Chapter II: Part 2

The edifice was not entirely completed until the beginning of the XVIth century; but, the tower existed before the end of the XVth. 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 XIVth and XVth 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:

Ci gist maistre Alexandre de Berneval, maistre des Oeuvres de
Machonnerie du Roy, notre Sire, du baillage de Rouen et de cette
Eglise, qui trespassa l'an de grace mil CCCCXL le vo jour de
janvier. Priez Dieu pour l'ame de lui.

We also remark the statue of Sainte-Cecile, 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:

Ci gist noble homme Jean Tallebot, fils du sieur de Tallebot,
Mareschal de France, qui deceda en aunees de puerilite, le IV
Banvier MCCCCXXXVIII.

The interior of the church contains several fine paintings, such as: _The miracle of the loaves_, by Daniel Halle, and _a Visitation_, by Deshayes, of Rouen, in the chapel of the Virgin; _an opening of the holy gate_, by Leger, 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 IVth, 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 XIth 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 XVth was replaced, which had been taken away in 1792. This monument is by Paul Slodtz, a statuary of the last century.

[Footnote 15: Dibdin's _Bibliographical, antiquarian and picturesque tour in France and Germany_; London, Payne and co. 1821, royal 8vo, vol. 1.]

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 XVth 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 ainee de Mgr l'archeveque_. 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.

[Footnote 16: The model in relief of this church and made in the first hall of the XVth century, may be seen in the Museum of antiquities.]

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 XVIth century, which was the most brilliant period of painting on glass in France.

Mr 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-Lo; 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 7th 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 Hotel-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 VIth 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 Ist, 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 27th january 1538. Neither its interior or exterior offer any thing worthy of notice.

SAINT-ROMAIN.

This was the chapel of the ancient _Carmes dechausses_. Those fathers obtained letters patent on the 27th 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 20th 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 Mr Pierre de Bec-de-Lievre, 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-Lievre, finished the edifice at their own expense. This is the present church: it was consecrated on the 21st 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 20th 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 XVIth century. At the farther end of the chapel, is a fresco painting by Pecheux representing _the baptism of Jesus-Christ_.

In the next chapel, which is dedicated to Saint-Theresa, we see _Sainte-Genevieve_, 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 Pecheux, _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 Mr Lebreton, of Rouen, was received on the 11th 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 XIIIth 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 Lesselie.

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_.

[Footnote 17: _The art of painting on glass_. 1774, folio, fig.]

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 VIIth 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'Aumone, 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 Francois 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 9th 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 XIth 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 Mr 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 XVIIth century, the most ancient portion is from the commencement of the XIth 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 Mr 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 XVth.

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-ELOI.

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-Clement, 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 XVIth 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 XVth century, did not offer any thing remarkable but its tower, which is entire.

SAINT-ANDRE-DANS-LA-VILLE,

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

SAINT-ETIENNE-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 XVIth century.

SAINT-PIERRE-L'HONORE,

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

SAINTE-CROIX,

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

SAINT-SEPULCHRE,

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

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'oeuvre of architecture.

CIVIL MONUMENTS.

HOTEL-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 XVth 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 Ist, 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 Ist, 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 XIIth with his queen came to Rouen, he alighted at the archiepiscopal palace. The dauphin Francis of Valois, son of Francis Ist, 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 XIIth, 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.

The Palais-de-Justice, properly so called, forms as it were one side of a square, at the northern extremity of the salle des Procureurs. Its facade, which looks towards the south, is two hundred feet in length, and is ornamented with every thing that the architecture of the time possessed of the richest and most delicate. The angular pillars of the piers are covered with canopied statues and small steeples, which extend from the base to the summit; the numerous ornaments, which surround the windows, those which accompany and surmount the windows of the roof; the leaden balustrade which surrounds the roof, the arcades which form a gallery, and are carried along the whole of the entablature, lastly, the elegant octangular turret which occupies the middle of the facade and separates it into two equal parts, are of the greatest beauty and purity of taste, in spite of a certain mixture in the style, which characterizes the transition from gothic architecture to that of the _renaissance_, style which already began to be in use. The name of the architect, unknown till recently, is Roger Ango.

At the farther end of the salle des Procureurs is a door, which leads into the ancient _Grand Chambre_ (great Chamber), in which the court of assizes are now held. This hall may be considered as the finest in the kingdom. The ceiling, which is divided into sculptured compartments, decorated with gilt bronze ornaments, is of oak to which time has given the appearance of ebony. The whole of the flooring was formerly covered with _arabesques_, according to the custom of the reign of Lewis the XIIth. From this floor, an ancient fire place which existed in the _Chambre de Conseil_, or Counsel Hall, a curious painting which the antiquarian Millin mentions in his _national antiquities_ and on which witnesses were sworn have all disappeared.

On the exterior, only two parts of this elegant edifice, that which is exposed to the setting sun, and the middle one to the south, have retained their primitive beauty. The latter is now under repair and renovation. At the commencement of the last century, the modern portion of the building which faces the west, was erected. The front of this building fell to the ground on the 10th of april 1812, and brought down with it the whole ceiling, which was painted by the celebrated Jouvenet, who, having his right hand paralysed, painted with his left, and in a manner worthy of such a painter, the _Triumph of Justice_.

Considerable embellishments have taken place in the court of the Palais. The massive flight of stone steps, which led to the _salle des Procureurs_, and which especially hid from view the beautiful angular turret, has been removed. A new staircase has been erected at the middle of the facade, before the door of the prisons, the entrance to which, is at the side. This staircase is composed of a single straight flight, of five metres (fifteen feet) in breadth, and is crowned by a porch in the style of the building. The ancient wall, which closed the court on the side of the rue aux Juifs, has been replaced by a cast iron railing, in the gothic style. The front of the Palais being thus exposed to view, the aspect of the edifice becomes as imposing as picturesque. Behind the Palais-de-Justice, in the rue Saint-Lo, is a large building, which answers the purpose of a court of appeals, for the _cour royale_. The offices of the town-hall were established here during the revolution. It was formerly the residence of the first presidents of the parliament of Normandy.

TOWER DE LA GROSSE-HORLOGE.

The following inscription, which is engraved on a brass plate, and is perfectly well preserved, is placed above the door at the foot of the staircase.

En lan de lincarnarian nee segour. mil ccc.xx.iiii. et neuf. fu
comence rest berfrop: et Es ans ensuiuas iusques en lan mil.
ccc.xx.iiii. et xviii. fu fait et parfait. ou quel temps noble home
mess. Guille de Bellengues rheunllier chambellen di Roy nostre
Sire estoit cappitaine de reste ville. honorable home pourneu et
sage Johan de la tuille bailly. et sire Guillaumealorge. Johan
mustel. Guille de gaugy. Richart de sommery. Nicolae le roux.
Gaultier campion, ronseillers de la Dicteville. et pierres hermes
reseueur d'icelle.

Proceeding on, we ascend the tower of the belfry, by a flight of two hundred steps, at the top of which is the bell, with the following inscription:

+JE SUI: NOMME: ROUVEL: ROEJEN: LE SENON: ME SJSE: SERE: REGAN: DAMJENS: ME FJST+

We perceive by this inscription, that this bell was named _Rouvel_, and not _Rembol_, as tradition would have it; but it is better known under the name of the Cloche d'argent (silver bell), although not a grain of silver entered into the composition of it. It rings every night at nine o'clock. It also rings peals on occasion of any national rejoicings or public calamities. This bell was made in the year 1447; it was then called the _horloge du Beffroi_. The stone vault, which crosses the street, at the place still called _porte Massacre_ (the murder gate) was erected in 1527. On each side of this arcade, we perceive the dial plates and medallions.

Under the Vault, in the centre, we see sculptures representing a shepherd tending sheep. On each of the sides, are other sheep grazing. To the left, and facing the old market place, we may read the following inscription: _Animam suam ponit pro ovibus suis_, which indicates sufficiently the allegory of this composition, if we did not also see on the opposite side these other words: _Pastor bonus_.

Beside the arcade, but nearer to the rue des Vergetiers, the tower of the Belfry rises. We perceive a platform at the top of the tower, surrounded by an iron railing, from whence is a view of the whole town. Above is a dome, surmounted by a small steeple.

THE COVERED MARKETS.

About the middle of the Xth century, Richard Ist, surnamed _Sans-Peur_, and third duke of Normandy, caused a palace to be erected on the Seine, which consisted of a large tower and served at the same time as a defence to the town. It was also the state prison. Henry Ist added several buildings. Several fortifications had been previously erected, the former being then called the Vielle-Tour (old Tower). This tower was destroyed by Philip-Augustus; it was there, according to the greater number of historians, that in 1204 the cruel John-Sans-Terre caused his nephew, Arthur of Britanny, to be confined, and murdered him with his own hand. The present _halles_ (covered markets) occupy the greater portion of the site formerly occupied by the palace and the _Vieille-Tour_, which has left its name to the two markets we are presently going to speak of.

Those vast warehouses for different manufactures, called _halles_ (or marts), were erected in the second half of the XIIIth century, about the time when Lewis IXth fixed the fifth enclosure of the town of Rouen. These marts are considered the most important in France. The most considerable portion, and also the most ancient of the whole building, is set apart for the sale of linen cloths. Its length is two hundred and seventy two feet, by fifty in breadth. The roof is supported by two rows of stone pillars. The two other marts, one for coton stuffs and the other for worsted stuffs and cloth, are each two hundred feet in length. These marts were open till about the year 1493, at which time they were enclosed, to prevent vagabonds taking shelter in them. The linen mart separates the market which is held on this place in to two unequal portions. The larger occupies the north side, and is called the _place de la Haute-Vieille-Tour_; it is reserved for the sale of old linen, old utensils and particularly for the sale of crockery and glass ware. The second occupies the south side, and is called the Basse-Vieille-Tour, because it is considerably lower than the other portion. Several kinds of eatables are sold here, especially fish.

There formerly existed a very beautiful fountain in the middle of the higher place, which was composed of a triangular pyramid, surmounted by a statue of Alexander; but not the least vestige of it remains. The present fountain is supplied with water from the Gaalor spring.

Near the linen-mart, we observe a remarkable edifice, which projects from the rest of the building, called the monument of Saint-Romain. This structure however does not form part of the marts, to which it has not the least resemblance. Neither did it form apart, of the palace of the ancient dukes of Normandy, as some persons still believe. The style of its architecture sufficiently indicates the time of its erection, namely 1542. The corinthian order of architecture appears in the whole height of the building. It was on the first floor that the celebrated old ceremony, called the _levee de la Fierte_, for the delivrance of a prisoner, took place every year.[18]

In the neighbourhood of the linen and cotton marts, is the corn mart; it is three hundred feet in length, its breadth being in proportion. It is open three days in the week: mondays, wednesdays and fridays: the two others marts are open only on fridays.

[Footnote 18: To have all accounts of this ceremony, see the work of Mr Floquet, entitled: _Histoire du Privilige de Saint-Romain_, etc,--Rouen, E. Le Grand, 1833, 2 vol. 8vo.]

THE EXCHANGE.

Untill the year 1493, the merchants of Rouen had no place of meeting alloted to transact their commercial affairs. They met however, in the cathedral but, without authorisation. The municipal authorities, wishing to put a stop to this state of things, made an arrangement with the bailiff of Rouen, who issued a decree: "That there should be erected at the lower end of the New-Market place, and at the expense of the town, a large stone building, and on the second floor of this edifice, a large hall was to be reserved for the use of the merchants of the town, those of other nations also having the same right, to meet and transact their affairs; which hall is to be named, for the future, the common town hall."

The stone building here spoken of, is that vast wing, which closes the court of the _Palais-de-Justice_ to the west; and the common town hall is that known under the name of _Salle des Procureurs_ or _des Pas-Perdus_.

About the year 1664, the merchants company obtained a portion of ground on the quay, where they met untill 1827. Since then, that portion of ground has been given up to enlarge the quay. The meridian which ornamented this ancient exchange, is now placed in the garden of the town hall. Since the straightening of the quay, the uncovered exchange has been placed before the _Consuls_--(or covered exchange) so that the one might communicate with the other: it occupies the portion of ground, which is situated between the rue Nationale and the rue des Iroquois, and is surrounded by an iron railing.

TRIBUNAL OF COMMERCE,

COMMONLY NAMED THE CONSULS.

It is in the gallery on the ground floor, that the merchants meet, when the rainy weather does not permit their meeting in the uncovered exchange: This was formerly the _Juridiction consulaire_; so its destination has not been changed since the tribunal of commerce is established here. In the middle of the gallery on the ground floor, and to the right on entering from the quay, we remark a handsome staircase, which is formed by a double flight of steps, from the first landing. Before the revolution, the statue of Louis XVth was placed here.