Chapter 3

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

[Footnote 4: _Historical description of the Cathedral of Rouen_, by Gilbert Rouen, Ed. Frere, 1837, 8vo. with 3 plates.--_Essay on ancient and modern painting on glass_, etc., by E.H. Langlois. Rouen, Ed. Frere, 1832. 8vo, with 7 plates.]

[Footnote 5: It is an error: Rollon did not die till the year 931 or 932.]

[Footnote 6: _Monuments of the cathedral of Rouen_, by A. Deville. Rouen, N. Periaux, 1837, 8vo, with 12 plates.]

[Footnote 7: O Louis de Breze, Diana of Poitiers, afflicted by the death of her husband, has raised this monument to your memory, she was your inseparable companion, your very faithful spouse in the conjugal state, and will be equally so in the tomb.]

[Footnote 8: That is to say that the pope Julias IInd was of the house of Rovero (_Quercus_).]

[Footnote 9: The cathedral possesses also several other remarkable pictures; we distinguish amongst others, an _Annunciation_, by Letellier of Rouen, nephew of the celebrated Poussin: it is placed in the second chapel of the left aisle, on entering by the great portal. To the right and left of the choir, we find a _Samaritan_, by Charles Tardieu, and _The lying in the Sepulchre_, by Poisson.]

[Footnote 10: Mr Deville makes the dates between the years 1480 to 1482, according to the manuscript capitulary registers of the cathedral.]

[Footnote 11: We perceive two counterforts, which have been lately erected on each side of the portal, under the direction of Mr Alavoine, to consolidate the front of the edifice, which had caused some fear, as to its solidity.]

[Footnote 12: So called from the college of the same name founded by Pierre de Colmieu, archbishop of Rouen and cardinal of Albe.]

[Footnote 13: The whole of these pieces of iron were cast at the foundery at Conches, a small town, which is situated at about twelve leagues from Rouen, and the expense is valued at 500,000 francs.]

[Footnote 14: For the description of the archbishop's palace, see the chapter on the civil monuments.]

SAINT-OUEN.

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

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

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

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

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

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

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

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

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

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

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

The edifice was not entirely completed until the beginning of the 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.