Chapter 2

A stone screen, of a style which harmonized with the rest of the edifice formerly ornamented the entrance to the choir: In 1777, it was replaced by the present. This screen, notwithstanding its beauty, is unfortunately not in a style correspondent with the rest of the church. The upper gallery is surmounted by a gilt figure of Christ, made of lead, by Clodion. Between the pillars, we remark two marble altars, each ornamented with a white marble statue. That to the right is the statue of the Virgin, a much esteemed sculpture by Lecomte. This altar has retained the name _autel da vaeu_ (or the altar of the vow) since 1637, on account of a grand procession, which took place at that time, to obtain the cessation of the plague. The procession, in reentering the church stopped before this altar, on which the civic authorities placed a silver lamp, weighing forty marks. The statue to the left is that of saint Cecile, the patroness of musicians. This sculpture is also from the chisel of Clodion. Both altars are ornamented with handsome bas-reliefs, the one to the right representing, Jesus-Christ placed in the tomb; that to the left, Saint Cecile, at the moment of her death.

The actual existence of a library in the Cathedral, may be traced back as far as the year 1424. The canons, caused to be erected, for that purpose, over the cellar of the chapter house, the large building which we see at present. It was about one hundred feet long by twenty five broad. They ascended to it by a handsome gothic staircase, erected by order of the cardinal William d'Estouteville, during the second half of the XVth century, and placed in the corner of the northern transept. This library was plundered and destroyed by the calvinists, in 1562, but, was restored by the archbishop Francis de Harley.

In 1788, the chapter ordered an additional story to be built over the library, destined to receive the records of the church. The higher portion of the staircase which conducts to this story, was erected in 1789, and in the same style as the rest of it.

As far as 1112 the cathedral possessed several manuscripts, which were destroyed in the fire of 1200.

A great portion of the books of the cathedral are now deposited in the public library at the town-hall.

There are twenty five chapels in the circumference of the Cathedral. The most spacious, and the first to the right on entering, is that of Saint-Stephen, _la grande eglise_. It was formerly the _Parish church_ of Notre-Dame.

At the extremity of this aisle of the nave in going up, is the chapel of _petit Saint-Romain_, where the tomb of Rollo, the first duke is situated. This prince had formerly been buried in the sanctuary, near the great altar, which, at the time, was situated at the higher end of the present nave. The altar having been removed farther back, the remains of Rollo were deposited in the corner arcade where they now are. Above the arcade is the following inscription on a table of black marble, of which the following is a translation.

Here lies Rollo, the first duke, the founder and father of Normandy, of which he was at first the terror and the scourge, but afterwards the restorer. Baptised in 912 by Francon, archbishop of Rouen, and died in 917[5]. His remains had formerly been deposited in the ancient sanctuary, where is at present the upper end of the nave. The altar having been removed to another place, the remains of the prince were deposited here, by the blessed Maurille, archbishop of Rouen, in the year 1063.

On the opposite aisle, and exactly opposite the chapel we hare just left, is that of Saint-Anne. The remains of Guillaume-Longue-Epee, the son and successor of Rollo, who was assassinated in an island of the Somme, by order of Arnould, count of Flanders, are deposited in this chapel. His remains are placed like those of his father, in an arched corner, above which, is the following inscription, which we translate thus.

Here lies Guillaume-Longue-Epee, son of Rollo, duke de Normandy, killed by treason in the year 944. His remains had formerly been deposited in the ancient sanctuary, where is at present the upper end of the nave. The altar having been removed to an other place, the remains of the prince were deposited in this place by the blessed Maurille, in the year 1063.

What has become, of those funeral monuments, erected, formerly in the choir of the Cathedral, in honour of kings, princes or warriors? Who will assure us that the inscriptions placed at present in the sanctuary, point out to us, the illustrious dead whose tombs we seek? Where is the heart of Charles Vth, which was deposited in the middle of the sanctuary? That of Richard-Coeur-de-Lion, to the right of the high altar? The remains of Bedford, the son, the brother and the uncle of kings, of that Bedford, who, according to Pommeraye, was interred to the left of the high altar, and whose tomb stone they now shew us, behind the altar, which tells us that he was interred on the right side of it? Of all the tombs which existed formerly in the choir of the Cathedral, there remains but three modern inscriptions on marble slabs, which have been placed by chance. These three inscriptions are those of Richard-Coeur-de-Lion, Henry the Younger one of his brothers and the duke of Bedford. On the 30th of july 1838, being guided by historical traditions, they had the idea to dig at the spot marked by the inscription to Richard, and discovered the statue which formerly decorated his tomb. This statue, which is hewn out of a single block of very fine free stone, has been deposited provisionally in the chapel of the Virgin. It is six feet and a half long, and represents king Richard in a recumbent posture, his head supported by a square cushion, wearing a crown enriched with precious stones; his feet are supported by a crouching lion. On his left hand was a sceptre of which we only see the remains; the right hand has disappeared. The princes, mantle descends nearly to his ancles, in wide folds. It is over a tunic which reaches up to the neck, and which is bound round the body, by an embroidered belt of which the end hangs in front below the knee. These searches were continued on the 31st of july, and the heart of Richard was found; it was enclosed in a double box of lead, and what must leave no doubt of this precious discovery; the following inscription in letters of the time was engraved on the lid of the box:

HIC: JACET: COR: RICARDI: REGIS: ANGLORUM:

The heart has been provisionally deposited in a private press in the sacristy. These researches were skilfully directed by Mr Deville.

Let us now enter the chapel of the Virgin, and admire the treasure which it contains.

To the left on entering, is a monument of stone, without inscription or statue. It is that of Peter de Breze, count of Maulevrier, grand senechal of Anjou, Poitou and Normandy. He was killed at the battle of Montlhery, the 16th july 1465. This monument is remarkable by its graceful proportions, its elegance and the delicacy of its architecture. It is composed of two pilasters of the arabesque style, supporting a pointed arcade, surmounted by a pediment; the whole of it is in open work and decorated on all sides with the initials PB, in gothic letters. The niche of the tomb is about five feet wide by about four deep. Its height is six feet four inches to the key of the vault, and decorated with a shield bearing the arms of the deceased. Before the revolution, the same shield, decorated the three pannels of the base of the monument. We may still perceive the trace of the destroyers chisel. The entire height of the mausoleum is seventeen feet. The points of the two pilasters rise two feet and a half or three feet above the rest; which would make the total height of the monument of about twenty feet.

The name of Peter de Breze, is honourably mentioned in our annals at the time of the conquest of Normandy. It was he who received the capitulation of the castles of Harcourt, Gisors, Chateau-Gaillard. It was he, who first entered Rouen, when that town opened its gates to Charles VIIth[6]. The statue of Peter de Breze and that of his wife, Jeanne du Bec-Crespin, were formerly on the monument; but they do not now exist and no one knows when they have been taken away.

Next to it, is the monument of Louis de Breze, grand-son of the latter, who died in july 1531. The celebrated Diana of Poitiers caused this mausoleum to be raised to his memory. The body of the monument is supported by four columns of black marble, with capitals and bases of white alabaster. Between these columns is a coffin, on which the white marble statue of the grand senechal, is laid. The deceased is stretched on his back, his features are convulsed: one may see that he has just expired. The body is quite naked, the left hand is laid on his breast. The cenotaph is of black marble. The perfection of this sculpture causes it to be attributed to the celebrated Jean Goujon. Behind this statue, there was formerly another of the same personage, he was represented in the dress of a count, with the collar of Saint-Michael, and a crown on his head. We now only find the marks of the fixtures which fastened it to the monument. At each end of the recumbent figure, are two statues of women in alabaster. Diana of Poitiers in the dress of a widow, with her arms crossed, is kneeling at the head. At the feet, is that of the virgin holding the infant Jesus: it was according to general opinion, of the time of Pommeraye, who speaks of paintings, figures, tapers and chaplets suspended round the latter statue. There were two inscriptions, one in prose, the other in verse. Both were erased at the revolution, but they have been replaced since; the following is a copy of the prose one:

Loys de Bresze, en son vivant cheualier de l'ordre, premier Chambellan du Roy, grand Seneschal, Lieutenant-general et gouverneur pour le dict Sieur, en ses pays et duche de Normendie, Capitaine de cent gentile hommes de la maison du dict sieur et de cent hommes d'armes de ses ordonnances, Capitaine de Rouen et de Caen, Comte de Mauleurier, Baron de Mauny et du Bec-Crespin, Seigneur Chastellain de Nugent-le-Roy, Ennet, Breval et Monchauvet. Apres avoir vescu par le cours de nature en ce monde en vertu, jusques a l'age de LXXII ans, la mort l'a faiet mettre en ce tombeau pour retourner viure perpeluellement. Lequel deceda le dymence XXIIIe jour de juillet de mil vre trente ung. 1531.

A third inscription, which probably had not been perceived in 1793, is seen at the upper corner of the left side:

_Hoc Lodoice tibi posuit Brezoee sepulchrum, Pictonis amisso moesta Diana viro. Indivulsa libi quondam et fidissima conjux, Ut fuit in thalamo, sie erit in tumulo_[7].

Some witty people have remarked that the duchess of Valentinois spoke truly, and that she was as _faithful_ in one case as in the other.

Above the entablature, the equestrian statue, of the senechal, in white marble is placed. On each side of the arcade, which contains this statue, are four cariatides crowned with flowers, and representing: the two to the right, prudence and glory; those to the left, victory and faith. On the frieze, under some figures bearing festoons, we find this motto: _tant grate chevre que mal giste_. The coping is an attic forming a niche, in which is placed an alabaster statue; it holds a sword and represents power, according to some, justice and prudence, according to others.

In the frieze above the figure is the following inscription: _In virtute tabernaculum ejus_. The cornice is terminated by two goats supporting the armorials of the senechal. The whole of the frieze is of alabaster, while the architrave and cornice are of black marble. This mausoleum, which is one of the most remarkable productions of the arts, under Francis Ist, is attributed to Jean Cousin, or to a sculptor not less celebrated, Jean Goujon.

The monument of the cardinals of Amboise, which is more splendid, but not of so pure a style, decorates the right side of the chapel: it is placed in the thickness of the wall. After working for seven years without interruption, it was at last completely finished in 1525, under the archbishop d'Amboise, the second of the name: we say archbishop, because at that time the prelate had not been invested with the roman purple. The bodies of these two cardinals are not deposited in this monument; they are interred in a vault at the foot of it and which is only large enough to contain the two leaden coffins, which are supported on iron bars. The sepulchre was violated during the revolution, and the coffins carried off. On the lower part of the monument, are six beautiful little statues, in niches separated by pilasters, representing faith, charity, prudence, power, justice and temperance. All these statues are of white marble. On the tomb, which is of black marble, the two cardinals George d'Amboise uncle and nephew are placed. They are kneeling on cushions; their heads uncovered and their hands joined. The expression of prayer and piety is perfect in the two figures, especially in that of George d'Amboise Ist. At their feet and on the front of the cenotaph, we find the following inscription, in a single line, which only concerns the cardinal-minister:

_Pastor eram cleri, populi pater, avrea sese Lilia subdebant quercus[8] et ipsa michi. Mortoos en iaceo, morte extingovinior honores; At virtus, morte nescia, morte viret._

On the ground of the monument is a bas-relief representing the patron of the two prelates (saint George) overcoming the dragon; On the sides, are eight different figures, amongst which we discover the virgin, several saints and more particularly Saint-Romain, archbishop of Rouen during the first half of the VIIth century. A _voussure_ ornamented with sculptures, as remarkable for their good taste as for the richness of their ornaments, supports an attic, where we find the statues of the twelve apostles, two and two, in elegant niches separated by pilasters.

These two monuments are not only remarkable by their magnificence and by the recollections they awaken, they have another attraction, as an history of the art at the time when the gothic style was giving place to that of the renaissance.

These monuments were renewed in 1838, in great perfection by M. Ubaudi, sculptor of Paris.

The remains of cardinal Cambaceres, who died at Rouen, on the 25th october 1818, are deposited in the little vault at the foot of the monument of the cardinals of Amboise.

The altar of this chapel is decorated with a very fine picture by Philip de Champagne, representing _the adoration of the shepherds_. This picture is much esteemed by painters and connoisseurs[9]. On the right, in leaving the chapel of the virgin, is a monument concerning which until recently, there were only conjectures. It is the statue of a bishop stretched on his back and under an arcade. On the lower part of the sepulchre, are mutilated bas-reliefs, which one might suppose, were intended to represent a synod. At least, we may distinguish several personnages seated, holding books in their hands and a bishop in the midst of them as if presiding. On the upper part we remark angels bearing away the soul of the deceased, represented by the body of a young child.

M.A. Deville, in his work on _the monuments of the cathedral of Rouen_, has proved that this monument was that of Maurice, archbishop of Rouen, who died in 1235. I must not pass over the popular tradition, however ridiculous it may appear, which is attached to this monument. This tradition says, that the body of the personage laid under this stone, is that of a bishop who, in a fit of a passion, had killed his servant with the blow of a soup-ladle. The people add, that the bishop repenting, wished not to be interred in the church; but at the same time he forbad them to bury him outside of it, and it was to obey this ambiguous order that they made him a tomb in the thickness of the wall.

Not far from the chapel of the Virgin, in the right aisle, on looking eastward, we find the sacristy. We should stop a moment before its stone partition with its iron door: they are both much esteemed works of the end of the XVth century. The partition wall is from the liberality of Philip de la Rose, chief-archdeacon, and was erected in the year 1473 according to Farin, but 1479 according to Pommeraye[10].

Leaving now the inside of the cathedral let us examine the exterior of this admirable edifice. Here, details are impossible; we must see the whole mass, to form an idea of it. Who could number so many pieces of sculpture, capitals, sculptured galleries, bas-reliefs, and ornaments, which are multiplied under all forms? Historical explanations are those only which can be offered to the reader. We may add, that they are the most useful, since the rest is an affair of the eyes. The whole of the western facade, comprehended between the two front towers, is from the munificence of cardinal d'Amboise I. The building commenced on the 12th of june 1509, and was finished in 1530. The bas-reliefs, which decorate the doorways under the three entrances from the porch, were more or less mutilated by the calvinists in 1562. That on the right is now scarcely to be recognized: that of the great portal represents the genealogical tree of Jesse, or of the family of the Virgin; that on the left, the beheading of John the Baptist; the latter porch suffered considerably from a frightful storm, which took place in 1683.[11]

The tower, which terminates the facade to the north, bears the name of Saint-Romain. Its foundation is the most ancient part of the whole edifice; the rest was built later and at different periods. The whole was terminated in 1477, under the cardinal d'Estouteville. Before the revolution the tower of Saint-Romain contained eleven bells, there were four others in the pyramid, and only one in the Butter Tower, but which was heavier than all the others and of which I shall speak.

The tower, which terminates the facade to the south, is named the butter tower (_Tour de Beurre_), because, it was erected with the alms of the faithful, who, afterwards obtained leave to eat butter during Lent: Its height is two hundred and thirty feet. The first stone was laid in the month of november 1485, by Robert de Croixmare, archbishop of Rouen. It was nearly twenty two years in building, since the edifice according to Pommeraye, was only terminated in 1507. Before its completion, it was consecrated (in 1496), by Henry Potin, suffragan to cardinal of Amboise Ist.

On the 29th of september 1500, this cardinal gave 4,000 livres, to be used in the casting of a bell; wishing, that it might be _the finest in the kingdom_. The furnaces were already built at the foot of the tower; and the mould commenced; but, they remembered that the wood work of the tower would not be strong enough to bear such a colossus. The mould was broken, and they made another which was smaller. The operation was commenced on monday the 2nd of august 1501, at eight o'clock in the evening, after a general procession round the Cathedral and the archbishop's palace. The circumference of this bell was thirty feet, its height ten feet and it weighed 36000 pounds. It is said, that the founder, John le Machon, of Chartres, who cast it, was so satisfied in having succeeded in this enterprise, that he died of joy twenty six days after.

On the visit of Louis XVI to Rouen, in 1786, the bell called George d'Amboise was cracked. In 1793, it was converted into cannons. Some pieces bearing the following inscription were made into medals and are now very rare.

MONUMENT DE VANITE DETRUIT POUR L'UTILITE L'AN DEUX DE L'EGALITE.

MONUMENT OF VANITY DESTROYED FOR UTILITY THE SECOND YEAR OF EGALITY.

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

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

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

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

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

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

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