two octangular turrets, ornamented with crocketed pinnacles and flying buttresses. Within, it consists of a noble hall, one hundred and sixty French feet in length, and fifty in width, with a coved roof of timber, plain and bold, and destitute either of the open tie-beams and arches, or the knot-work and cross-timber that usually adorn the old English roofs. Below the hall is a prison.

The southern building, erected exclusively for the sittings of the exchequer, is far more sumptuous in its decorations, both without and within. The lucarne windows may even vie with those in the house in the Place de la Pucelle.[178] Those below them find almost exact counterparts in the _château_ at Fontaine-le-Henri, also figured in this work.[179] To use the language of the French critics, this front, which is more than two hundred feet in width, "est decorée de tout ce que l'architecture de ce temps-là présente de plus délicat et de plus riche." The oriel or tower of enriched workmanship, which, by projecting into the court, breaks the uniformity of the elevation, is perhaps the part that more than any other merits such encomium. But it is only half the front that has been allowed to continue in its original state: the other half has been degraded by alterations, or stripped of its ornaments.--The room in which the parliament formerly met, and which is now employed for the trial of criminal causes, still remains comparatively uninjured. Its ceiling of oak, nearly as black as ebony, divided into numerous compartments, and covered with a profusion of carving and of gilt ornaments, not only affords a gorgeous example of the taste of the time, but immediately strikes the stranger as well suited to the dignity of the purpose to which the apartment was appropriated. But the open-work bosses of this ceiling are gone, as are the doors enriched with sculpture, and the ancient chimney, and the escutcheons charged with sacred devices, and the great painting, by which, before the revolution, witnesses were made to swear.[180]

The building that fronts the _Salle des Procureurs_, and forms the third side of the court, was not erected till after the year 1700. Its front is an imitation of the Ionic order, a style which harmonizes so ill with the rest of the quadrangle, as to produce an unfavorable effect An accident which happened to the wood-work of the upper part of this front, on the 1st of April, 1812, unfortunately involved the destruction of a painting held in the highest estimation; the representation of Jupiter hurling his thunderbolts at Vice, executed by Jouvenet, upon the ceiling of an apartment called _la seconde Chambre des Enquêtes_. Jouvenet, who commonly passes under the name of the Michelagnolo of France, was born at Rouen, in 1664; and, in conjunction with Fontenelle and the great Corneille, forms the triumvirate, of which the city has most reason to feel proud. The painting in the Palace of Justice was regarded as one of the happiest efforts of his pencil, and was not the less remarkable for having been executed with his left hand, after a paralytic stroke had deprived him of the use of the other.

NOTES:

[177] See p. 51.

[178] See plate 64.

[179] Plate 63.

[180] Upon this subject Mr. Turner is in error: it appears, from his _Tour in Normandy_, I. p. 193, that he was informed that the painting, now actually over the judges' bench, is the same by which it was originally customary to take the oath; but M. Jolimont, who is, unquestionably, better authority, states the contrary in the following note:--"Le tableau, sur lequel on faisait jurer les témoins, et qui avait près de douze pieds d'élévation, consistait en trois portions ou bandes horizontales réunies dans un grand cadre sculpté à la manière du temps. La première, et la plus élevée, présentait quatre écussons aux armes de France, parsemés de fleurs de lis d'or; celle du milieu offrait, sous cinq arcades en ogives avec fleurons, un Christ entre la Vierge et saint Jean, et les quatre Evangelistes; au-dessous, un Moyse, et les tables de la loi: il existait encore au moment de la révolution; on l'a remplacé, au mois de janvier 1816, par un autre, d'environ quatre pieds de hauteur, donné (dit l'inscription moderne mise au bas) par Louis XII à l'Echiquier, lorsqu'il l'établit au palais. Ce second tableau, recueilli pendant la révolution par les soins de M. Gouel, graveur, et dont il a bien voulu faire hommage à la Cour royale (voir, à ce sujet, le Journal de Rouen, du 30 janvier 1816), est composé de deux parties: l'une renferme un Christ entre saint Jean et la Vierge; l'autre, en forme de couronnement, présente deux figures à mi-corps, avec des légendes; mais ces deux parties hétérogènes ne sont que deux fragmens ajustés ensemble. Le premier, qui représente le Christ, est évidemment la portion qui remplissait une des cinq arcades du grand tableau dont nous venons de parler, et l'autre est une partie seulement du tableau donné par Louis XII, et qui orna, pendant plus de deux siècles, le manteau de la belle cheminée de la chambre du Conseil que nous citons ci-après. Les deux figures, aujourd'hui mutilées, étaient en pied, et représentaient le Roi Louis XII et le Cardinal d'Amboise, avec ces mots écrits sur des bandelettes, que les deux personnages semblent s'adresser: _Pontifices, agite: Magistrats, agissez;--et vos Reges, dicite justa: et vous Rois, soyez justes_. Ces fragmens de deux tableaux différens, réunis, avec assez d'art, et qui paraissent être seuls échappés à la destruction, sont encore fort curieux, et l'on doit savoir gré à M. Gouel de leur conservation, et de la générosité avec laquelle il les a rendus à leur destination primitive."

PLATE LXXIX.

SOUTH PORCH OF THE CHURCH, AT LOUVIERS.

Louviers is one of the most considerable of the numerous manufacturing towns which surround Rouen in every direction, depending altogether for their prosperity upon the state of commerce in the provincial capital. Its population consists of about seven thousand inhabitants. Its position is beautiful, in a small island formed by the Eure, which divides, in the immediate vicinity of the town, into two streams, flowing through a valley of the most luxuriant fertility, enclosed by hills covered for the greater part with extensive forests.

The name of Louviers, in Latin _Locoveris_, occurs upon more than one occasion, in the early Norman chronicles; and the town, though never fortified, has obtained a considerable degree of historical celebrity. When Richard Coeur-de-Lion, escaped from his captivity in the east, hastened to punish the perfidy with which he had been on all sides assailed during his absence, and Normandy became the theatre of a most bloody warfare, Louviers had the honor of being selected as the place in which these differences were composed. The treaty signed upon this occasion, in 1195, prescribed new bounds to the duchy; and the old historians, who always delight in consecrating the recital of any memorable event by a mixture of the marvellous, tell how, at the moment when the kings were engaged in the conference which led to this treaty, a serpent of enormous size darted from the foot of the tree beneath which they were standing, and approached them with marks of great fury, hissing violently at both, as if in the act to attack them. The monarchs, who were alone, instantly laid their hands upon their swords; and the armies, who stood at a short distance on either side arranged in battle array, alarmed at such hostile demonstrations, had well nigh joined in a fresh combat.--Only the following year, Louviers was one of the towns ceded by Richard to Walter, archbishop of Rouen, by way of compensation for the infringement of the rights of the see, of which he had been guilty in the erection of Château Gaillard. The possession of Louviers was peculiarly acceptable to the prelate, as being in the immediate vicinity of the village of Pinterville, where the archbishops of Rouen then had their country seat: they continued to occupy the same till the reign of St. Louis, when that monarch conferred upon them the castle of Gaillon, which they held till the revolution.

Louviers was taken in 1345, by the English army under King Edward III. then on his march for Paris, after the battle of Caen; and Froissart, in relating the circumstance, takes occasion to mention the importance of the place, stating that the town was then a great one, and "the chief town of all Normandy for drapery and riches, and full of merchandize. But, not being closed, the hostile army soon entered it." He goes on to add, not much to the credit of the invading host, that "they overran, and spoiled and robbed without mercy; and that they won there great riches."--In 1360, Louviers was once more chosen as the spot where peace was signed: the treaty that had been concluded at Bretigny, was confirmed at Paris by the Regent, and was finally ratified by the Black Prince in this town.--During the subsequent wars, under Henry V. and VI. Louviers is repeatedly mentioned; but principally for opposing a resistance of twenty-six days to the English in 1418.--In the time of the league, it distinguished itself most unfortunately by its devoted attachment to the Catholic cause; in consequence of which, it was pillaged by the royalists shortly after the battle of Ivry.[181]

The church of Louviers is an imposing structure: though materially injured, and reduced to no more than a nave with its four aisles, it is still a spacious and handsome building. The great western door is closed, and the front defaced: the eastern end is likewise altogether modern. The central tower is handsome, though square and short. Two windows, very similar to those of the tower of St. Romain, in Rouen cathedral, light it on either side; and saints, placed under canopies, ornament the angles behind the buttresses. A second tower, to the west, is surmounted with a truncated cone. The south porch,[182] here figured, is the great feature of the exterior; and, for beauty and elegance in the formation or disposition of its parts, it may safely be put in competition with any similar portion of an ecclesiastical building, either in Normandy or in England. Yet, even here, the saints have been torn from their pedestals by the wanton violence of Calvinists or of democrats.

Internally, the church is a fine specimen of the pointed architecture of the thirteenth century;[183] but, to use the words of Mr. Turner, from whose Tour[184] a great part of the preceding description has been borrowed, "the whole is so concealed and degraded by ornaments in the worst of taste, and by painted saints in the most tawdry dresses, that the effect is disgusting." In the windows of the church there still remains a considerable quantity of painted glass; and a bas-relief on the right of the choir is well deserving of attention. It is placed under a niche, which in all probability was originally filled with a statue of St. Hubert; as the sculpture pourtrays a well-known legend, recorded in his history--the miraculous stag with a cross between his antlers, seen by the hunter-knight.--The foliage at the base of the niche is executed with particular elegance and skill.

In the town of Louviers is an old house, said to have belonged to the Knights Templars. Its gable, pierced with numerous windows, generally in the form of flatly pointed arches, each of them containing a couple of arches with trefoil-heads, has given currency to the tale of its original destination. It was figured some time since by M. Langlois, in a work commenced to illustrate the Antiquities of Normandy, but of which the first number only appeared; and it has recently been lithographized by M. Nodier. But, from the style of its architecture, it does not appear to have been erected anterior to the fourteenth century, however confidently it is referred by M. Langlois to the twelfth or thirteenth.

NOTES:

[181] Sully, in his _Memoirs_, I. p. 254, (_English translation_) gives the following account of its capture:--"The King succeeded better at Louviers: this town kept a priest in its pay; who, from the top of a belfry, which he never left, played the part of a spy with great exactness. If he saw but a single person in the field, he rung a certain bell, and hung out at the same side a great flag. We did not despair of being able to corrupt his fidelity, which two hundred crowns, and a promise of a benefice worth three thousand livres a year, effected. There remained only to gain some of the garrison; the Sieur du Rollet took this upon himself, and succeeded. He addressed himself to a corporal and two soldiers, who easily prevailed upon the rest of the garrison to trust the guard of one of the gates to them only. Every thing being thus arranged, the King presented himself before Louviers, at twelve o'clock in the night. No one rung the bell, nor was there the least motion in the garrison. Du Rollet entered, and opened the gate, through which the King passed, without the smallest resistance, into the centre of the town. Fontaine Martel made some ineffectual efforts to draw the garrison together: as for the citizens, they were employed in concealing their wives and daughters. The town, whose chief riches consisted in its magazines of linen and leather, was wholly pillaged: I had a gentleman with me, called Beaugrard, a native of Louviers, who was of great use to us in discovering where these sort of goods were concealed, and a prodigious quantity of them was amassed together. The produce of my share amounted to three thousand livres. The King consigned to Du Rollet the government of Louviers."

[182] Mr. Cotman very much regrets that it was not in his power to do this porch the justice it deserved, in consequence of the continual interruptions to which he was exposed from the lower class of the inhabitants.

[183] M. Nodier, in his _Voyages Pittoresques et Romantiques_, has figured the interior of this church, the erection of which he refers (p. 18) to the time of the first crusades; but a comparison of the building with others of that æra, would scarcely warrant such a conclusion.

[184] Vol. II. p. 287.

PLATE LXXX. AND LXXXI.

CHÂTEAU GAILLARD.

On the building of Château Gaillard, the following account is given by Masseville, in his _History of Normandy_:[185]--"In the year 1196, a few months after the treaty of Louviers had been concluded between Philip-Augustus and Richard Coeur-de-Lion, the Norman Duke, considering how frequently inroads had been made into his territories, by the way of Andelys, resolved to strengthen himself by means of a formidable barrier in that quarter. With this view, he built a fortress upon an island in the Seine, opposite the village of Lesser Andelys; and, at the same time, erected upon the brow of the rock that overhung the river, a castle of the greatest possible strength, without, however, reflecting how far these works were likely to affect the rights, or to diminish the revenues, of the see of Rouen, to whom the ground belonged. But Walter, who then wore the archiepiscopal mitre, was by no means of a character patiently to submit to an invasion of his privileges. He complained loudly during the progress of the works, menaced the artificers, and even the prince himself, with the vengeance of the church; and, finally, finding his threats and his remonstrances equally disregarded, had recourse to the bold measure of laying the whole of Normandy under a spiritual interdict. The king, alarmed at so decisive a step, appealed to the papal see, and sent the bishops of Durham and of Lisieux, as his ambassadors to Rome. The archbishop also repaired thither to plead his own cause; and the affair was finally compromised by an exchange, in virtue of which, the castles were allowed to stand, and the secular seigniory of Andelys was ceded to the duke, who, in return for this acquisition, and to obtain his reconciliation to the church, gave up to the primate the towns and lordships of Dieppe and Louviers, the land and forest of Alihermont, the land and lordship of Bouteilles, and the mills of Rouen."--The contract was considered of so much importance, that the archbishop of Canterbury, together with several other English prelates, as well as almost all those of Normandy, and many of the principal abbots and noblemen of the province, were summoned to sanction the execution of it by their presence. Such were the benefits it was supposed to bestow upon the church, that it has passed in ecclesiastical history, under the significant appellation of the _celebris permutatio_.

But the king also congratulated himself, and not without reason, upon having opposed an impregnable barrier to the inroads of his more powerful, and scarcely less active, neighbor. He delighted in Château Gaillard, the very name of which is said to have had its origin in proud mockery and defiance; and he himself, in his public acts, designated it his "_beautiful castle of the rock_." Many of his charters bear date from this fortress; so that, though only begun three years before the death of the monarch, it is plain that it was already habitable in his life-time. It may likewise safely be inferred, that it was then quite finished; for his dastardly successor, engaged either in distant wars, or in intrigues at home, from the moment of his mounting the throne, had bestowed no thought upon the strengthening of his hereditary continental dominions, till he found himself, in the year 1202, attacked by Philip-Augustus at the head of an overwhelming army, while his own subjects were but little disposed to assist a prince, whose hands were reeking with his nephew's blood.

It was at this time that Château Gaillard supported the siege which will render its name for ever memorable in history. Long, and curious, and interesting details of the occurrences connected with the capture of the castle, are given by Father Daniel: Du Moulin also briefly enumerates a few of the many stratagems to which the French king was obliged to have recourse. But those who delight in narratives of this kind, or who desire to obtain full information relative to the attacks and defence, combined with a lively picture of the strength of the fortress, must be referred to Brito, the poetical chronicler of the exploits of Philip-Augustus. The whole of the seventh book of the _Philippiad_ of that author, containing no fewer than eight hundred and forty-one lines, are devoted to this single subject; so eventful was the history of the siege, and so great the importance attached to the capture of the place. The fall of Château Gaillard was almost immediately followed by the total subversion of the power of the Norman Dukes; but, as to the fortress itself, though its situation was no longer such as to give it importance, Brito expressly states, that Philip bestowed great pains upon the restoring of its damaged works, and upon augmenting its strength by the addition of new ones:--

"Rex ita Gaillardo per prælia multa potitus,
Cuncta reædificat vel ab ipso diruta, vel quæ
Improbus appositis destruxerat ignibus hostis,
In triplo meliùs et fortiùs intùs et extrà,
Antea quàm fuerint muros et cætera firmans."

Fortunately for France, the subsequent state of the kingdom rendered precautions of this description unnecessary; Château Gaillard appears no more in history as a formidable fortress, except upon the occasion of the occupation of the Gallic throne by Henry V. and of the expulsion of his successor. In the former case, the castle did not surrender to the English army, till after a vigorous resistance of sixteen months;[186] and even then its garrison, though composed of only one hundred and twenty men, would not have yielded, had not the ropes of their water-buckets been worn out and destroyed: in the latter instance, it was one of the last of the strong holds of Normandy that held out for the successors of its ancient dukes; and the siege of six weeks, sustained by a dispirited army, was scarcely less honorable to its defenders, than the far longer resistance opposed on former occasions.

Even after the final re-union of the duchy, Château Gaillard was neither purposely destroyed, nor suffered to fall through neglect into decay, like the greater number of the Norman fortresses. During the religious wars, it still continued to be a military post, as well as a royal palace; and it was honored with the residence of Henry IV. whose father, Anthony of Bourbon, died here in 1562. Its importance ceased in the following reign. The inhabitants of the adjacent country petitioned the King to give orders that the castle should be dismantled. They dreaded, lest its towers should serve as an asylum to some of the numerous bands of marauders, by whom France was then infested. It was consequently undermined, and reduced to its present state of ruin.

If the name of this castle is to be found at other times, in "the historian's ample page," it is only in the comparatively unimportant character of a place of safe confinement for state prisoners, or, on one occasion, as a temporary residence for a fugitive monarch. In the latter capacity, it opened its gates to David Bruce, in 1331, when the Scottish prince, received by Philip de Valois, with all the honours due to an exiled sovereign, had this palace assigned him as a regal residence, and was permitted to maintain here, for a while, the pageantry of a court. As a prison, Château Gaillard was frequently employed: it was in particular distinguished with an unenviable preference in one of the most disgraceful æras of the history of France. Margaret of Burgundy, the Queen of Louis X. and Blanche, the consort of his brother, Charles le Bel, were both of them confined here, after having been tried and convicted of adultery; together with Jane, another princess of the house of Burgundy, the wife to Philip, brother to Louis and Charles. Margaret was shortly after murdered in this castle; when Louis, intent upon a fresh marriage with the princess Clementia of Hungary, found an obstacle to his wishes in the protracted existence of his former queen.

Of the extent, the magnificence, the commanding situation, or the imposing appearance of Château Gaillard, it is almost equally difficult to convey an adequate idea by the pencil or by the pen. "The faithful eye" can alone give satisfaction upon such subjects. Mr. Turner's account of the present state of the ruin, has the merit of being the most copious that has yet appeared; and the following extract from it shall therefore conclude this article:--"Our expectations respecting Château Gaillard were more than answered. Considered as to its dimensions and its situation, it is by far the finest castellated ruin I ever saw. Conway, indeed, has more beauty; but Château Gaillard is infinitely superior in dignity. Its ruins crown the summit of a lofty rock, abruptly rising from the very edge of the Seine, whose sinuous course here shapes the adjoining land into a narrow peninsula. The chalky cliffs on each side of the castle are broken into hills of romantic form, which add to the impressive wildness of the scene. Towards the river, the steepness of the cliff renders the fortress unassailable: a double fosse of great depth, defended by a strong wall, originally afforded almost equal protection on the opposite side.

"The circular keep is of extraordinary strength, and in its construction differs wholly from any of our English dungeon-towers. It may be described as a cylinder, placed upon a truncated cone. The massy perpendicular buttresses, which are ranged round the upper wall, whence they project considerably, lose themselves at their bases in the cone from which they arise. The building, therefore, appears to be divided into two stories. The wall of the second story is upwards of twelve feet in thickness. The base of the conical portion is perhaps twice as thick. It seldom happens that the military buildings of the middle ages have such a _talus_ or slope, on the exterior face, agreeing with the principles of modern fortification; and it is difficult to guess why the architect of Château Gaillard thought fit to vary from the established model of his age. The masonry is regular and good. The pointed windows are evidently insertions of a period long subsequent to the original erection.

"The inner ballium is surrounded by a high circular wall, which consists of an uninterrupted line of bastions, some semi-circular and others square. The whole of this part of the castle remains nearly perfect. There are also traces of extensive foundations in various directions, and of great out-works. Château Gaillard was, in fact, a citadel, supported by numerous smaller fortresses, all of them communicating with the strong central hold, and disposed so as to secure every defensible post in the neighborhood. The wall of the outer ballium, which was built of a compact white and grey stone, is in most places standing, though in ruins. The original facing only remains in those parts which are too elevated to admit of its being removed with ease.--Beneath the castle, the cliff is excavated into a series of subterraneous caverns, not intended for mere passages or vaults, as at Arques and in most other places, but forming spacious crypts supported by pillars roughly hewn out of the living rock, and still retaining every mark of the workman's chisel.

"The keep cannot be ascended without difficulty. We ventured to scale it; and we were fully repaid for our labor by the prospect which we gained. The Seine, full of green willowy islands, flows beneath the rock in large lazy windings: the peninsula below is flat, fertile, and well wooded: on the opposite shores, the fantastic chalky cliffs rise boldly, crowned with dark forests."

NOTES:

[185] Vol. II. p. 113.

[186] So says Monstrelet; and he has generally been followed; but, according to Masseville, (_Histoire de Normandie_, IV. p. 84) the Norman Chronicle limits the duration of the siege to only seven months.

PLATE LXXXII.

CHURCH OF MONTIVILLIERS.

Montivilliers is a town of about four thousand inhabitants, situated in a beautiful valley upon a small stream, called the _Lezarde_, near the western extremity of the Pays de Caux, within the distance of six leagues from Fécamp, and two from Havre de Grace. Its fortifications, now in ruins, were erected near the close of the fourteenth century, till which time it was altogether defenceless; but the state of France, just recovered from one English invasion and threatened with another, turned the thoughts of the government towards the securing of all vulnerable points on the northern frontier; and the trade of the place, though at present trifling, was at that period far otherwise. The cloths of Montivilliers were then considered to rival those of Flanders; and the preservation of the manufacture was regarded of so much consequence, that sundry regulations respecting it are to be found in the royal ordinances. The two circular towers of one of the gates now standing, afford a good specimen of the military architecture of the time.

Montivilliers is called in Latin, _Monasterium villare_; and in old French, _Monstier Vieil_: the present name of the town is obviously a corruption of these; and the same fact also denotes that the place derived its importance, if not its existence, from the monastery. Among the Norman historians, the foundation of Montivilliers is referred to the seventh century; during the latter half of which, St. Philibert, abbot of Jumieges, built a convent here for a community of nuns. The monastery was richly endowed; but no records are left of its history previously to the incursions of the Normans, under whose hands it at first suffered the same destruction as the other religious houses in Neustria, and afterwards rose, like them, from its ashes, with increased splendor and opulence. The immediate successors of Rollo rebuilt the abbey, but without restoring it to its original destination. Richard II. conferred it, with all its dependencies, upon the more favored monks of Fécamp; and, in the donation, he makes use of the strong expression, "ut ex eo facerent quicquid vellent, tamquam ex proprio alodo." The union of the two establishments was, however, but short lived: either under the same prince, or, as some authors say, under his son Robert, Montivilliers once more resumed a state of independence, and became once more the retreat of holy virgins. The duke was moved to this step by the solicitation of his aunt Beatrice, who retired hither, and took the veil, and presided over the sisterhood; and the monastery of St. Taurin at Evreux was, on this occasion, ceded to Fécamp, in exchange for Montivilliers. A portion of the charter is preserved in the _Neustria Pia_; and, according to this work, the instrument was subsequently ratified by the signatures of William the Conqueror, and of Philip le Bel. At different times, various papal bulls were issued, for the purpose of placing the abbey of Montivilliers under the especial protection of the holy see, and of granting it sundry privileges and immunities. These are also recorded in the same publication. One of them, originating in a dispute between the archbishop of Rouen and the abbess of Montivilliers, is but little to the credit of either party. It represents the lady-abbess as by no means free from irregularities in the performance of her office; it charges one of her nuns with dissolute life; and it arraigns the primate himself of being the cause, if not the immediate instrument, of scandal:--"Siquidem, ex parte abbatissæ fuit propositum et probatum, quòd quidam, qui cum eodem archiepiscopo et suis prædecessoribus venerant ad monasterium memoratum, turpia quædam et illicita commiserunt contra honestatem observantiæ regularis, in scandalum plurimorum: volumus et mandamus, ut, cùm archiepiscopus Rothomagensis ad monasterium ipsum, causâ visitationis, accesserit, ab ingressu claustri aliarumque domorum, in quibus habitant moniales, familiam suam talitèr studeat coercere, quòd de cætero similia non contingant. Ipse quoque archiepiscopus, ejusdem monasterii claustrum vel capitulum intraturus, non nisi cum moderatâ societate accedat, quæ vitâ et moribus sit honesta; ut per officium visitationis ejusdem, non dissolutionis vel scandali, sed ædificationis potiùs materia ministretur."--The instrument, which is of considerable length, goes on to accuse the prelate of affording protection to some refractory nuns, and enjoins him never to suffer his clergy to frequent the abbey upon any pretext, or upon any occasion.

The church of Montivilliers, represented in the present plate, is the same as before the revolution belonged to the abbey. The portion to the north is the chapter-house, and is the work of the fourteenth century. The greater part of the rest of the building, though altered in some places, may safely be referred to the eleventh; at which time it is upon record, that Elizabeth, who succeeded Beatrice as abbess, nearly, if not altogether, rebuilt the whole. At subsequent periods, the church underwent many considerable repairs and alterations. A sum of seven hundred florins was expended upon it in 1370, the proceeds of a fine imposed upon the town, for some injuries done to the nuns; and Toussaints Varrin, archbishop of Thessalonica, dedicated the edifice, in 1513, under the invocation of the Holy Virgin. Five years subsequently, the abbess, Jane Mustel, repaired the ceiling and painted windows, and made the stalls in the choir.[187]--The exterior of the Lady-Chapel affords a fine example of early pointed architecture; its lofty narrow windows are separated by slender cylindrical pillars, as in the church of the Holy Trinity, at Caen. The embattled ornament round the southern door of the western front, is far from commonly seen in such situations. In the interior of the nave, the same massive semi-circular architecture prevails as in the towers; but it is mixed with some peculiarities that will scarcely be found elsewhere, particularly a flat band in the form of a pilaster, enriched with losenges, which is attached to the front of one of the columns, and is continued over the roof, and again down the pillar on the opposite side. Mr. Turner noticed a small gallery, or pulpit, of elegant filigree stone-work, at the west end, near the roof;[188] and, upon the authority of the well-known antiquary, John Carter, he supposed it most probably intended to receive a band of singers on high festivals. But some corresponding erections in England would make it seem more likely that this gallery communicated with the apartments of the superior, and was placed here for the purpose of affording her the means of paying her devotions in private, when, either from the weather, or any other cause, she might not wish to occupy her throne in the choir.

Mr. Turner has also remarked upon the capitals of the columns at Montivilliers, which are very peculiar. Some of them are obvious imitations of the antique pattern, and of great beauty. Others are as rude and wild as any of those already figured in this work, from the churches of St. Georges or Gournay. The mysteries of Christianity, and the fables and allegories of heathenism, the latter, as well in its most refined as its most barbarous forms, occur in endless variety in almost every part of the edifice. One of the capitals contains a representation of the fabulous Sphynx, with her tail ending in a fleur-de-lys: upon another, is sculptured a figure of Christ in the act of destroying the Dragon, by thrusting the end of a crosier into its mouth. Two others, figured in the _Tour in Normandy_, exhibit a group of Centaurs, and the allegorical _psychostasia_: the remarks of the author of that publication, upon the latter of these, shall close the present article:--"In this you observe an angel weighing the good works of the deceased against his evil deeds; and, as the former are far exceeding the avoirdupois upon which Satan is to found his claim, he is endeavoring most unfairly to depress the scale with his two-pronged fork.--This allegory is of frequent occurrence in the monkish legends.--The saint, who was aware of the frauds of the fiend, resolved to hold the balance himself.--He began by throwing in a pilgrimage to a miraculous virgin.--The devil pulled out an assignation with some fair mortal Madonna, who had ceased to be immaculate.--The saint laid in the scale the sackcloth and ashes of the penitent of Lenten-time.--Satan answered the deposit by the vizard and leafy robe of the masker of the carnival. Thus did they still continue equally interchanging the sorrows of godliness with the sweets of sin; and still the saint was distressed beyond compare, by observing that the scale of the wicked thing (wise men call him the correcting principle,) always seemed the heaviest. Almost did he despair of his client's salvation, when he luckily saw eight little jetty black claws just hooking and clenching over the rim of the golden basin. The claws at once betrayed the craft of the cloven foot. Old Nick had put a little cunning young devil under the balance, who, following the dictates of his senior, kept clinging to the scale, and swaying it down with all his might and main. The saint sent the imp to his proper place in a moment; and instantly the burthen of transgression was seen to kick the beam.--Painters and sculptors also often introduced this ancient allegory of the balance of good and evil, in their representations of the last judgment: it was even employed by Lucas Kranach."

NOTES:

[187] _Description de la Haute Normandie_, II. p. 108.

[188] _Tour in Normandy_, I. p. 69.

PLATE LXXXIII.

CHURCH OF ST. SANSON SUR RILLE.

Normandy, throughout the whole of its extent, can scarcely boast a lovelier stream than the Rille. Originating in the southern part of the duchy, this little river advances in a northerly direction, rolling its sparkling waters in rapid course, through a valley of the most brilliant verdure, till they mingle with the British Channel, at a very short distance from the west of the mouth of the Seine. The Rille, in every part of its current, is varied by an infinity of islands, formed by the division of its waters. Hence its principal beauty, and hence also considerable benefit for the purpose of manufacture; but the same circumstance is fatal to the more important objects of commerce; for it is in a great measure owing to this multiplicity of channels, that the river is navigable to only a very short way above Pont Audemer; a distance scarcely exceeding ten miles from its confluence with the ocean.

The small village of St. Sanson is situated upon the right bank of the Rille, within a league of its mouth. Its church, the same most probably as is figured in this plate, is enumerated among the possessions confirmed to the Benedictine monastery of St. Martin, at Troarn, by a bull of Pope Innocent III. dated in the year 1210. In after-times, the presentation to the living was in the hands of the bishops of Dol, in Brittany, who likewise continued till the revolution to be both temporal and spiritual lords of the parish, in right, as they alledged, of the ancient barony of St. Sanson, which was annexed to their see.[189] Other writers asserted, that the bishops held their authority here, as successors to the superiors of an abbey, founded upon this spot in the middle of the sixth century, by Childebert I. in favor of St. Sanson, then bishop of Dol. But the monastery fell during the earliest incursions of the Normans, and never rose again. Old traditions state it to have been called in French, _Pentale_; and in Latin, _Monasterium Pentaliense_: a corruption, as it is supposed, of _Poenitentiale_. A neighboring chapel, under the invocation of _Notre Dame de Pentale_, gives color to the report.