A Bibliographical, Antiquarian and Picturesque Tour in France and Germany, Volume One. Thomas Frognall Dibdin

it necessarily picturesque, view it from what spot you will.

      The population of Rouen is supposed to be full one hundred thousand souls. In truth, there is no end to the succession of human beings. They swarm like bees, and like bees are busy in bringing home the produce of their industry. You have all the bustle and agitation of Cheapside and Cornhill; only that the ever-moving scene is carried on within limits one-half as broad. Conceive Bucklersbury, Cannon-street, and Thames-street,--and yet you cannot conceive the narrow streets of Rouen: filled with the flaunting cauchoise, and echoing to the eternal tramp of the sabot. There they are; men, women, and children--all abroad in the very centre of the streets: alternately encountering the splashing of the gutter, and the jostling of their townsmen--while the swift cabriolet, or the slow-paced cart, or the thundering Diligence, severs them, and scatters them abroad, only that they may seem to be yet more condensely united. For myself, it is with difficulty I believe that I am not living in the times of our Henry VIII. and of their Francis I.; and am half disposed to inquire after the residence of Guillaume Tailleur the printer--the associate, or foreign agent of your favourite Pynson.35

LETTER V.

       Table of Contents

      ECCLESIASTICAL ARCHITECTURE. CATHEDRAL. MONUMENTS. RELIGIOUS CEREMONIES. THE ABBEY OF ST. OUEN. THE CHURCHES OF ST. MACLOU, ST. VINCENT, ST. VIVIEN, ST. GERVAIS, AND ST. PAUL.

      I have now made myself pretty well acquainted with the geography of Rouen. How shall I convey to you a summary, and yet a satisfactory, description of it? It cannot be done. You love old churches, old books, and relics of ancient art. These be my themes, therefore: so fancy yourself either strolling leisurely with me, arm in arm, in the streets--or sitting at my elbow. First for THE CATHEDRAL:--for what traveller of taste does not doff his bonnet to the Mother Church of the town through which he happens to be travelling--or in which he takes up a temporary abode? The west- front,36 always the forte of the architect's skill, strikes you as you go down, or come up, the principal street--La Rue des Carmes,-- which seems to bisect the town into equal parts. A small open space, (which however has been miserably encroached upon by petty shops) called the Flower-garden, is before this western front; so that it has some little breathing room in which to expand its beauties to the wondering eyes of the beholder. In my poor judgment, this western front has very few elevations comparable with it37--including even those of Lincoln and York. The ornaments, especially upon the three porches, between the two towers, are numerous, rich, and for the greater part entire:--in spite of the Calvinists,38 the French revolution, and time. Among the lower and smaller basso-relievos upon these porches, is the subject of the daughter of Herodias dancing before Herod. She is manoeuvering on her hands, her feet being upwards. To the right, the decapitation of St. John is taking place.

      The southern transept makes amends for the defects of the northern. The space before it is devoted to a sort of vegetable market: curious old houses encircle this space: and the ascent to the door, but more especially the curiously sculptured porch itself, with the open spaces in the upper part--light, fanciful and striking to a degree--produce an effect as pleasing as it is extraordinary. Add to this, the ever-restless feet of devotees, going in and coming out--the worn pavement, and the frittered ornaments, in consequence--seem to convince you that the ardour and activity of devotion is almost equal to that of business.39

      As you enter the cathedral, at the centre door, by descending two steps, you are struck with the length and loftiness of the nave, and with the lightness of the gallery which runs along the upper part of it. Perhaps the nave is too narrow for its length. The lantern of the central large tower is beautifully light and striking. It is supported by four massive clustered pillars, about forty feet in circumference;40 but on casting your eye downwards, you are shocked at the tasteless division of the choir from the nave by what is called a Grecian screen: and the interior of the transepts has undergone a like preposterous restoration. The rose windows of the transepts, and that at the west end of the nave, merit your attention and commendation. I could not avoid noticing, to the right, upon entrance, perhaps the oldest side chapel in the cathedral: of a date, little less ancient than that of the northern tower; and perhaps of the end of the twelfth century. It contains by much the finest specimens of stained glass--of the early part of the XVIth century. There is also some beautiful stained glass on each side of the Chapel of the Virgin,41 behind the choir; but although very ancient, it is the less interesting, as not being composed of groups, or of historical subjects. Yet, in this, as in almost all the churches which I have seen, frightful devastations have been made among the stained-glass windows by the fury of the Revolutionists.42

      Respecting the MONUMENTS, you ought to know that the famous ROLLO lies in one of the side-chapels, farther down to the right, upon entering; although his monument cannot be older than the thirteenth century. My attachment to the bibliomanical celebrity of JOHN, DUKE OF BEDFORD, will naturally lead me to the notice of his interment and monumental inscription. The latter is thus;

      Ad dextrum Altaris Latus Jacet IOANNES DUX BETFORDI Normanniæ pro Rex Obiit Anno MCCCCXXXV.

      The Duke's tomb will be seen engraved in Sandford's Genealogical History,43 p. 314; which plate, in fact, is the identical one used by Ducarel; who had the singularly good fortune to decorate his Anglo-Norman Antiquities without any expense to himself!44

      There is a curious chapter in Pommeraye's Histoire de l'Eglise Cathedrale de Rouen, p. 203, respecting the Duke's taking the habit of a canon of the cathedral. He attended, with his first wife, ANNE OF BURGUNDY, and threw himself upon the liberality and kindness of the monks, to be received by them as one of their order: "il les prioit d'être receu parmy eux comme un de leurs frères, et d'avoir tous les jours distribution de pain et de vin, et pour marque de fraternité d'être vétu du surplis et de l'aumusse: comme aussi d'être associé, luy et sa très généreuse et très illustre épouse, aux suffrages de leur compagnie, et à la participation de tous les biens qu'il plaira à Dieu leur donner la grace d'opérer," p. 204. A grand procession marked the day of the Duke's admission into the monkish fraternity. The whole of this, with an account of the Duke's superb presents to the sacristy, his dining with his Duchess, and receiving their portion of "eight loaves and four gallons of wine," are distinctly narrated by the minute Pommeraye.

      As you approach the Chapel of the Virgin, you pass by an ancient monument, to the left, of a recumbent Bishop, reposing behind a thin pillar, within a pretty ornamented Gothic arch.45 To the eye of a tasteful antiquary this cannot fail to have its due attraction. While however we are treading upon hallowed ground, rendered if possible more sacred by the ashes of the illustrious dead, let us move gently onwards towards the Chapel of the Virgin, behind the choir. See, what bold and brilliant monumental figures are yonder, to the right of the altar! How gracefully they kneel and how devoutly they pray! They are the figures of the CARDINALS D'AMBOISE--uncle and nephew:--the former, minister of Louis XII.46 and (what does not necessarily follow, but what gives him as high a claim upon the gratitude of posterity) the restorer and beautifier of the glorious building in which you are contemplating his figure. This splendid monument is entirely of black and white marble, of the early part of the sixteenth century. The figures just mentioned are of white marble, kneeling upon cushions, beneath a rich canopy of Gothic fretwork. They are in their professional robes; their heads are bare, exhibiting the tonsure, with the hair in one large curl behind. A small whole-length figure of St. George, their tutelary saint, is below them, in gilded marble: and the whole base, or lower frieze, of the monument, is surrounded by six delicately sculptured females, about three feet high, emblematic of the virtues for which these cardinals were so eminently distinguished. These figures, representing Faith, Charity, Prudence, Force, Justice, and Temperance, are flanked by eight smaller ones, placed in carved niches; while, above them, are the twelve Apostles, not less beautifully executed.47

      On gazing at this splendid monument of ancient piety and liberality--and with one's mind deeply intent upon the characters of the deceased--let us fancy we hear the sound of the GREAT BELL from the south-west tower … called the Amboise Tower … erected, both the bell and the tower, by the uncle