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Licquet. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + a img {border: none; } + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 1%; + font-size: smaller; + text-align: left; + color: gray; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + float: right; clear: right; margin-top: 1em; + font-size: smaller; color: black; background: #eeeeee; border: dashed 1px;} + + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 2px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + + .small {font-size: 80%} + .small1 {font-size: 40%} + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Rouen, It's History and Monuments, by Théodore Licquet + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Rouen, It's History and Monuments + A Guide to Strangers + +Author: Théodore Licquet + +Release Date: July 2, 2006 [EBook #18740] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ROUEN, IT'S HISTORY AND MONUMENTS *** + + + + +Produced by R. Cedron, Taavi Kalju and the Online +Distributed Proofreaders Europe at http://dp.rastko.net. +(This file was produced from images generously made +available by the Biblioth?que nationale de France +(BnF/Gallica) at http://gallica.bnf.fr) + + + + + + +</pre> + + +<div class="center"> +<table border="0" cellpadding="0" cellspacing="0" summary="" style="background-image: url(images/01.jpg); width: 507px; height: 800px;"> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td valign="bottom" align="center"><h1>ROUEN</h1></td> +</tr> +<tr> + <td align="center"><h3>ITS HISTORY</h3></td> +</tr> +<tr> + <td valign="top" align="center">AND</td> +</tr> +<tr> + <td valign="top" align="center"><h3>MONUMENTS</h3></td> +</tr> +<tr> + <td align="center" class="small"> </td> +</tr> +<tr> + <td valign="top" align="center" class="small">ROUEN<br />EDWARD FRÈRE<br />1840</td> +</tr> +<tr> + <td align="center" class="small">Price: 2 Francs.</td> +</tr> +</table> +</div> + + +<h1> +ROUEN<br /> +ITS HISTORY AND MONUMENTS;</h1> + +<h3>A<br /> + +GUIDE TO STRANGERS</h3> + + +<h2>BY THÉOD. LICQUET,</h2> +<h3>MEMBER OF THE ROYAL ACADEMY OF ROUEN, ETC.</h3> + + +<h4>With a Map of the Town and Five Views.</h4> + + +<h4>ABRIDGED, AND TRANSLATED FROM THE FRENCH +BY M.D.G.</h4> + +<div class="figcenter"> + <img src="images/02.jpg" + alt="Decorative" + title="Decorative" /> +</div> + +<p class="center">ROUEN:<br /> +EDWARD FRÈRE, QUAI DE PARIS,<br /> +Near the suspension Bridge.<br /> +MDCCCXL. +</p> + + +<p class="center">Price: 2 Francs.</p> + +<hr style="width: 65%;" /> + +<p class="center"><i>IN THE PRESS:</i></p> + + +<p><b>Histoire du Parlemant de Normandie</b>, précédée d'un Essai historique sur +l'échiquier; par A. Floquet. 6 vols. 8vo. Price, 36 fr.</p> + +<p><b>Chronique des Abbés de Saint-Ouen</b>, publiée d'après un MS. de la +Bibliothèque du Roi, par Francisque Michel, 4to, with a view of the +abbey. Price, 10 fr.</p> + + +<p class="center">Printed by I.-S. LEFEVRE, successor to F. BAUDRY, 20, rue des Carmes, +Rouen.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h2>Rouen.</h2> + + + +<hr style="width: 65%;" /> +<h2>HISTORICAL INTRODUCTION.</h2> + + +<p>Cæsar, in his Commentaries does not speak of Rouen; Pomponius Mela, does +not mention it in his Geography; Ptolemy is the first author who has +noticed it. This observation alone will shew the absurdity of the +numerous etymologies assigned to its name of Rothomagus, of which we +have made Rouen. The least unlikely are those which have been taken from +the primitive language of the country; but, even then we can only form +conjectures more or less<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span> vague, as, in deriving Rothomagus from two +celtic words, some have considered that this name signifies a great +town; others, a town on the bank of a river; while others again a town +where duties were paid.</p> + +<p>Ptolemy then gives us a commencement to the history of Rouen. In his +lifetime, that is to say, during the first part of the second-century, +Rouen bore the name of Rothomagus; it was the capital of the country of +the Velocasses.</p> + +<p>If Rouen, as a town of Gaul, is little known to us, Rouen as a Roman +town is more so. Its existence is no longer doubtful; its importance +even is proved. All suppositions join to make one think that the Romans +were the first who erected external fortifications round the town. +Remains of walls evidently built by that people, were discovered in 1789 +in the cellars of a house which had been built on the edge of the first +ditch<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>. These buildings extended westward even under the<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> church of +Saint-Lo, and it is very probable that they joined towards the east with +other remains of roman architecture, found in digging the foundations of +another house, no 2, rue de la Chaîne.</p> + +<p>Here then, is the first boundary of Rouen under the Romans, and +drawn-out by them: <i>on the south</i> the Seine, the waters of which at this +time, came as high as the line occupied at present by the rue des +Bonnetiers, the place de la Calende, that of Notre-Dame on its southern +portion, and thus along to the extremity of the rue aux Ours. <i>On the +north</i>, the ditch which existed the whole length of the streets de +l'Aumône, and Fossés-Louis-VIII, that is to say, from the river Robec at +the east, to the rue de la Poterne at the west. From the latter point +draw a line in<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> a southern direction passing across the Mew-Market, the +rue Massacre and the rue des Vergetiers, to the rue aux Ours and you +will have the <i>western limit</i>. The <i>eastern limit</i> is naturally marked +out by the course of the Robec. The town maintained this boundary till +the X<sup>th</sup> century, the period of the establishment of Rollon, in this +portion of Neustria to which the Normans gave their name.</p> + +<p>I have already said, that Rouen, was an important town under the Romans, +and this truth is proved, by the fact. It does not figures, it is true, +in the notice of the dignities of the Empire, as the seat of a superior +magistrate, but, nevertheless it is spoken of, as a town having a +garrison; and, it was there that the <i>præfectus militum Ursariensium</i> +or, as we should say in English, the colonel of the regiment of the +Ursarians, resided.</p> + +<p>The ecclesiastical annals also, prove the importance of Rouen at this +period. We find, in fact, during the first ages of christia<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>nity, the +apostles coming into Gaul, going to Rouen, and fixing their abode in a +principal town that the sacred word might be more easily spread thro' +the surrounding country.</p> + +<p>As Saint-Nicaise did not come to Rouen, we must consider Saint-Mellon, +as its most ancient bishop. The erection, or the consecration of a first +chapel in Rouen, under the patronage of the virgin, is the only +important event which the life of this prelate contains. As to the +destruction of a temple dedicated to the pretended idol Roth, I think I +have proved in an other work<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>, first, that there never existed an idol +of that name, neither was the temple situated on the ground occupied by +the church of Saint-Lo; secondly, that this temple was demolished by +Saint-Romain, nearly four hundred years later.<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p> + +<p>Nothing very remarkable happened at Rouen, under the successors of +Saint-Mellon, until Saint-Victrice. But, here commences a new era for +the town. Its population increases, its reputation extends, the temples +of the true god are multiplied; even Saint-Victrice himself works in +their erection: «He rolls the stones with his own hands, he carries them +on his shoulders.»</p> + +<p>This town continued its career peaceably during nearly a century, until +Saint-Godard succeeded to the episcopate. Then we come to a great +historical transition.</p> + +<p>Roman power had been long struggling against the encroachments of the +Francs in Gaul. Clovis, conquers the provinces situated between the +Somme, the Seine and the Aisne; the monarchy commences, and Rouen +becomes a French town.</p> + +<p>To Saint-Godard who died in 529, Flavius succeeded the same year. The +first foundation by Clotaire I, of the abbey of<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> Saint-Peter, now +Saint-Ouen, about the year 540, is attributed to him.</p> + +<p>After Flavius, came Pretextat, whose name alone reminds us of those of +two women, unfortunately too celebrated, Fredégonde and Brunehaut. The +latter had been exiled to Rouen, by Chilperic, king of Soissons. +Merovee, son of Chilperic, loved Brunehaut and was loved by her. He came +to Rouen, and married his mistress; Pretextat blessed their union. +Chilperic arrives and the two lovers take refuge in the church of +Saint-Martin-sur-Renelle, a wooden building, on the wall of the town. It +is to Gregory of Tours that we owe this information which is valuable, +in as much, as it makes us acquainted with the limits of Rouen on the +north-west side at this period.</p> + +<p>Fredegonde did not pardon Pretextat; she caused him to be murdered, +during mass, in the Cathedral.</p> + +<p>The episcopate of Melance and of Hidulfe,<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> the successors to Pretextat, +offers no very particular circumstances. That of Saint-Romain, is much +more remarkable, for the destruction of heathen temples, and the famous +miracle of the <i>Gargouille</i>, which, gave birth to the privilege not less +famous, which the chapter possessed of setting at liberty a prisoner +every year. It is thought generally, however, that Saint-Romain, +constructed one of the churches, which succeeded each other on the site +of the Cathedral, but, they were deceived who have said that this bishop +extirpated paganism from Rouen, and from the province. Saint-Ouen, who +came after Saint-Romain, found the people clownish, superstitious, and +idolatrous, in consequence of the negligence of some bishops, his +predecessors. The inhabitants of the neighbouring country, were coarse, +cruel and dishonest; morals and the sciences were cultivated only among +the higher classes of society. We find in the<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> preface to the life of +Saint-Eloi by Saint-Ouen, that, even in the VII<sup>th</sup> century, they read +authors of whose works nothing now remains.</p> + +<p>Saint-Ouen, founded or enriched a great many religious establishments in +Rouen and its environs. It was under his episcopate, that a monument was +first raised to Saint-Nicaise within the walls of Rouen. He also caused +to be built the celebrated abbeys of Fontenelle (since Saint-Wandrille), +Jumiéges, and Saint-Austreberthe.</p> + +<p>In the time of this archbishop, there was a state prison near the end of +the rue de la Poterne. It was in this prison that Saint-Ouen, having +been deceived by the mayor of the palace Ebroin, caused Philibert the +first Abbot of Jumieges to be confined on a false accusation of the +crime of high-treason.</p> + +<p>To Saint-Ouen, Ansbert succeeded in 683; at this time doubtless the +mechanical<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> arts were not very far advanced in Rouen, since the new +bishop, wishing to erect a rich mausoleum to his predecessor, sent for +workmen from different provinces.</p> + +<p>According to the monk Aigrad, a great famine took place in Rouen and its +neighbourhood, during the episcopate of Ansbert, who caused the +treasures of the church to be given, for the relief of the poor.</p> + +<p>Here, the history of Rouen is lost in obscurity; our materials are +reduced, we may almost say, to the mere list of bishops, until the time +when the north-men shewed themselves in this country. From the year 841, +when they appeared for the first time at the mouth of the Seine, until +the year 912, the period of the treaty of Saint-Claire-sur-Epte, Rouen, +and its environs presented nothing but a scene of carnage, fire, and, +slaughter. Strangers devouring the country; the villages deserted; the +population massacred; the towns half des<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>troyed, every where discord, +hatred, avarice, and rapacity; all excesses united: such is the picture +of the country at that period. At last Rollo, is created duke of +Normandy; the proud Norwegian, becomes the benefactor of the country, to +which he had so long proved a scourge. The population reappears; an +active police is established, robberies are put a stop to; no more +plunderers exist on the highways, or thieves in the towns. Rouen, rises +from amidst its ruins, its monuments are repaired, its size increases, +its political influence is becoming immense.</p> + +<p>The second boundary is due to Rollo, the first duke, and to his son +Guillaume Longue-Epée. They confined the waters of the Seine in a +narrower bed. Several churches, such as Saint-Martin-de-la-Roquette, +Saint-Clement, Saint-Stephen and Saint-Eloi, which had till then been +situated on small islands, were united to<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> the main land, the portion +which had been gained from the river, received the name of +<i>Terres-Neuves</i>. The limits of the town remained the same on the north, +east and west.</p> + +<p>Under the first succeeding dukes, the town extended westward, as far as +the Old-Market place. The <i>porte Cauchoise</i> was erected about the +beginning of the XI<sup>th</sup> century, that is to say, under Richard II.</p> + +<p>The fourth boundary was effected under the last dukes. The town extended +on the north to the height of the rue Pincedos: on the east, to the rue +de la Chèvre. These two streets occupy the ground on which the ditches +were situated at that time.</p> + +<p>A very short time after, Philip-Augustus, who had just taken Rouen, and +all Normandy from Jean-Sans-Terre, caused the old castle to be built, +which was included within the interior of the town, in the middle of the +XIII<sup>th</sup> century; the fifth boundary was<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> made in the reign of +Saint-Louis. Rouen was then enlarged by the greater portion of the +ground which forms the parishes of Saint-Patrice, Saint-Nicaise, +Saint-Vivien, and Saint-Maclou. The gates of Martainville, Saint-Hilaire +and Bouvreuil were then built.</p> + +<p>A sixth enlargement took place about the middle of the XIV<sup>th</sup> century. +The monastery of the Jacobins, which now forms a portion of the +prefecture, was enclosed within the walls of the town, as also the +Church of Saint-Peter-le-Portier, so that it obliged them to put the +porte Cauchoise farther out. On the east, the town was enlarged by the +quarter of the Marequerie.</p> + +<p>It is not probably to Rollo, the first duke that we owe the institution +of the exchequer. The first trace of it, is only found under +William-the-Conqueror. Perhaps even, it was only known under his son +Henry I<sup>st</sup> «the King Duke.» Ancient writers have thought<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> that an +exchequer existed in England before the conquest. The learned Madox, on +the contrary, (vol. 1<sup>st</sup> page 177 and following) declares, that he has +not found in any document prior to William's expedition, the word +scaccarium (or exchequer). But he finds it shortly after that time, from +which it would appear natural to conclude that, that institution had +been carried over by that prince. The exchequer was removed sometimes to +Rouen, at other times to Caen, and sometimes to Falaise. Louis XII<sup>th</sup> +fixed this sovereign court at Rouen, in 1449, and opened it on the 1<sup>st</sup> +october of the same year. Francis I<sup>st</sup> raised the exchequer into a +parliament in the year 1515. It was interdicted in the month of August +1540, but the 7<sup>th</sup> January 1541, was reinstated.</p> + +<p>Thick walls, deep ditches, and formidable towers, a great many turrets, +bastions, casemates, and fortified gates, made Rouen an important place, +before the revolution:<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> omitting the different sieges, which it had to +sustain from the Normans, we must notice in 949 those by Otho, emperor +of Germany, Louis IV<sup>th</sup>, king of France, and Arnould count of Flanders; +that in 1204 by Philip-Augustus, 1418, by Henry V<sup>th</sup> king of England; +that in 1449, after which, Charles VII<sup>th</sup> retook the town from the +English; lastly, that of 1591, by Henry IV<sup>th</sup>. In all these sieges, and +many more which I have not mentioned, the inhabitants of Rouen always +gave proofs of great valour and sometimes of a resignation without +example.</p> + +<p>All the fortifications of the town have disappeared since the +revolution; its ancient appearance, is now only found in the interior, +in its religious monuments and a few houses, which time or the hand of +man appears to have forgotten.</p> + +<p>Before 1790, Rouen contained thirty seven parochial churches and about +as many religious communities of both sexes. It now<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> only contains six +parochial churches, and eight chapels of ease, with a church for the use +of protestants.</p> + +<p>Rouen is situated on a gentle slope, on the right bank of the Seine, +which forms the southern boundary; the suburb of Saint-Sever, is +situated on the left bank. The geographical position of the town is the +49° 26' 27'' of north latitude and 1° 14' 16'' longitude, from the +meridian of Paris. The sun rises and sets about five minutes later at +Rouen, than at Paris. The length of Rouen without the suburbs, is one +kilometre and three hundred metres, or about the third part of a league, +from the south extremity of the rue Grand-Pont, to the north extremity +of the rue Beauvoisine. Its length from east to west is a quarter of a +league, from one extremity to the other of the places Cauchoise and +Saint-Hilaire. The circumference of the town by the quays does not +exceed six kilometres or one league and a half.<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> + +<p>Rouen, by its home and foreign trade, is one of the most important towns +of the kingdom; the numerous manufactories which it contains, have +caused it to be surnamed the Manchester of France<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>. Rouen, is the see +of an archbishopric, whose metropolitan church has for suffragans the +bishoprics of Bayeux, Evreux, Seez and Coutances. It is the chief place +of the fourteenth military division; the principal town of the +departement of the Seine-Inferieure.</p> + +<p>There is besides at Rouen, a cour royale, a tribunal de première +instance, six courts of justices of the peace; a chamber and tri<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>bunal +of commerce, a counsel of prudent men for the arbitration of small +differences, principally between the manufacturers and their workmen; +boards of direction for the direct and indirect taxes, for the customs +and for the registry of domains, and a mint. Amongst the principal +public buildings are two large hospitals, a handsome custom-house, the +exchange, a magnificent lunatic asylum (in Saint-Sever), a large and +small seminary, a royal college, nineteen public schools, a great many +elementary schools for children of both sexes, and two principal +prisons.</p> + +<p>Lastly, this town has thirty three barriers, three covered markets, +eight open markets, twenty one public places, about seventeen thousand +houses, and more than four hundred and seventy streets, and contains a +population of about ninety thousand inhabitants.</p> + +<hr style="width: 65%;" /> + +<div class="figcenter"> + <img src="images/03.jpg" + alt="Cathedrale." + title="Cathedrale." /><br /> + <span class="caption">Cathédrale.</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> +<h2>RELIGIOUS MONUMENTS.</h2> + +<h3>PAROCHIAL CHURCHES.</h3> + + +<h4>CATHEDRAL.</h4> + +<p>All historians attribute the erection, or at least the consecration of +the first christian chapel in Rouen to Saint-Mellon. They agree also in +placing that chapel on a portion of the ground occupied at present by +the Cathedral. To point out exactly the place, would be next to +impossible; but we must necessarily suppose it to the north end of the +present edifice. The tower of Saint-Romain, the foundation of which is +probably the remains of one of the churches<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> which succeeded each other +on this spot, and which, is assuredly the most ancient part of the whole +edifice, would of itself, prove what I say. It will not be doubted, when +we remember that the waters of the Seine, during the time of +Saint-Mellon (260 to 311), and even seven centuries afterwards, reached +as high as the place, which is known at present by the name of <i>la +Calende</i>, that is to say almost at the base of the present Cathedral on +its southern side.</p> + +<p>The Cathedral, which was pillaged in the year 841, was not, according to +all probability, destroyed then; or, we must suppose (that which is +hardly possible), that it had been rebuilt in the interval before the +year 912, the period of the baptism of Rollo in this church. Being +exposed to continual acts of devastation from pirates, the inhabitants +fled in all directions, and did not think of building temples; and as +Rollo, having been baptized in this Cathedral, in the year 912,<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span> made +most magnificent presents immediately after the ceremony, it is clear, +that the edifice had been only plundered and not destroyed.</p> + +<p>About the end of the X<sup>th</sup> century, Richard I<sup>st</sup> caused the Cathedral to +be enlarged. The archbishop Robert continued the improvements.</p> + +<p>Guillaume-le-Bâtard placed Maurille in the archiepiscopal see, in the +year 1055. Maurille finished the Cathedral, and caused to be erected the +stone pyramid which bears his name, and in the year 1063, he dedicated +the temple in the presence of William, and the bishops of Bayeux, +Avranches, Lisieux, Evreux, Seez and Coutances.</p> + +<p>In 1117, this Cathedral was struck by the electric fluid.</p> + +<p>In 1200, the metropolitan church was destroyed by fire. Jean-Sans-Terre, +duke of Normandy and king of England, assigned funds for the +reconstruction of the edifice.<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span></p> + +<p>It is then from that period that the actual Cathedral dates.</p> + +<p>I need not add that this immense edifice, such as we see it at present, +is the work of several centuries, beginning in the XIII<sup>th</sup> and finishing +in the XVI<sup>th</sup>, excepting that portion which forms the base of the tower +of Saint-Romain, and which is much more ancient.</p> + +<p>The length of the Cathedral, in the inside, from the great portal to the +extremity of the chapel of the Virgin, is four hundred and eight feet +(about four hundred and fifty english); the chapel of the virgin is +eighty eight feet in length; the choir is one hundred and ten, and the +nave two hundred and ten. The entire breadth of the edifice from one +wall to the other is ninety seven feet two inches; namely, the nave +twenty seven feet; thickness of each pillar, seven feet eight inches, +each aisle fourteen feet, the chapels thirteen feet five inches.<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span> The +height of the nave is eighty four feet; that of the aisles is forty two +feet, the transept is one hundred and sixty four feet in length, by +twenty six in breadth. In the centre is a lantern, at the height of one +hundred and sixty feet under the key-stone, and it is supported by four +large pillars, each being thirty eight feet in circumference, and +composed of thirty one columns, which are grouped together; above the +arcades of the nave, there is a very narrow gallery. The edifice is +lighted by one hundred and thirty windows.</p> + +<p>There are amongst the stained glass windows, several which deserve to +be, particularly noticed. I will here point out their places, after the +work of E.H. Langlois, on stained glass, and that of Gilbert on the +Cathedral<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a>.<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> + +<p>«Left aisle, in going up, opposite the fourth arcade of the nave: upper +panes occupied by several subjects taken from the life of saint John the +baptist, saint Nicolas, etc. We may remark curriers or tanners, and, +near a sort of gallery supported by columns, a stone cutter and a +sculptor making the capital of a column. A little farther up, we +perceive a church supported by arches, in the construction of which, +several masons are busily employed. Near it, is a woman kneeling, and +holding up with both her hands the plan of a gothic window.</p> + +<p>Same aisle, in going up, and opposite the fourth arcade of the nave: a +window occupied with subjects relative to the life of saint Sever.<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> + +<p>Left aisle of the choir, opposite the fourth arcade: a window entirely +occupied with the life of saint Julian-the-hospitaller.</p> + +<p>Same aisle, between the semi-circular lateral chapel and the chapel of +the Virgin: two windows, representing the life of Joseph, the son of +Jacob. We may still read, although with difficulty, the name of the +painter and glazier. It is inscribed on a phylactery, in the following +manner:</p> + +<p class="center">CLEMENS VITREARIUS CARNOTENSIS M ...</p> + +<p>On the other side of the choir, between the chapel of the Virgin and the +semi-circular lateral chapel: two windows, one representing the Passion; +the other the life of a saint. He is almost entirely represented naked +from the head to the waist, and on horseback. Semi-circular chapel of +the southern transept in the corner of the window, the martyrdom of +saint Laurent.»<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> + +<p>All these windows date from the end of the XIII<sup>th</sup> century. The most +curious is that representing the life of saint Julian-the-hospitaller.</p> + +<p>The Cathedral contains likewise several fine specimens of windows of the +time of the <i>renaissance</i>. We must remark, especially, those which +represent the life of saint Romain, in the chapel dedicated to that +bishop and those which decorate the chapel of saint Stephen. We +perceive, in the latter, saint Thomas touching the wound of +Jesus-Christ; Christ preaching in the desert; Christ appearing to +Mary-Magdalen; etc.</p> + +<p>The edifice is also lighted by three large roses (circular windows); two +at the extremities of the transept and the other above the organ. Of +these three windows the western is by far the finest. In the centre of +it, the Eternal Father is represented as surrounded by a multitude of +angels having each different musical instruments, around it are ten<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> +figures of angels, each holding an instrument of the Passion.</p> + +<p>The present organ of the Cathedral is a large sixteen feet one, and is +placed beneath the western circular window. It was made by Lefevre, the +celebrated organ maker in Rouen, in 1760.</p> + +<p>The choir is surrounded by fourteen pillars. Before 1430, its upper part +was only lighted by a small number of narrow windows. Since that time, +it has been lighted by the fifteen large windows, which we now see. In +1467, under the cardinal d'Estouteville, the chapter caused stalls to be +made, which are very curiously sculptured.</p> + +<p>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 sur<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>mounted 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 <i>autel da væu</i> (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.</p> + +<p>The actual existence of a library in the<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> 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 XV<sup>th</sup> 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.</p> + +<p>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.</p> + +<p>As far as 1112 the cathedral possessed several manuscripts, which were +destroyed in the fire of 1200.<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> + +<p>A great portion of the books of the cathedral are now deposited in the +public library at the town-hall.</p> + +<p>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, <i>la grande eglise</i>. It was formerly the <i>Parish church</i> +of Notre-Dame.</p> + +<p>At the extremity of this aisle of the nave in going up, is the chapel of +<i>petit Saint-Romain</i>, 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.<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> + +<div class="blockquot"><p>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<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a>. 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.</p></div> + +<p>On the opposite aisle, and exactly opposite the chapel we hare just +left, is that of Saint-Anne. The remains of Guillaume-Longue-Epée, 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.<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> + +<div class="blockquot"><p>Here lies Guillaume-Longue-Epée, 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.</p></div> + +<p>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 V<sup>th</sup>, which was deposited in the middle of the +sanctuary? That of Richard-Cœur-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,<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> 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-Cœur-de-Lion, Henry the Younger one of his brothers and the duke +of Bedford. On the 30<sup>th</sup> 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.<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> 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 31<sup>st</sup> 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:</p> + +<p class="center"> +HIC: JACET: COR: RICARDI: REGIS:<br /> +ANGLORUM:<br /> +</p> + +<p>The heart has been provisionally deposited in a private press in the +sacristy. These researches were skilfully directed by M<sup>r</sup> Deville.<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> + +<p>Let us now enter the chapel of the Virgin, and admire the treasure which +it contains.</p> + +<p>To the left on entering, is a monument of stone, without inscription or +statue. It is that of Peter de Brezé, count of Maulevrier, grand +senechal of Anjou, Poitou and Normandy. He was killed at the battle of +Montlhery, the 16<sup>th</sup> 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.<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> 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.</p> + +<p>The name of Peter de Brezé, 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 VII<sup>th</sup><a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a>. The statue of Peter de Brezé 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.<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> + +<p>Next to it, is the monument of Louis de Brézé, 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<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> 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:</p> + +<div class="blockquot"><p>Loys de Breszé, en son vivant cheualier de l'ordre, premier +Chambellan du Roy, grand Seneschal, Lieutenant-général et +gouverneur pour le dict Sieur, en ses pays et duché 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 Mauléurier, Baron de Mauny et du Bec-Crespin, +Seigneur Chastellain de Nugent-le-Roy, Ennet, Bréval et Monchauvet. +Après avoir vescu par le<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> cours de nature en ce monde en vertu, +jusques à l'àge de LXXII ans, la mort l'a faiet mettre en ce +tombeau pour retourner viure perpéluellement. Lequel décéda le +dymence XXIII<sup>e</sup> jour de juillet de mil v<sup>re</sup> trente ung. 1531.</p></div> + +<p>A third inscription, which probably had not been perceived in 1793, is +seen at the upper corner of the left side:</p> + +<div class="poem"><div class="stanza"> +<span class="i0"><i>Hoc Lodoice tibi posuit Brezœe sepulchrum,</i><br /></span> +<span class="i2"><i>Pictonis amisso mœsta Diana viro.</i><br /></span> +<span class="i0"><i>Indivulsa libi quondam et fidissima conjux,</i><br /></span> +<span class="i2"><i>Ut fuit in thalamo, sie erit in tumulo</i><a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a>.<br /></span> +</div></div> + +<p>Some witty people have remarked that the duchess of Valentinois spoke +truly, and that she was as <i>faithful</i> in one case as in the other.</p> + +<p>Above the entablature, the equestrian<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> 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: <i>tant grate chevre que mal giste</i>. 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.</p> + +<p>In the frieze above the figure is the following inscription: <i>In virtute +tabernaculum ejus</i>. 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 I<sup>st</sup>, is attributed to Jean<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> Cousin, or to a sculptor not less +celebrated, Jean Goujon.</p> + +<p>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, pru<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>dence, 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 I<sup>st</sup>. 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:</p> + +<div class="poem"><div class="stanza"> +<span class="i0"><i>Pastor eram cleri, populi pater, avrea sese</i><br /></span> +<span class="i2"><i>Lilia subdebant quercus</i><a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> <i>et ipsa michi.</i><br /></span> +<span class="i0"><i>Mortoos en iaceo, morte extingovinior honores;</i><br /></span> +<span class="i2"><i>At virtus, morte nescia, morte viret.</i><br /></span> +</div></div> + +<p>On the ground of the monument is a bas-relief representing the patron of +the two<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> 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 VII<sup>th</sup> century. A <i>voussure</i> 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.</p> + +<p>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.</p> + +<p>These monuments were renewed in 1838, in great perfection by M. Ubaudi, +sculptor of Paris.</p> + +<p>The remains of cardinal Cambacérès, who<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> died at Rouen, on the 25<sup>th</sup> +october 1818, are deposited in the little vault at the foot of the +monument of the cardinals of Amboise.</p> + +<p>The altar of this chapel is decorated with a very fine picture by Philip +de Champagne, representing <i>the adoration of the shepherds</i>. This +picture is much esteemed by painters and connoisseurs<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a>. 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 mu<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>tilated 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.</p> + +<p>M.A. Deville, in his work on <i>the monuments of the cathedral of Rouen</i>, +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<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> outside of it, and it was to obey this ambiguous order +that they made him a tomb in the thickness of the wall.</p> + +<p>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 XV<sup>th</sup> 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<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a>.</p> + +<p>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<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> 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 12<sup>th</sup> +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<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> took place in 1683.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> + +<p>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.</p> + +<p>The tower, which terminates the facade to the south, is named the butter +tower (<i>Tour de Beurre</i>), because, it was erected<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> 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 +I<sup>st</sup>.</p> + +<p>On the 29<sup>th</sup> of september 1500, this cardinal gave 4,000 livres, to be +used in the casting of a bell; wishing, that it might be <i>the finest in +the kingdom</i>. 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<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> +commenced on monday the 2<sup>nd</sup> 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.</p> + +<p>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.</p> + +<div style="margin-left: 6em;">MONUMENT DE VANITÉ<br /> +DÉTRUIT POUR L'UTILITÉ<br /> +L'AN DEUX DE L'ÉGALITÉ.<br /> +<br /> +MONUMENT OF VANITY<br /> +DESTROYED FOR UTILITY<br /> +THE SECOND YEAR OF EGALITY.<br /></div> + +<p><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>The door <i>of the librarians</i>, 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<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> his head, negligently leaning on his elbow: +in his right hand a head is seen, which is that of a pig.</p> + +<p>If we wish to view the northern side, we must enter the <i>cour de +l'Albane</i>.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> 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 XI<sup>th</sup> +century; from which one may conjecture that this portion of the tower +was spared from the conflagration, in the year 1200.</p> + +<p>The porch of the <i>Calende</i>, 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 +com<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>partments: the lower one, says M<sup>r</sup> Gilbert, represents <i>Joseph sold +by his brethren</i>; that in the middle; <i>the funeral of Jacob</i>; and the +upper one <i>Jesus-Christ on the cross</i>. 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.</p> + +<p>The facade of this porch, like that of the booksellers, is accompanied +by two square towers of handsome proportions, and having large pointed +windows.</p> + +<p>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.</p> + +<p>This beautiful pyramid was destroyed by fire, on the 15<sup>th</sup> of september +1822; at seven<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> 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.</p> + +<p>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 15<sup>th</sup> +september, and already on the 26<sup>th</sup> 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 15<sup>th</sup> march +of the same year. The roofs of the choir and of the whole transept, were +also soon repaired; but,<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> 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.</p> + +<p>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<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> 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<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a>. 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<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a>.</p> + + +<h4>SAINT-OUEN.</h4> + +<p>The abbey of Saint-Ouen, is the most ancient, in Rouen and in the whole +province of Normandy.</p> + +<div class="figcenter"> + <img src="images/04.jpg" + alt="Saint-Ouen" + title="Saint-Ouen" /><br /> + <span class="caption">Saint-Ouen</span> +</div> + +<p>Founded in 533, during the reign of Clothaire I<sup>st</sup> and the episcopate of +Flavius, the sixteenth archbishop of Rouen, (compre<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span>hending +Saint-Nienise), this abbey flourished particularly under the illustrious +prelate, whose name it bears and who enriched it with his patrimony.</p> + +<p>The 14<sup>th</sup> of may, in the year 841, the Normans landed at Rouen; the +following day they burned the abbey of Saint-Ouen.</p> + +<p>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.</p> + +<p>The monastery soon took the name of Saint-Ouen; instead of that of +Saint-Peter, by which it was previously known.</p> + +<p>The dukes Richard I and Richard II followed the example of Rollo, and +continued the restoration of the abbey.</p> + +<p>Such was the reputation of this monastery, that the emperor Otho, who +had laid siege to the town during the reign of Richard I<sup>st</sup>,<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> surnamed +<i>Sans-Peur</i>, demanded a safe conduct to come and perform his devotions +at Saint-Ouen.</p> + +<p>Nicolas, son of Richard III<sup>rd</sup>, 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 17<sup>th</sup> of october, by Geoffroy, archbishop of +Rouen.</p> + +<p>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.</p> + +<p>Through the liberality of the empress Matilda and Henry II<sup>nd</sup>, her son, +the monks of Saint-Ouen succeeded in rebuilding their<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> monastery; but it +was again completely destroyed by fire in 1248.</p> + +<p>At last, the celebrated Jean (<i>John</i>) or <i>Roussel Marc d'argent</i>, 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.</p> + +<p>The edifice was not entirely completed until the beginning of the XVI<sup>th</sup> +century; but, the tower existed before the end of the XV<sup>th</sup>. An english +tourist<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> has expressed the following sentiments on this magnificent +church:<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span></p> + +<p>«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<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> 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.»</p> + +<p>«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 XIV<sup>th</sup> and +XV<sup>th</sup> 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<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> a sensation that I never remember to have felt +within any other similar edifice.»</p> + +<p>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.</p> + +<p>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,<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> 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 <i>Gargouille</i>, and forcing the +Seine to return to its bed.</p> + +<p>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.</p> + +<p>The choir was formerly separated by a magnificent screen, of which we +find an engraving in the <i>History of the Abbey</i>, 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.<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> + +<p>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.</p> + +<p>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:</p> + +<div class="blockquot"><p>Ci gist maistre Alexandre de Berneval, maistre des Œuvres de +Machonnerie du Roy, notre Sire, du baillage de Rouen et de cette +Eglise, qui trespassa l'an de grace<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> mil CCCCXL le v<sup>o</sup> jour de +janvier. Priez Dieu pour l'ame de lui.</p></div> + +<p>We also remark the statue of Sainte-Cécile, which is placed between two +pillars of the corinthian order. The other chapels, except that of the +Virgin, do not offer any thing remarkable.</p> + +<p>English tourists will find in the latter, the tomb of the youngest son +of Talbot; the following is the epitaph:</p> + +<div class="blockquot"><p>Ci gist noble homme Jean Tallebot, fils du sieur de Tallebot, +Mareschal de France, qui deceda en aunees de puerilite, le IV +Banvier MCCCCXXXVIII.</p></div> + +<p>The interior of the church contains several fine paintings, such as: +<i>The miracle of the loaves</i>, by Daniel Hallé, and <i>a Visitation</i>, by +Deshayes, of Rouen, in the chapel of the Virgin; <i>an opening of the holy +gate</i>, by Léger, of Rouen, behind the pulpit on<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> the wall of the aisle. +This painting has been much spoiled by the damp. The different chapels +also contain some less worthy of notice.</p> + +<p>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.</p> + +<p>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.</p> + +<p>The western porch from its unfinished state does not offer any thing +remarkable except the rosace of which we have already spoken.<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> + +<p>The southern porch, commonly called <i>des Marmquzels</i>, 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.</p> + +<p>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 <i>year VII</i>, 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: <i>Hic vere est domus Dei</i>.<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span></p> + +<p>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 IV<sup>th</sup>, 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: <i>Mes amis, soyez-moi +bans sujets, et je vous serai bon roi, el le meilleur roi que vous ayez +jamais eu</i>.</p> + +<p>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 <i>Chambre aux Clercs</i>. +It is without doubt a fragment of one of the churches,<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> which succeeded +each other on this spot. It is situated at the north-east angle of the +northern transept. Its architecture is of the XI<sup>th</sup> 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.</p> + +<p>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 XV<sup>th</sup> was +replaced, which had been taken away in 1792. This monument is by Paul +Slodtz, a statuary of the last century.</p> + + +<h4>SAINT-MACLOU.</h4> + +<p>In the year 1228, this parish was situated<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> 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, +<i>without</i> 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 XV<sup>th</sup> 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.</p> + +<div class="figcenter"> + <img src="images/05.jpg" + alt="Saint-Maclou" + title="Saint-Maclou" /><br /> + <span class="caption">Saint-Maclou</span> +</div> + +<p>This church was formerly called the <i>fille aînée de Mg<sup>r</sup> l'archevêque</i>. +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.<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span></p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> authors of <i>the picturesque and romantic +travels into ancient France</i>, have not forgotten to place this gothic +jewel in their work.</p> + +<p>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 <i>before</i> and <i>quite close</i> to the +southwest door way; which, in consequence is closed up.</p> + +<p>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 sculp<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>ture, 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 <i>the death of the Virgin</i>, on the door in the rue +Martainville; the <i>baptism of Jesus-Christ</i>, on the door of the great +porch, etc. On the small door to the left, are also some very curious +bas-reliefs.</p> + +<p>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 <i>Renaissance</i>. The +lower portions of these paintings have been very much mutilated.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span></p> + +<p>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 <i>macabre</i> dance.</p> + + +<h4>SAINT-PATRICE.</h4> + +<p>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<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> had several privileges allowed by the king. +They could enter fifteen <i>muids</i> 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 <i>committimus</i> to all +ecclesiastics, after a year's residence in the town.</p> + +<p>The church of Saint-Patrice, has some stained glass windows of the +greatest beauty. They are of the XVI<sup>th</sup> century, which was the most +brilliant period of painting on glass in France.</p> + +<p>M<sup>r</sup> 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<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> in the church of Saint-Lô; it is of the +style of the <i>Renaissance</i>, and in good taste.</p> + + +<h4>SAINTE-MADELEINE.</h4> + +<p>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 7<sup>th</sup> april 1781.</p> + +<p>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 <i>woman suckling children</i>, the +symbol of charity. The representation of this virtue could not have been +better placed, than on the front of a church adjoining the Hôtel-Dieu.<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> + +<p>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.</p> + +<p>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 <i>cure of the blind man</i>; that on the left, +the <i>cure of the paralytic</i>.</p> + +<p>The chapel of the <i>religiouses</i> of the Hotel-Dieu, is situated behind +the high altar.</p> + +<p>(For a description of the hospital, see farther on, the article on civil +monuments).</p> + + +<h4>SAINT-SEVER.</h4> + +<p>In the commencement of the VI<sup>th</sup> century, Rouen possessed a bishop of +this name. At<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> 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.</p> + +<p>In the reign of Richard I<sup>st</sup>, 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 +<i>Mont-Saint-Michel</i>, 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<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> 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 27<sup>th</sup> january +1538. Neither its interior or exterior offer any thing worthy of notice.</p> + + +<h4>SAINT-ROMAIN.</h4> + +<p>This was the chapel of the ancient <i>Carmes déchaussés</i>. Those fathers +obtained letters<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> patent on the 27<sup>th</sup> 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 20<sup>th</sup> 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 M<sup>r</sup> Pierre de +Bec-de-Lièvre, first president of the <i>Cour des Aides</i>, 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-Lièvre, finished the edifice at their own +expense. This is the present church: it was consecrated on the 21<sup>st</sup> 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<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span> 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:</p> + +<p class="center"> +SANCTO ROMANO<br /> +<br /> +PATROCINANTE.<br /> +</p> + +<p>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 +20<sup>th</sup> february 1804. The ashes of the illustrious prelate had been +dispersed by the calvinists, in 1562.</p> + +<p>We may also admire the beautiful painted glass windows, which were +brought<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> partly from Saint-Maur, Saint-Etienne-des-Tonneliers, and +Saint-Martin-sur-Renelle. The following is an explanation: In the first +chapel, <i>a Transfiguration</i>, to the left on entering. In the next chapel +<i>a holy Family</i>. This chapel contains also a beautiful small marble +statue <i>of Saint-Louis</i>, and a bas-relief, by Jadoulle, representing +<i>Tobit burying the dead</i>. The firsts chapel to the right, contains the +font: there is a remarkable painted glass, divided into six partitions, +which represents <i>the history of Adam</i>. 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 <i>the Passion of Jesus-Christ</i>. In the sort of +lantern, which surmounts the cover, is <i>a Resurrection</i>. These +sculptures on wood, which are of great beauty, are of the beginning of +the XVI<sup>th</sup> century. At the farther end of the chapel, is a fresco<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> +painting by Pécheux representing <i>the baptism of Jesus-Christ</i>.</p> + +<p>In the next chapel, which is dedicated to Saint-Theresa, we see +<i>Sainte-Geneviève</i>, 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.</p> + +<p>In the chapel of Saint-Joseph, is a painted window representing +<i>Saint-Stephen before his judges</i>. In the chapel of the Virgin, which is +opposite, we see <i>Saint-Stephen stoned</i>; these two painted windows +belonged to the church of Saint-Etienne-des-Tonneliers.</p> + +<p>Some glasses of the higher windows, brought from +Saint-Martin-sur-Renelle, represent <i>the passion of our Lord</i>.</p> + +<p>In the choir, in the chapel to the left,<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> <i>Tobit burying the dead</i>, +above we see <i>the resurrection of Lazarus</i>; in the same window <i>Job on +the dunghill</i>; and underneath, <i>the Lord's supper</i>.</p> + +<p>In another chapel of the choir, opposite to the former, is <i>Jesus-Christ +in the temple, overthrowing the tables of the money-changers</i>; beside +it, is <i>the rich man at table</i>; 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.</p> + +<p>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 <i>the consecration of Saint-Romain +as bishop</i>; in another, <i>he overthrows the pagan temples</i>; farther on, +is <i>the miracle of the dragon or Gargouille</i>; next to it, is the +procession of the shrine to obtain the deliverance of a<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> prisoner, a +ceremony which was instituted after the miracle of which we have already +spoken. The <i>apotheosis of Saint-Romain</i> crowns these four paintings.</p> + +<p>At the top of the sanctuary, behind the high altar, there is also +another fresco by Pêcheux, <i>representing the agony of Jesus-Christ</i>. The +painting receives the light from above, by an opening made expressly for +that purpose.</p> + +<p>The organ, which was made by M<sup>r</sup> Lebreton, of Rouen, was received on the +11<sup>th</sup> 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.</p> + + +<h4>SAINT-GODARD.</h4> + +<p>The origin of Saint-Godard is unknown, all that can be affirmed is that +there existed anciently on this spot a chapel dedi<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span>cated 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 XIII<sup>th</sup> +century.</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> was established in 1640, is the work of a +scotchman, named George Lesselié.</p> + +<p>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,<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> whose opinion has +become an authority. A great many of these glasses were broken in the +<i>chambre aux clercs</i> 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<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> 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.</p> + +<p>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 <i>Gargouille</i>. 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: <i>It is the colour of +the windows of Saint-Godard</i>.</p> + + +<h4>SAINT-NICAISE.</h4> + +<p>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 +VII<sup>th</sup> century, by the illustrious archbishop saint Ouen. It was at that +time<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> very far out of the city, since the limits on this side of the +town extended only as far as the streets de l'Aumône, 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.<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> + + +<h4>SAINT-VINCENT.</h4> + +<p>This church was formerly called <i>Saint-Vincent-sur-Rive</i>, 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.</p> + +<p>Saint-Vincent is a handsome production of the <i>renaissance</i>. 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.<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span></p> + +<p>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.</p> + +<p>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 +<i>Decapitation</i> 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.</p> + +<p>In the chapel to the left of the choir, there<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> 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 François Giry.</p> + +<p>The interior of Saint-Vincent, and especially the southern aisle, still +offers some very fine painted windows which are unfortunately very much +injured.</p> + + +<h4>SAINT-VIVIEN.</h4> + +<p>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<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> thing +very remarkable, unless perhaps its lofty steeple, in the form of a +sugar loaf.</p> + + + +<hr style="width: 65%;" /> +<h2>CHAPELS OF EASE.</h2> + + +<h4>SAINT-GERVAIS.</h4> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> 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.<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> + +<p>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 +<i>Rothomagus</i> and <i>Juliobona</i>, passed close to this church.</p> + +<p>William the Conqueror, when mortally<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> 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 9<sup>th</sup> of september 1087.</p> + + +<h4>SAINT-HILAIRE.</h4> + +<p>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.</p> + + +<h4>SAINT-PAUL.</h4> + +<p>Farin and some other authors have said that this had been an ancient +temple of <i>Adonis</i>; nothing however proves, or justifies such an +assertion; and we only see in<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span> this, a popular tradition on which we +must not rely.</p> + +<p>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 +<i>absides</i>, which we find in most of the monuments of the XI<sup>th</sup> 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 M<sup>r</sup> 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<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> priests.</p> + +<p>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 XVII<sup>th</sup> century, the +most ancient portion is from the commencement of the XI<sup>th</sup> century.</p> + +<p>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 M<sup>r</sup> Du Boullay. Antiquaries will learn with pleasure that the +administration of the town has taken measures to preserve the three +<i>absides</i> of the ancient little edifice, with the intention of using it +as a sacristy to the new church.</p> + +<p>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<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> 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 <i>Chemin neuf</i>; it is now called the <i>cours +Dauphin</i>, so named in memory of the birth of the dauphin, son of Lewis +XV<sup>th</sup>.</p> + +<p>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.</p> + + + +<hr style="width: 65%;" /> +<h2>PROTESTANT WORSHIP.</h2> + + +<h4>SAINT-ÉLOI.</h4> + +<p>Before the Seine was enclosed in its present bed, the church of +Saint-Eloi was situated on an Island. Afterwards, without<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> changing +place, it found itself situated on the <i>terres neuves</i>, like the other +churches, Saint-Etienne-des-Tonneliers, Saint-Clément, and +Saint-Martin-du-Pont. In 1030, under the duke Robert, those new lands +were considered as suburbs of Rouen: <i>In suburbia Rotomagensi ecclesiam +sancti Eligii</i>, etc.</p> + +<p>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 XVI<sup>th</sup> 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.»</p> + +<p>This church has been granted for pro<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span>testant 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.</p> + +<p>The <i>place Saint-Eloi</i> 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.</p> + + + +<hr style="width: 65%;" /> +<h2>CHURCHES CLOSED IN 1791,</h2> + +<h3>WHICH DESERVE THE ATTENTION OF THE ANTIQUARY.</h3> + + +<h4>SAINT-PIERRE-DU-CHATEL,</h4> + +<p>At the top of the rue Nationale.</p> + +<p>This religious edifice, which is of the<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> XV<sup>th</sup> century, did not offer +any thing remarkable but its tower, which is entire.</p> + + +<h4>SAINT-ANDRÉ-DANS-LA-VILLE,</h4> + +<p>Rue aux Ours, near the rue de la Vicomté, was erected between the years +1526 and 1557.</p> + + +<h4>SAINT-ÉTIENNE-DES-TONNELIERS,</h4> + +<p>At the corner of the street of that name, and the rue des Iroquois.</p> + +<p>The construction of this edifice, dates from the commencement of the +XVI<sup>th</sup> century.</p> + + +<h4>SAINT-PIERRE-L'HONORÉ,</h4> + +<p>Rue des Bons-Enfans, at the corner of the rue Ecuyère.</p> + + +<h4>SAINTE-CROIX,</h4> + +<p>Rue Sainte-Croix-des-Pelletiers, at the top of the street.<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p> + + +<h4>SAINT-SÉPULCHRE,</h4> + +<p>At the corner of the streets Saint-George and de la Vicomté.</p> + + +<h4>SAINT-LAURENT,</h4> + +<p>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'œuvre of architecture.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span></p> +<h2>CIVIL MONUMENTS.</h2> + + +<h4>HÔTEL-DE-VILLE (TOWN-HALL).</h4> + +<p>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 +XV<sup>th</sup> in his youth, from the chisel of Lemoine. The great stair-case, +next the church, constructed from the designs of Le<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span>brument, 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.</p> + +<p>The ancient town-hall, which was built in<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> 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.</p> + + +<h4>ARCHIEPISCOPAL PALACE.</h4> + +<p>This edifice adjoins the Cathedral church. The principal body of the +building, which<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> 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 I<sup>st</sup>, who terminated the +edifice. The only remarkable portion of the interior of this edifice is +that named the <i>gallery of the states</i>. 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 I<sup>st</sup>, 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.</p> + +<p>In 1508, when Lewis XII<sup>th</sup> with his queen came to Rouen, he alighted at +the ar<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span>chiepiscopal palace. The dauphin Francis of Valois, son of +Francis I<sup>st</sup>, inhabited it also in 1531.</p> + +<p>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.</p> + + +<h4>PALACE OF JUSTICE.</h4> + +<p>When we say that the Palais-de-Justice was erected by Lewis XII<sup>th</sup>, 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 <i>salle des Procureurs</i>, 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<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> 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 <i>Conciergerie</i> and +prisons are situated under this hall.</p> + +<div class="figcenter"> + <img src="images/06.jpg" + alt="Palais de Justice" + title="Palais de Justice" /><br /> + <span class="caption">Palais de Justice</span> +</div> + +<p>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<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> 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 +<i>renaissance</i>, style which already began to be in use. The name of the +architect, unknown till recently, is Roger Ango.</p> + +<p>At the farther end of the salle des Procureurs is a door, which leads +into the ancient <i>Grand Chambre</i> (great Chamber), in<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> 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 <i>arabesques</i>, according to the custom of the reign of Lewis the +XII<sup>th</sup>. From this floor, an ancient fire place which existed in the +<i>Chambre de Conseil</i>, or Counsel Hall, a curious painting which the +antiquarian Millin mentions in his <i>national antiquities</i> and on which +witnesses were sworn have all disappeared.</p> + +<p>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<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> west, was erected. The front of this +building fell to the ground on the 10<sup>th</sup> 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 <i>Triumph of Justice</i>.</p> + +<p>Considerable embellishments have taken place in the court of the Palais. +The massive flight of stone steps, which led to the <i>salle des +Procureurs</i>, 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<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> 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-Lô, is a large building, which +answers the purpose of a court of appeals, for the <i>cour royale</i>. 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.</p> + + +<h4>TOWER DE LA GROSSE-HORLOGE.</h4> + +<p>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.</p> + +<div class="blockquot"><p>En lan de lincarnarian nee segour. mil ccc.xx.iiii. et neuf. fu +comencé 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 Bellen<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span>gues 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.</p></div> + +<p>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:</p> + +<p class="center"> +†JE SUI: NOMME: ROUVEL: ROEJEN:<br /> +LE SENON: ME SJSE: SERE: REGAN:<br /> +DAMJENS: ME FJST†<br /> +</p> + +<p>We perceive by this inscription, that this bell was named <i>Rouvel</i>, and +not <i>Rembol</i>, as tradition would have it; but it is better known under +the name of the Cloche d'argent (silver bell), although not a grain<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span> 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 <i>horloge du Beffroi</i>. The stone vault, which crosses the +street, at the place still called <i>porte Massacre</i> (the murder gate) was +erected in 1527. On each side of this arcade, we perceive the dial +plates and medallions.</p> + +<p>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: <i>Animam suam ponit pro ovibus suis</i>, which indicates +sufficiently the allegory of this composition, if we did not also see on +the opposite side these other words: <i>Pastor bonus</i>.</p> + +<p>Beside the arcade, but nearer to the rue<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> 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.</p> + + +<h4>THE COVERED MARKETS.</h4> + +<p>About the middle of the X<sup>th</sup> century, Richard I<sup>st</sup>, surnamed +<i>Sans-Peur</i>, 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 I<sup>st</sup> +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-<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span>Terre +caused his nephew, Arthur of Britanny, to be confined, and murdered him +with his own hand. The present <i>halles</i> (covered markets) occupy the +greater portion of the site formerly occupied by the palace and the +<i>Vieille-Tour</i>, which has left its name to the two markets we are +presently going to speak of.</p> + +<p>Those vast warehouses for different manufactures, called <i>halles</i> (or +marts), were erected in the second half of the XIII<sup>th</sup> century, about +the time when Lewis IX<sup>th</sup> 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<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> 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 +<i>place de la Haute-Vieille-Tour</i>; 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.</p> + +<p>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.<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span></p> + +<p>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 <i>levée de la Fierte</i>, for the delivrance of a +prisoner, took place every year.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p> + +<p>In the neighbourhood of the linen and<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> 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.</p> + + +<h4>THE EXCHANGE.</h4> + +<p>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<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> also having the same right, to meet and transact their +affairs; which hall is to be named, for the future, the common town +hall.»</p> + +<p>The stone building here spoken of, is that vast wing, which closes the +court of the <i>Palais-de-Justice</i> to the west; and the common town hall +is that known under the name of <i>Salle des Procureurs</i> or <i>des +Pas-Perdus</i>.</p> + +<p>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 <i>Consuls</i>—(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<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span> rue des Iroquois, +and is surrounded by an iron railing.</p> + + +<h4>TRIBUNAL OF COMMERCE,</h4> + +<h4>COMMONLY NAMED THE CONSULS.</h4> + +<p>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 <i>Juridiction consulaire</i>; 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 XV<sup>th</sup> was placed here.</p> + +<p>This staircase leads up to the audience hall of the chamber of commerce, +which is the most remarkable of the three rooms<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> which compose the first +floor of the building. It is ornamented, with a fine picture of Christ +by Van Dyck. In one of the neighbouring rooms are two paintings of large +dimensions, by Lemonnier, a native of Rouen. One of these paintings +represents the audience given by Louis XVI<sup>th</sup> to the Chamber of commerce +of Rouen, on the 28<sup>th</sup> june 1786, in the great hall of the archbishop's +palace, called the <i>Salle des États</i>. All the figures are of natural +size, and are striking likenesses. The subject of the other painting is +allegorical.</p> + +<p>There are three different entrances to this edifice, one from the rue +Nationale, another from the rue des Charrettes and a third from the +Quay.</p> + + +<h4>THE CUSTOM-HOUSE.</h4> + +<p>The edifice containing the ancient custom-house being a great deal too +small and incon<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span>venient for that purpose, it became indispensable to +erect another building. For this object, the municipal administration +opened a public competition on the 14<sup>th</sup> october 1833, for the erection +of another edifice. In the month of may 1834, the preference was given +to the plan of M<sup>r</sup> Ed. Isabelle, a distinguished architect in Paris, who +was charged with putting his plan into execution. The excavations were +commenced on the 17<sup>th</sup> february 1835, in the presence of the mayor, the +municipal council, etc., and the building was terminated in 1838.</p> + +<p>The architectural appearance of this edifice reminds us a little of the +severe style of the florentine architecture; the large doorway is +ornamented with the attributes of commerce, as likewise the coping of +the edifice; two bas-reliefs, of eight and a half feet high, and +sculptured on stone by David, representing the <i>symbols of navigation<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> +and commerce</i>, decorate the middle of the facade on the first floor. +This building is situated on the <i>Havre quay</i>, a little farther on than +the old one. It has three entrances: the principal, on the quay, leads +into a large rectangular court, which is covered with a cupola of +cast-iron; opposite to the entrance of this court, is placed against the +wall the fine bas-relief, which ornamented the front of the old +custom-house, a very handsome piece of workmanship by Coustou, a +statuary of the XVIII<sup>th</sup> century; it represents Mercury with the +different attributes of commerce. Two other entrances from the quay lead +to the offices and dwellings of some higher persons attached to the +customs. The lateral entrances serve as outlets to merchandise after +having been searched or examined in the covered court.</p> + +<p>The bonded and examining warehouses are on the ground floor, as likewise +the offices of the comptroller, sub-comptroller<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> and searchers; the +entresole is destined for other offices; the first floor is occupied +with the dwelling and offices of the director; and lastly, the second +story contains the dwelling of the principal receiver and the residing +comptroller.</p> + +<p><i>The entrepôt réel</i>, is situated, behind the new custom-house; this +warehouse is used for warehousing merchandise after the duties, have +been paid. The front of this edifice which is situated in the <i>rue des +Charrettes</i>, was erected in 1826.</p> + + +<h4>PUBLIC SLAUGHTERHOUSE.</h4> + +<p class="center"><i>Rue de Sotteville, suburb of Saint-Sever.</i></p> + +<p>For a long time the municipal council had occupied themselves with the +idea of endowing the town with an establishment of this description, the +want of which was imperiously felt; numerous plans were presented and +discussed; at last, after a thorough<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> examination, the town obtained, by +royal ordinance of the 18<sup>th</sup> august 1833, the authorisation to establish +a public and common slaughterhouse, with apparatus for melting the +tallow, scalding house and tripe house, on the fine property, which is +situated in the <i>rue de Sotteville</i>, at the corner of the <i>avenue de +Grammont</i>, bought for that purpose from M<sup>r</sup> Burel.</p> + +<p>A public competition was opened at the end of the year 1838 for the +plans of this establishment, and the prize was decreed, on the 20<sup>th</sup> +march 1834, to <i>M<sup>r</sup> Etienne-Théodore Dommey</i>, an architect from Paris.</p> + +<p>The first stone of this establishment was laid by M<sup>r</sup> H<sup>y</sup> Barbet, the +mayor of Rouen, on the 28<sup>th</sup> july 1835, in the presence of the civil and +military authorities and a large number of spectators.</p> + +<p>This important establishment, which was built within the period of two +years, and which is now completed, is one of the finest<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span> of this +description. The expences, including the purchase of the ground, +amounted to the sum of 970,000 francs, and the annual product is +estimated about 80,000 francs.</p> + +<p>The principal entrance is from the <i>rue de Sotteville</i>, a handsome +gateway between two gate houses gives a view of the whole building. The +total superficies of the buildings is of seven thousand three hundred +and thirty seven metres, or about the same number of yards.</p> + +<p>Spacious streets and avenues planted with trees permit of a free access +to all parts of the establishment. It is well supplied with water, and +has a canal to carry off the dirty water of the establishment, which +allows its being kept very clean.</p> + +<p>To visit the slaughterhouse, apply to the secretary general's office at +the town hall.<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span></p> + + +<h4>ROYAL COLLEGE,</h4> + +<p class="center"><i>Rue du Grand-Maulevrier.</i></p> + +<p>The entrance court, is almost square, and surrounded on the four sides +by buildings of a regular architecture. This portion formed the ancient +college of the Jesuits. At a short distance to the north, and on a +raised portion of ground, stands a large building formerly called the +<i>Joyeuse seminary</i>, from the name of its founder, the cardinal de +Joyeuse. These two establishments have now been united. That part, named +<i>Joyeuse</i>, is exclusively reserved for the youngest children: they have +their separate play ground, which is formed of the terraces of the +garden. The courts, which are alloted to the other classes, are situated +lower than the former. The college contains about two hundred boarders +and five hundred day scholars.<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span></p> + +<p>The college church particularly deserves to be mentioned. Its porch is +situated in the rue Bourg-L'abbé; we remark on the right of the entrance +a statue of Charlemagne, which we recognise by the globe he holds in his +hand; on the left, is that of Saint-Louis. The erection of this church +was commenced in 1614. It was formerly intended to be attached to the +college of the Jesuits. Marie de Medicis laid the first stone of this +church, which was only finished in 1704, and dedicated on the 21<sup>st</sup> of +december of the same year. Several paintings decorate the interior, +which is grand and majestic. The public are admitted into this church +during the hours of divine service.</p> + +<p>The municipal administration has caused a handsome marble mausoleum to +be erected to the memory of the cardinal de Joyeuse, the founder of the +seminary, in one of the lateral chapels to the left on entering.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p> +<h2>HOSPITALS.</h2> + + +<h4>HÔTEL-DIEU,</h4> + +<p class="center"><i>Rue de Lecat, at the extremity of the rue de Crosne.</i></p> + +<p>The establishment of vast hospitals is very ancient in Rouen. The one of +which I am speaking was formerly situated near the cathedral, between +the <i>Calende square</i> and the <i>rue de la Madeleine</i>. The house which is +opposite the southern porch of Notre-Dame, is a part of the remains of +that hospital. In 1758, it was transferred to the new building, which +had been erected in 1749, on the place called <i>the Lieu-de-Santé</i>, other +buildings having been afterwards added.</p> + +<p>The Hôtel-Dieu is exclusively reser<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span>ved for the reception of the +inhabitants of the town, excepting cases of urgency, which after having +been treated during six months, are dismissed as incurable, and are +admitted into the Hospice-Général, if they have dwelt during ten years +in the town. More than four thousand persons are admitted into this +hospital annually. About two thirds of the sick are under the care of +the physicians, the remainder under that of the surgeons of the +establishment. Different rooms are reserved for different maladies. One +of these is alloted to soldiers; another, which is known under the name +of <i>Gésine</i>, is reserved for lying in women. There is also a separate +room for Children under five years of age, and several rooms for +boarders.</p> + +<p>There are in all fifteen rooms, containing together more than six +hundred beds, the half of which are of iron.</p> + +<p>The medical practice is divided into two<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span> distincts parts; that of +physicians, that of surgeons. Their visits are made regularly twice in +the day.</p> + +<p>The Hotel-Dieu, is at the western extremity of the <i>rue de +Crosne-hors-Ville</i>, which is planted with trees, and offers a fine +avenue. The buildings which form the hospital (properly so called), are +those which are situated opposite the entrance gate which gives +admittance to the vast court of the hospital.</p> + +<p>The two hospitals are under the same superintendance which is renewed by +one fifth, every year. This commission acquires each day a greater right +to public gratitude and especially to that of the poor.</p> + + +<h4>HOSPICE-GÉNÉRAL.</h4> + +<p>This is situated in the lower part of the town, to the south-east, and +occupies a vast portion of ground adjoining<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> the boulevard Martainville. +Gratitude causes us here to mention the name of Claude Groulard, first +president of the parliament of Rouen, in 1602. From that date the +establishment of an hospital, really took place for the reception of the +poor sick inhabitants. Previously, there existed only a subsidy, for the +relief of the poor. After Groulard, a counsellor of parliament, named +Damiens, wishing to uphold more effectually the existence of the +hospital; quitted his house and situation, on purpose to live within and +in this way be nearer to watch over the wants of the poor.</p> + +<p>The Hospice-Général has been successively enlarged at different periods. +Lately, they have made a considerable purchase of land, and erected vast +buildings. Its population is of about two thousand individuals. Although +under the same administrative commission as the Hôtel-Dieu, it has its +particular director, who acts under<span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span> the superintendance of the +commission, which commission is subject to the public administration.</p> + +<p>The care of foundlings is one of the principal attributes of the +Hospice-Général. Orphans, who are found without means of existence, are +brought up in the same way as those who are abandoned; excepting, that +they are maintained at the expence of the <i>communes</i> to which they +belong; while at the same time the others are chargeable to the +departement; excepting however the assistence of the communes. The +establishment provides the baby linen and clothing for the use of the +foundlings; it likewise pays all the expenses of feeding and education +of these children, as long as they remain in the hospital. When they are +sent into the country, the amount of board, and nurses charges, till +they attain the age of twelve years, is paid out of the funds of the +departement. The Hospice-<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span>Général, receives each year on an average +about five or six hundred foundlings. A <i>tour</i> is always ready at one of +the entrances to receive them. Once a week, two coaches filled with +these unfortunate little creatures, are sent off one into the country +called the <i>pays de Bray</i>, the other to that called the <i>Roumois</i>, where +they are left with agents who are charged to leave them with the nurses. +In each of those <i>communes</i>, doctors are employed by the administrative +commission to visit them in case of sickness.</p> + +<p>We perceive, the front of the church of the hospital, from the boulevard +Martainville. In 1785, the ancient chapel belonging to this hospital +being found too small to contain the population, it became necessary to +erect the present for that purpose. This church was dedicated on the +25<sup>th</sup> march 1790. The architecture has been much criticised. Perhaps +more harmony on the whole might have been desirable; but<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span> nevertheless, +the different parts of it are handsome, and the edifice, such as it is, +still does honour to its author, the late M<sup>r</sup> Vauquelin.</p> + +<p>The principal entrance to this hospital is situated in the rue +Bourgerue.</p> + + +<h4>THE ASYLUM FOR THE INSANE,</h4> + +<p class="center"><i>Situated in the rue Saint-Julien, suburb of Saint-Sever.</i></p> + +<p>The <i>fréres de Saint-Yon</i>, having been invited, in 1705, to come and +establish themselves in Rouen, by the archbishop Nicolas Colbert and the +first president Nicolas Camus de Pont-Carré, they accordingly purchased +the portion of ground, which bears their name, in 1708. They erected the +church themselves without the assistance of an architect, even acting as +masons and workmen. The first stone was laid on the 7<sup>th</sup> june 1728. This +edifice is<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> of remarkable execution. In the exterior, its elevation is +about ninety six feet including a lantern of about thirty, which stands +above the transept of the edifice. In the interior, the length is one +hundred and twenty five feet and the breadth twenty five feet. On the +16<sup>th</sup> of july 1734, the <i>Frères de Saint-Yon</i>, carried with great pomp, +to their Church, the remains of their founder, the venerable Lasalle, +who died in 1719, and was buried in the church of Saint-Sever. +Independently of poor children, who were instructed by the monks +according to their condition, they likewise received incorrigible +children, who were sent by their parents to be taken care of; they also +received a limited number of insane persons, thirty were habitually kept +here at the expence of their families.</p> + +<p>From the time when the <i>Frères de Saint-Yon</i>, as also all other +religious communities, were suppressed, untill 1820, the<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span> house of +Saint-Yon, became successivly a revolutionary prison, a barrack, a +<i>grenier d'abondance</i>, or corn store house, a house of detention for +spanish prisoners, an hospital for wounded soldiers in 1814, and a poor +house. This last establishment was one of the most considerable of this +description; but, it was suppressed in 1820, by royal ordonance.</p> + +<p>Already in the preceding year, the <i>Conseil général</i> of the departement +of the Seine-Inferieure had taken into consideration the deplorable +state, to which the unfortunate insane were reduced, and they resolved +to alleviate their wretched condition. It had been represented to them +that these unfortunate people could not receive in the hospitals of +Rouen, Havre or Dieppe, where there were great numbers of them shut up, +the great attention, which their position required, or not even those +which humanity demanded.<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span></p> + +<p>The <i>conseil général</i> on a proposition from M<sup>r</sup> Malouet, then prefect +of the departement, voted the establishment of a special asylum for the +insane belonging to the departement. The buildings and dependencies of +the ancient monastery of Saint-Yon were designated as being fit for that +purpose. The situation of the place at the extremity of the suburb, and +in a healthy situation, and the numerous plantations which it would be +easy to make in the large gardens which surround the establishment, +appeared as many favourable circumstances, to fix the choice of the +administration.</p> + +<p>Therefore, in 1821, they entered into a contract for the building of +five different courts for the treatement of insane persons.</p> + +<p>On the 25<sup>th</sup> August 1822, on the feast of Saint-Louis, the prefect M<sup>r</sup> +de Vanssay laid the first stone of the establishement.</p> + +<p>From that time the works were carried on with activity. Already in July +1825, fifty<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> seven patients had been admitted. This asylum contains at +this time, 390 boarders and 150 poors at the charge of the departement.</p> + +<p>It occupies a superficies of nine or ten hectares. The inmates are taken +care of by the sisters of Saint-Joseph of Cluny.</p> + +<p>The admirable order which reigns in the establishment, the internal +management to which the insane are subjected, have already attracted the +attention of foreign medical men, who are charged with the treatement of +the same malady in the hospitals of their own countries. It may be said +that this asylum has, for several years served as a model to all the +others.</p> + + + +<hr style="width: 65%;" /> +<h2>PRISONS.</h2> + + +<p>There are two principal prisons in Rouen: the <i>house of correction</i>, and +the <i>maison de<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span> justice</i>, in the court of the Palais-de-Justice. The +first, commonly called <i>Bicêtre</i>, contains the debtors, prisoners +accused but not tried, and those sentenced to imprisonment under twelve +months; in the second those already convicted for crimes are confined. +Those sentenced to more than twelve months are sent to the central depôt +at Gaillon, ten leagues distant from Rouen.</p> + +<p>According to a statement made by M<sup>r</sup> Vingtrinier, the principal +physician of the prisons, the average of the population of the house of +correction is about three hundred; that of the <i>maison de justice</i> about +ninety; the mortality about one in fifty nine, in the first, and one in +sixty eight, in the second.</p> + + + +<hr style="width: 65%;" /> +<h2>SOLDIERS BARRACKS.</h2> + + +<p>There are three different barracks in Rouen: the first is situated near +the <i>quai<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span> aux Meules</i> at Saint-Sever, and contains about one thousand +men. The second on the Champ-de-Mars, and contains about seven hundred +and fifty men. The third is the <i>caserne Bonne-Nouvelle</i>, situated in +the suburb of Saint-Sever. Most people pass the ancient priory of +<i>Bonne-Nouvelle</i> (so named by Queen Matilda, on receiving the news of +the victory of Hastings), and see only a barrack. To the monks who +formerly inhabited this ancient priory, cuirassiers, dragoons and foot +soldiers have succeeded.</p> + +<p>The barracks of <i>Bonne-Nouvelle</i> will contain about three hundred +cavalry or about six hundred infantry.<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>REMARKABLE EDIFICES.</h2> + + +<h4>HÔTEL DU BOURGTHEROULDE,</h4> + +<p class="center"><i>Place de la Pucelle.</i></p> + +<p>After the cathedral and Saint-Ouen, this town possesses no other +monument which excites more the curiosity of french or English +antiquarians. The first person who described the famous bas-reliefs of +the <i>Camp du Drap-d'Or</i>, which ornament the exterior of the ancient +gallery of the edifice, is dom Montfaucon in the 4<sup>th</sup> volume of his +<i>Monuments of the french Monarchy</i>. He only did it, on the indications +given by the abbé Noel, who gave the first explanations of these +sculptures. After Montfaucon came D<sup>r</sup> Ducarel, who has only copied the +learned benedictine. Dibdin, the British an<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span>tiquarian, has also paid his +tribute of admiration to the hotel du Bourgtheroulde, in his +<i>Bibliographical, antiquarian and picturesque tour through France</i>. +Cotman and Dawson Turner, his countrymen, have given a place to this +edifice in their respective publications. M. de Jolimont, in his <i>most +remarquable monuments in the town of Rouen</i> devotes an article and two +engravings to this edifice. MM. Nodier, Taylor and de Cailleux have +enriched their <i>picturesque and romantic tour</i>, with a collection of +lithographic engravings representing the celebrated interview between +Francis I<sup>st</sup> and Henry VIII<sup>th</sup>, that took place in 1520 in a field +situated between Guines and Ardres in Picardy. M<sup>r</sup> A. Le Prevost has +also written learned memoirs on the hotel du Bourgtheroulde. He has +fixed the date of the building (about the end of the XV<sup>th</sup> century), and +revealed the name of the founder (Guillaume-le-Roux), and facilitated +the numerous des<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span>criptions which have been made of it. The most +complete, is that given by M. Delaquérière, in his work entitled: +<i>Historical description of the houses of Rouen</i>.</p> + +<p>In the short description that we give of this remarkable building, we +must notice the bas-reliefs, six in number, which adorn the elegant +hexagonal tower, in the inner court and represent pastoral scenes. We +must also add that interpreters make a great mistake when they inform +strangers that the celebrated maid of Orleans (burnt in 1431) was judged +and imprisoned in this building.</p> + + +<h4>ANCIENT ABBEY OF SAINT AMAND,</h4> + +<p class="center"><i>Rue Saint-Amand.</i></p> + +<p class="center"> +NON EST HIC ALIVD NISI DOMVS DEI.<br /> +</p> + +<p>The pious monks who caused this simple and touching inscription to be +engraven over the gate of their monastery, never supposed that one day +it would offer the most strange<span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> of <i>solecisms</i>. Enter this house and +you will have great difficulty in believing that you visit one of the +most celebrated abbeys in Rouen.</p> + +<p>This abbey, which was founded and endowed by the pious lady Aimeline, +and enriched by the liberalities of Robert-the-Magnificent, this once +famous monastery, which was honoured by the protection of kings, is now +a confused sort of inclosure and inhabited by workmen of different +kinds. Dirty courts and buildings in ruin have been for a long time the +only remains of the interior of Saint-Amand. Some parts nevertheless +have escaped destruction. Such is a very curious building, which had +been erected about the end of the XVI<sup>th</sup> century during the life of the +abbot Thomasse Daniel. This edifice is extremely remarkable from the +sculptures which cover the whole front, and chiefly represent pointed +windows. On the first floor, we find a room with two fire<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> places, on +one we may still distinguish in spite of mutilation, the armorial +bearings of the Daniel family. The wainscot is even more curious than +the sculptures which ornament the front of the house. At one of the +corners of this building there is a small turret, of stone, its form is +polygonal; its ornaments are rich and in very good taste: it is a fine +specimen of the productions of the <i>renaissance</i>.</p> + +<p>The building, with a front of the Ionic order, which is separated from +the other by the turret of which we have just spoken, contains a room, +which a few years ago, excited the curiosity of connoisseurs. The fire +place was surmounted by an oaken wainscot, which represented, in niches +separated by pilasters, four figures, those of the virgin, the angel +Gabriel, Saint-Margaret and Saint-Magdalen.<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span></p> + + +<h4>BUREAU DES FINANCES,</h4> + +<p class="center"><i>Opposite the front of the Cathedral.</i></p> + +<p>This was the ancient <i>Palace of the Court des Aides</i>. The building is +principally composed of hewn stone: it was built about the year 1509. +Although this edifice has suffered numerous degradations, it still +merits the attention of connoisseurs. The building has two separate +fronts: the principal one opposite the cathedral, the other in the <i>rue +du Petit-Salut</i>. The decorations are the same on both.</p> + +<p>In 1705, the <i>Cour des Aides</i> was united to the <i>Cour des Comptes</i>, +under the name <i>Cour de Comptes, Aides et Finances de Rouen</i>. The +present edifice has nevertheless always retained the name of <i>Bureau des +Finances</i>.<span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span></p> + + +<h4>REMARKABLE HOUSES AND CELEBRATED MEN.</h4> + +<p>Ancient town hall, rue de la Grosse-Horloge and rue Thouret.</p> + +<p>Sculptured wooden houses, Grande-Rue, n<sup>o</sup> 115 and 129.</p> + +<p>House, rue aux Juifs, n<sup>o</sup> 47 and 49.</p> + +<p>House, rue Percière, n<sup>o</sup> 11.</p> + +<p>House, rue Bouvreuil, n<sup>o</sup> 4.</p> + +<p>House, rue Etoupée, n<sup>o</sup> 4.</p> + +<p>Houses, rue des Carmes, n<sup>o</sup> 69 to 77.</p> + +<p>House, rue Caquerel, n<sup>o</sup> 13.</p> + +<p>House, rue Damiette, n<sup>o</sup> 29.</p> + +<p>Houses, rue Eau-de-Robec, n<sup>o</sup> 186, 221, 223.</p> + +<p>Houses, rue Malpalu, n<sup>o</sup> 90 and 92.</p> + +<p>Houses, rue du Change, n<sup>o</sup> 2 to 8.</p> + +<p>Houses, rue du Bac, n<sup>o</sup> 28 and 30.</p> + +<p>House, rue des Cordeliers, n<sup>o</sup> 45.</p> + +<p>Houses which are remarkable as having<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span> been those in which the following +celebrated men were born.</p> + +<p>House in the rue de la Pie, n<sup>o</sup> 4, where in 1606 the great Corneille was +born.</p> + +<p>House in the rue des Bons-Enfants, n<sup>o</sup> 132-134, where Fontenelle, was +born on the 11<sup>th</sup> february 1657.</p> + +<p>House in the rue aux Ours, n<sup>o</sup> 61. An inscription placed on this house +reminds us, that it was here, that A. Boieldieu, the celebrated +composer, was born.</p> + +<p>House rue aux Juifs, n<sup>o</sup> 9. Here Jean Jouvenet, the celebrated painter, +was born on the 21<sup>st</sup> August, 1647.</p> + +<p>To these celebrated names we must add the following of men equally +natives of Rouen: Thomas Corneille (the brother of Peter), Lémery, +Basnage, Samuel Bochart, the fathers Berruyer, Brumoy, Daniel, Sanadon, +the painters Restout, Letellier, Sacquepée, Colombel, Lemonnier, +Gericault, mademoiselle Champmeslé, madame<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span> Du Boccage, Armand Carrel, +Edward Adam, Dulong. Rouen is the birth-place of many other +distinguished men.</p> + + + +<hr style="width: 65%;" /> +<h2>BRIDGES.</h2> + + +<h4>STONE BRIDGE AND STATUE OF CORNEILLE.</h4> + +<p>This bridge was opened to the public, in 1829. It is about one hundred +and fifty yards higher up than the bridge of boats, which was formerly +almost opposite the <i>rue du Bac</i><a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>. We may almost say that it is +formed of two separate bridges, of which the two ends join each other on +the western<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span> extremity of the <i>Ile Lacroix</i>. Each part of the bridge is +composed of three arches. The span of the middle arch is of thirty one +mètres (93 feet french); the lateral arches, are of twenty six mètres +(78 feet); the whole length of the bridge is two hundred and sixty six +mètres (798 feet). In the centre of the platform on the bridge, is +placed the bronze statue of Pierre Corneille, on a pedestal of white +Carrara marble, which rests on a base of granite.</p> + +<p>This statue is twelve feet high, and weighs 4540 kilogrammes (9274 +pounds <i>de marc</i>). It was cast by M<sup>r</sup> Honoré Gonon, at Paris, after the +model by M<sup>r</sup> David. The pedestal is by M<sup>r</sup> Grégoire, the civil architect +of the Seine-Inférieure. The height of the monument is twenty six feet. +The first stone was laid by the king, on the 10<sup>th</sup> september 1833. The +statue was solemnly inaugurated, on the 19 october 1834. On one side of +the pedestal, we distinguish the following inscription:<span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p> + +<p class="center"> +TO PIERRE CORNEILLE,<br /> +BY SUBSCRIPTION,<br /> +1834.<br /> +</p> + +<p>This statue was erected by means of a subscription, opened by the +Society of Emulation of Rouen. It is to this society that we owe the +first idea of this national monument.</p> + +<p>A medal was struck for the occasion, and represents on one side the head +of <i>Pierre Cornellie</i>, with the following inscription:</p> + +<p><i>Pierre Corneille, born at Rouen the 6<sup>th</sup> june 1606, died at Paris on +the 1<sup>st</sup> october 1684.</i></p> + +<p>And on the reverse, the statue, with this inscription:</p> + +<p><i>Statue of bronze, erected by subscription to Pierre Corneille in his +native town, through the exertions of the Society of Emulation of Rouen, +in 1834.</i></p> +<p><span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span></p> + +<h4>SUSPENSION BRIDGE.</h4> + +<p>The numerous commercial trading vessels, which come up the Seine, were +formerly obliged to wait several days, before they could get along side +the quay to discharge. It became essential to enlarge the port, for +which reason the stone bridge, at the entrance to the town, was built; +but this arrangement rendered another bridge indispensable; and in 1828, +the town council consulted on the possibility of removing the bridge of +boats farther down; but the bad state it was in, and the enormous sum it +cost to keep it in repair, and the length of time it took to open it for +the passage of vessels, at once caused them to give up all idea of this +old machine, formerly looked upon us a wonder; but, which did not now +answer the purpose.</p> + +<p>On the 8<sup>th</sup> of june 1834, a royal ordinance was issued, approving the +under<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span>taking. At last MM. Seguin brothers, civil engineers, and Pierre +Colin, undertaker of public works, were, on the 16<sup>th</sup> october 1834, +declared the approved contractors for the erection of the bridge; at the +same time granting to them the receipts of the tolls for a period of 99 +years, the bridge to be terminated at the latest, by the 1<sup>st</sup> of january +1837. And it was entirely completed by the 1<sup>st</sup> september 1836 (the very +day the bridge of boats was suppressed). At the expiration of the 99 +years, the bridge will become the property of the government. Its +breadth is seven metres thirty centimetres, its length 197 metres, and +the whole expense has amounted to 750,000 fr. On the left of the bridge +is situated a guard house, and on the right Brune's house, erected by +the city as a reward for courage and devotedness on many occasions.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span></p> +<h2>RIVER AND RIVULETS.</h2> + + +<h4>THE RIVER SEINE.</h4> + +<p>The source of the Seine is to be found near the hamlet of Envergeraux, +and about two leagues and half from the village of Saint-Seine, in +Burgundy. After a course of more than 200 leagues from east to west, it +falls into the Ocean, between Havre and Honfleur<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a>.</p> + +<p>The depth of the Seine at Rouen allows this town to be classed amongst +the principal ports of France. They calculate at from<span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span> 2000 to 2500 the +number of vessels of all sizes, which annually come this port.</p> + + +<h4>ROBEC.</h4> + +<p>This rivulet has its source near the village of <i>Fontaine-sous-Préaux</i>; +about two leagues from Rouen, runs through five <i>communes</i>, and enters +Rouen by the suburb Saint-Hilaire; passing through the town, it falls +into the Seine, near the stone bridge.</p> + + +<h4>AUBETTE.</h4> + +<p>The Aubette has its source at Saint-Aubin, a small village near Rouen. +This rivulet runs through <i>Saint-Léger-du-bourg-Denis</i>, <i>Darnétal</i>, +enters Rouen by the suburb Martainville, and falls into the Seine, at +the entrance to the <i>Cours-Dauphin</i>, near the porte <i>Guillaume-Lion</i>. +These two rivers are specially useful for mills and dying +establishments.<span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p> + + +<h4>RENELLE.</h4> + +<p>If the etymology of the name <i>Renelle</i> is doubtful, the utility of the +stream at least is not so. It supplies numerous tanneries, of which +there are still a great many in the street which bears its name. This +sort of industry is very ancient in Rouen, and has never been +established in any other part of the town. On the 22<sup>nd</sup> of march 1560, +the parliament issued an act, ordering all the tanners to remove their +establishments to the <i>Eau-de-Robec</i>; but, they said that they required +clear water to carry on their trade, and therefore, were allowed, by +order of the king, to remain on the Renelle. This rivulet comes from the +Gaalor spring, and flows from the fountain of the <i>Bailliage</i>, almost in +a straight line to the Seine, into which it falls.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span></p> +<h2>FOUNTAINS.</h2> + + +<p>The more churches there were in a town, there should be as many public +fountains. Under the ancient law, a tub was placed at the entrance of +the temples, in which the priests washed their hands and feet; under the +new, and in imitation, fountains were placed near the churches, where +the christians, before entering, washed their face and hands. This +remark was applicable especially, in Rouen, before the revolution, where +the number of churches and fountains was quite equal. There are not now +thirty seven parochial churches; but we can still count thirty six +public fountains, not including those in many private houses.</p> + +<p>Of all these fountains, only seven merit<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span> particular attention, from +their architectural and historical character. They are the fountains of +the <i>Croix-de-Pierre</i>, the <i>Crosse</i>, the <i>Grosse-Horloge</i>, the +<i>Vieux-Marché</i>, the <i>Pucelle</i>, <i>Saint-Maclou</i>, and <i>Lisieux</i>.</p> + + +<h4>FOUNTAIN OF THE CROIX-DE-PIERRE,</h4> + +<p class="center"><i>Carrefour Saint-Vivien.</i></p> + +<p>There formerly existed, not far from the fountain known at present under +the name of the <i>Croix-de-Pierre</i> (stone cross), a cross, which had been +raised through the piety of the inhabitants; but, we now can find no +authentic document of the period of its being erected; all we know is +that it had been rebuilt in the year 1628.</p> + +<p>This fountain is composed of three partitions in the form of a pyramid, +and is ornamented with some statues; its appearance is exceedingly fine. +One may still form an idea of the beauty of its architecture, in spite +of<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> its ruinous condition, and even the repairs it has undergone.</p> + + +<h4>FOUNTAIN OF THE CROSSE,</h4> + +<p class="center"><i>At the corner of the streets des Carmes, and de l'Hopital.</i></p> + +<p>This is a small monument in the gothic style of the end of the XV<sup>th</sup> +century. The sculptures which decorate it, are remarkable for their +fineness and delicacy. It is surmounted by a royal crown. Its name comes +from its being situated at the corner of the house, which had for sign +the crozier belonging to the monks of Notre-Dame de l'Ile-Dieu.</p> + +<p>Some etymologists see in the word <i>Crosse</i>, an alteration of the english +word <i>cross</i>. In the year 1815, this fountain was completely renewed.</p> + + +<h4>FOUNTAIN OF THE GROSSE-HORLOGE,</h4> + +<p class="center"><i>At the corner of the streets des Vergetiers, and the Grande-Rue.</i><span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span></p> + + +<h4>FOUNTAIN OF THE VIEUX-MARCHÉ,</h4> + +<p class="center"><i>On the old market place.</i></p> + +<p>A modern square building, of the doric order. It was erected by M<sup>r</sup> +Bouet, an architect of Rouen.</p> + + +<h4>FOUNTAINS OF SAINT-MACLOU, AND OF THE PUCELLE.</h4> + +<p>Strangers will be repaid for their trouble in going to see these +fountains. The first, is situated at the corner of the church of +Saint-Maclou; there remain still two figures of children, an elegant +creation of Jean Goujon. We mention the second, the <i>fountain of the +Pucelle</i>, on the place of the same name, on account of the historical +recollections, which are attached to it. It is a heavy composition of +Paul Slodtz. Its want of style causes us to regret the beautiful +triangular fountain, which was erected after the execution, in this<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> +square; of the <i>heroine of Vaucouleurs</i>, a monument which instead of +destroying, they should have tried to preserve.</p> + + +<h4>FOUNTAIN OF LISIEUX,</h4> + +<p class="center"><i>Rue de la Savonnerie.</i></p> + +<p>This fountain is by far the most remarkable of the whole. It is thus +named on account of its being erected against a house, which belonged to +the bishop of Lisieux, who lodged in it when he came to Rouen. At the +top of the pyramid, we may remark Apollo, dressed in a most +extraordinary manner, and represented playing on the harp. Under the god +of the poets, we distinguish the horse Pegasus. Immediately beneath, a +figure with three heads is represented, of which the manuscripts make a +<i>philosophy</i><a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a>. The nine muses are distributed<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> in the rest of the +masonry, under the figure with three heads, which might almost be that +of a Hecate. Rocks, trees, turf and sheep, form the accompaniements of +this <i>Mount-Parnassus</i>.</p> + +<p>The water ran formerly from two brass figures of Salamanders, which +indicated the date of the time of Francis the first. Mutilated as it is, +this monument is still very curious, and merits to be visited. Its +erection dates from the year 1518.</p> + + + +<hr style="width: 65%;" /> +<h2>MINERAL WATERS.</h2> + + +<p>Rouen has also its mineral waters, which, even in the neighbouring +towns, have a sort of reputation, I will point out three of the +principal sources, after <i>Lepecq de la Clôture</i>: The first, to the east, +is known under the name of <i>la Marèquerie</i>, to which we arrive by the +rue Martainville; the second,<span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span> to the south east, named <i>de Saint-Paul</i>; +the third is situated at <i>Déville</i>, in the neighbourhood of Rouen. The +learned doctor, on whose authority I speak, assures us that sick people +to whom he ordered the water of the last named spring, were cured by the +use of it. He also adds, that this spring might become very valuable to +the inhabitants of the western quarter of the town. Nevertheless, it has +never been much known, and even at the present day very few people are +acquainted with its existence.</p> + + + +<hr style="width: 65%;" /> +<h2>SQUARES AND MARKET PLACES.</h2> + + +<h4>OLD MARKET AND PLACE DE LA PUCELLE.</h4> + +<p>The name of the first of these two places points out to us that it is +the most ancient in<span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span> Rouen; it is also the most considerable. It existed +in the XI<sup>th</sup> century, and was at that period, situated in the suburb. +Formerly, it covered a much larger space of ground than at present; +since, in the XVI<sup>th</sup> century, it occupied the whole of the ground +contained between the <i>rue du Vieux-Palais</i>, the church of Saint-Eloi +and Saint-Michael; the last mentioned church has disappeared within the +last few-years, and is replaced by a handsome building, which is named +the <i>Hôtel Saint-Michel</i>. About the commencement of the XVI<sup>th</sup> century, +the houses in the neighbourhood of the church of Saint-Eloi and the <i>rue +du Vieux-Palais</i>, were erected; one of them still remains, it is the +Hôtel da Bourgtheroulde, which I have already described. The old market +was thus divided, into two unequal parts. The spot where the innocent +<i>Joan of Arc</i> was burnt in 1431, retains the name of <i>place de la +Pucelle</i>. It is also called <i>place du Marché-aux-Veaux</i>, on account of +its<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> former destination. It is then on the old market place, that the +French heroine was sacrificed to the superstition of that age.</p> + + +<h4>NEW MARKET.</h4> + +<p>Fruit, eggs, cream cheeses, or small Neufchâtel cheeses: such are the +supplies to be found in this market. About fifty years ago, a gilt +leaden statue, representing Louis XV<sup>th</sup> in his youth, and covered with +the royal mantle, was to be seen. This monument has been replaced by the +present obelisk, which furnishes an abundant supply of water to the +inhabitants of this quarter.</p> + + +<h4>PLACE NOTRE-DAME.</h4> + +<p>Before 1429, this place served as a poultry and grass market. In 1537, +it was paved and enclosed with a low wall. In 1641, two stone Crosses, +still visible in some ancient engravings, were placed at the two +corners.<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span> In the time of <i>Pommeraye</i>, the <i>parvis</i> Notre-Dame, was the +place on which bonfires were lighted. At present it is the flower and +seed market, regularly held on the sundays and fridays.</p> + + +<h4>PLACE DE LA CALENDE.</h4> + +<p>It was formerly called <i>Port-Morant</i>, <i>port des navires</i>, or <i>port de +Notre-Dame</i>, because, before the first dukes enclosed the Seine within +certain limits, the vessels discharged their cargoes at this place. The +house which is exactly opposite the porch of the church and on which we +distinguish a dial, is the remains of the old <i>Hôtel-Dieu</i>.</p> + + +<h4>THE ROUGEMARE.</h4> + +<p>In the year 949, Otho, emperor of Germany, Louis IV<sup>th</sup>, king of France, +and Arnold, count of Flanders, laid siege to the town of Rouen. The duke +Richard I<sup>st</sup>, surnamed <i>Sans-Peur</i>, made a <i>sortie</i> by the<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span> <i>porte +Beauvoisine</i>, and fell on the enemies of which he made a great +slaughter. This action took place partly on the site of the present +<i>Rouge-Mare</i> (red-pool), from the blood with which it was covered.</p> + +<p>In 1450, the <i>Rouge-Mare</i> became the horse market, which has, since the +end of the last century, been transferred to the <i>Boulingrin</i>. The +<i>Rouge-Mare</i> is now the butter market.</p> + + +<h4>THE BOULINGRIN.</h4> + +<p>The English have returned to the French that which they had borrowed of +them. Formerly, people did not go to walk on the <i>boulevard</i>, but on the +<i>boule-verd</i>, from which the english have made <i>bowling-green</i>, a +literal translation. From this word, the french derive their +<i>Boulingrin</i>.</p> + +<p>This place is situated at the junction of the rampes Beauvoisine and +Saint-Hilaire; it is a vast square surrounded by a ma<span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span>gnificent double +row of horse chestnut trees. Since the horse market has been transferred +to it, people commonly call it the <i>new Rouge-Mare</i>.</p> + + + +<hr style="width: 65%;" /> +<h2>PUBLIC LIBRARY,</h2> + +<h3>PICTURE GALLERY AND MUSEUMS.</h3> + + +<h4>PUBLIC LIBRARY,</h4> + +<p class="center"><i>At the Town Hall.</i></p> + +<p>The opening of this library took place on the 4<sup>th</sup> july 1809. Since +then, the inhabitants and strangers are admited into this establishment +every day, (except Sundays, thursdays and during the vacations), from +eleven till four, and from 6 till 9 o'clock in the evening. The present +collection, consists<span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span> of about thirty five thousand volumes. There are +above eleven hundred manuscripts. Several of them are very curious and +rare, from their date, their illuminations, or their subjects. Amongst +the first, although not the most ancient, I will mention the famous +<i>Gradual</i> by Daniel d'Aubonne, who died in the year 1714. It measures +two feet seven inches in length by one foot ten inches in breadth and +weighs seventy three pounds. It is ornamented with brass plates; on each +side of the binding, we may observe the armorial bearings of the abbey +of Saint-Ouen, which are also of brass. This manuscript contains about +two hundred vignettes, initials of all sizes, and also a great number of +gilt letters. One cannot admire too much the patience of the author, who +passed thirty years, it is said, on this immense undertaking. The +library contains also other manuscripts, infinitely more precious, +amongst which are several of the XI<sup>th</sup>, IX<sup>th</sup>, and even<span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span> of the VII<sup>th</sup> +and VIII<sup>th</sup> centuries. The learned will distinguish amongst the most +important of the manuscripts, the curious missal of archbishop Robert, +which was brought from England about the year 1050, with the +<i>benedictionary</i>, which was used at the coronation of the Anglo-Saxon +Kings. These two manuscripts are ornamented with magnificent miniatures +in the greek style of the empire. The books printed before the year 1500 +amount to three hundred and twenty eight, of which two hundred and forty +bear dates; the most ancient is of 1468.</p> + +<p>The library contains also collections of great value and editions which +have become very rare. The government has enriched it with several very +valuable works. The most important gift that has yet been made to the +library, is that which was sent, by the commission of records in +England, of the collection of historical documents, which<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span> they have +published. This magnificent gift, which will be followed by several +others, is composed of 71 vols. folio, and 168 vols. 8 vo.</p> + +<p>The Leber's magnificent collection of books and manuscripts, bought last +year by the city, will shortly be added to the public library.</p> + +<p>The present keeper is M.A. Pottier.</p> + + +<h4>PICTURE GALLERY,</h4> + +<p class="center"><i>At the Town Hall.</i></p> + +<p>The opening of the picture gallery took place on the same day (4<sup>th</sup> july +1809), as that of the library. The greater part of the paintings have +been collected in the departement. The government has also assisted in +enriching it, by giving several paintings of different schools, the +municipal council by voting different acquisitions, and some private +persons, by voluntary gifts. This interesting collection is composed of +about three hundred paintings, amongst which<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> we remark <i>a Virgin in the +midst of Angels</i>, called <i>the Virgin of Saint-Sixte</i>, by Raphael, an +admirable copy, if not a second original of the picture known under the +same name in the gallery of Dresden; also three small paintings, placed +next to each other, and which are incontestably by that great painter +and in his best style; the Van Eyck representing <i>the Virgin in the +midst of young girls; a mass during the league</i>, a painting which is +curious on account of the subject and great personnages which it +represents; <i>a Conversion of saint Matthew</i>, by Valentin; <i>a saint +Francis in prayer</i>, by Hannibal Carrache; <i>an Ecce Homo</i> and a copy of +the <i>Holy family</i>, by Mignard; <i>a death of saint Francis</i>, by Jouvenet; +several marines, by Vernet; <i>a descent from the Cross</i>, by Lahire; <i>the +plague of Milan</i>, by Lemonnier, of Rouen; and a great many others, which +it would require too much room to mention here. At the ex<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span>tremity of the +entrance gallery, we remark a statue of baked clay by Caffiery<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a>, +representing Pierre Corneille. Several marble statues and plaster castes +of the finest ancient statues, are placed in the room at the extremity +of this gallery. The statues which we observe in the lobby are those of +general Bonchamps, by David, and opposite, that of Achilles, by Bougron. +The latter belongs to the academy, which possesses also the magnificent +painting by M<sup>r</sup> Court, representing <i>Corneille complimented in the +theatre by the great Condé</i> and the fine <i>portrait of Boieldieu</i>, by M<sup>r</sup> +Boullenger de Boisfremont. These two paintings are placed in the hall of +the academy, adjoining that of the library and picture gallery; +strangers are permitted to see them.<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span></p> + +<p>During the month of July, there is an exhibition of paintings, +principally by artists of Rouen.</p> + +<p>The establishment is open to the public on sundays and thursdays, and +every day to painters and strangers, from ten till four o'clock.</p> + +<p>The present keeper is M.H. Bellangé.</p> + + +<h4>MUSEUM OF ANTIQUITIES.</h4> + +<p class="center"><i>At Saint-Mary's, rue Poussin.</i></p> + +<p>This museum, which was established in 1833, after a proposition of M<sup>r</sup> +Dupont-Delporte, prefect, by the general council of the departement, was +opened to the public in 1834. It occupies two of the galleries of the +cloister of the ancient convent of Saint-Mary. In the first gallery are +the gallic, roman and gallo-roman antiquities, as also those of the +middle ages; in the second, those of the period, termed the +<i>renaissance</i>.<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span> This chronological order has been preserved as much as +possible. The searches which have taken place in different parts of the +departement, and especially in the roman theatre at Lillebonne, have +produced the greater number of antiquities. A great many others are +through the generosity of private individuals. This museum contains +statues, busts, bas-reliefs, fragments of architecture, sarcophagi, urns +of marble and stone; vases of bronze, glass and baked earth; gallic and +roman medals, pieces of french coins, seals of the middle ages, stained +glass, arms, pieces of furniture, utensils and ornaments of different +ages.</p> + +<p>This museum is open on sundays and holy days from eleven till four +o'clock, and on tuesdays and thursdays for amateurs and strangers, from +twelve till three o'clock.</p> + +<p>The keeper is M<sup>r</sup> A. Deville.<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span></p> + + +<h4>MUSEUM OF NATURAL HISTORY.</h4> + +<p class="center"><i>At Saint-Mary's, rue Poussin.</i></p> + +<p>The municipal administration of Rouen founded the gallery of natural +history, in 1827; but, it was only in the year 1832, and after having +been enriched by the administration of that time, that it was judged fit +to be offered to public curiosity.</p> + +<p>The increase of this museum has been rapid; already, within its few +years of existence, it may be advantageously compared with most +provincial collections; and through the maritime situation of the town, +may one day be placed immediately after that at Paris. It is remarkable, +for the numerous shells which it possesses, as also for some mammiferi, +which are exceedingly rare. This gallery is open to the public, on +sundays and holy days; foreigners and students may enter on any day.<span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span></p> + +<p>M<sup>r</sup> Pouchet is the director of this establishment.</p> + + + +<h4>LEARNED SOCIETIES.</h4> + + +<p class="center">ROYAL ACADEMY OF SCIENCES, ARTS AND BELLES-LETTRES.</p> + + +<p class="center">FREE SOCIETY OF EMULATION.</p> + + +<p class="center">CENTRAL SOCIETY OF AGRICULTURE.</p> + + +<p class="center">SOCIETY FOR THE IMPROVEMENT OF COMMERCE AND INDUSTRY.</p> + + +<p class="center">SOCIETY OF MEDICINE.</p> + + +<p class="center">APOTHECARIES SOCIETY.<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span></p> + + +<p class="center">SOCIETY OF THE FRIENDS OF ARTS.</p> + + +<p class="center">HORTICULTURAL SOCIETY.</p> + + +<p class="center">COMMISSION OF ANTIQUITIES.</p> + + +<p class="center">PHILHARMONIC SOCIETY.</p> + + + +<hr style="width: 65%;" /> +<h2>BOTANICAL GARDEN.</h2> + + +<p>This garden was formerly situated on the <i>Cours-Dauphin</i>, but, the +municipal administration wishing to render that portion of the town +named Martainville, more healthy, entertained the project of opening a +street at the entrance of the town, on the ground occupied by this +garden; in consequence they sought another place, more suitable for a +botanical garden. The place fixed upon, is the <i>park of Trianon</i>, where +people formerly went, to visit the fine hot houses, and rare<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span> collection +of dahlias and other plants, which belonged to a distinguished english +florist, M<sup>r</sup> Calvert.</p> + +<p>This new botanical garden, is situated at the extremity of the rue +d'Elbeuf, and forms a square of about 45,500 metres (or yards) surface. +M<sup>r</sup> Lejeune, an architect, gave the plan of this garden.</p> + + +<h4>LECTURES ON CHEMISTRY.</h4> + +<p>These lectures take place every year, (beginning the 15<sup>th</sup> november), on +tuesdays and saturdays at one o'clock, in one of the halls of the +ancient convent of Saint-Marie. The lectures are principally on the +application of chemistry to arts and industry.</p> + + +<h4>LECTURES ON NATURAL PHILOSOPHY.</h4> + +<p>These lectures were instituted in 1835; they take place twice a week in +the amphitheatre at Saint-Marie.<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span></p> + + +<h4>PUBLIC LESSONS IN DRAWING.</h4> + +<p>This school, founded by M<sup>r</sup> Descamps, the author of the <i>lives of +flemish painters</i>, is now established at Saint-Marie. The lessons +commence in the month of november and finish in the month of august, +from one o'clock till three.</p> + + +<h4>LECTURES ON NATURAL HISTORY.</h4> + +<p>They take place in the amphitheatre, which is given for this science, +and is situated at Saint-Marie, Poussin street. The lectures take place +on tuesdays and saturdays, during the winter, at eight o'clock in the +evening.</p> + +<p>There are besides, at Saint-Marie, every sunday, lectures on geometry +and mechanics applied to arts and manufactures, and lectures also on +commercial law and book keeping.<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span></p> + + +<h4>SECONDARY SCHOOL OF MEDICINE.</h4> + +<p>The different branches are taught in the hospitals, by the physicians +who are attached to these establishments.</p> + + + +<hr style="width: 65%;" /> +<h2>THEATRES.</h2> + + +<p>The <i>Théâtre-des-Arts</i> at the corner of the rues <i>Grand-Pont</i> and des +<i>Charrettes</i>, was erected by Francis Gueroult, an architect of Rouen. +The first stone was laid on the 18<sup>th</sup> june 1774, and the opening took +place the 29th june 1776, on Saint-Peter's day and the fête of +Corneille. This theatre was altered and lighted with gas, in 1835, and +will contain about seventeen or eighteen hundred persons. The ceiling +was painted<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span> by Lemoine, a native of this city, and represents the +<i>apotheosis of Corneille</i>.</p> + +<p>The peristyle fronting the rue des Charrettes is in the form of a +quarter of a circle and is composed of columns of the ionic order. The +medallion of Pierre Corneille is sculptured on the entablature which is +supported by these columns, and on each side of the medallion, we +perceive Melpomene with a dagger, and Thalia with a mask.</p> + +<p>The performers for operas and comedies are generally good.</p> + +<p>The second theatre is situated on the old market place and is called the +<i>Théâtre-Français</i>; this building formerly used as a tennis court, was +opened for theatrical purposes on the 2<sup>nd</sup> of february 1793. This +theatre will contain about twelve hundred persons. Besides these two +theatres, there is a third at the entrance of Saint-Sever, which is the +circus or <i>Ambigu-Dramatique</i>.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span></p> +<h2>PUBLIC WALKS IN ROUEN.</h2> + + +<h4>COURS BOIELDIEU AND THE EXCHANGE.</h4> + +<p>These are the fashionable walks. The bronze statue between the two is +that of Boieldieu, the celebrated french composer a native of Rouen. It +is the work of the sculptor Dantan the younger.</p> + + +<h4>COURS DE LA REINE.</h4> + +<p>According to <i>Farin</i>, this public walk was formed for a walk for the +ladies, and is one of the finest in the kingdom; its length is about 674 +fathoms. Four rows of large elms form the whole length on the banks<span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span> of +the Seine. On holy-thursday, the <i>Cours-de-la-Reine</i> begins to be used +as a fashionable promenade, and it may be said that on that day, it has +a very gay appearance.</p> + + +<h4>AVENUES OF MONT-RIBOUDET, AND COURS-DAUPHIN.</h4> + +<p>The first is the principal entrance to Rouen from Havre and Dieppe, and +the second, at the opposite extremity of the quay, the entrance from +Paris, Evreux, etc.</p> + + +<h4>THE BOULEVARDS.</h4> + +<p>They occupy, for the greater part, the place of the ditches which +surrounded the town; they were planted between the years 1770 and 1780 +and were paved in 1783, at the expense of the town. They are about 3 +miles in length.<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span></p> + + +<h4>WALKS WITHOUT THE TOWN.</h4> + +<p>Mount Saint-Catherine first presents itself. We may go to it, either by +the Paris high road, or by the <i>petites eaux</i> Martainville. The last +mentioned, although the least frequented, is perhaps the preferable +route on account of the diversity of the landscape.</p> + +<p>It will be useless for the traveller, when he has reached the top of the +hill, to look for the ancient abbey of the <i>Sainte-Trinité-du-Mont</i>, the +chapel of the <i>priory of Saint-Michel</i>, or the fortifications, in which +the marquis of Villars withstood the attacks of Henry IV<sup>th</sup>; nothing of +them remains at the present day, except two remnants of a wall, which +threaten to fall on the traveller, who is imprudent enough to approach +too near them.</p> + +<p>From this elevated position, in turning towards the north-east, we see +the valley of <i>Darnetal</i>, which has become so rich<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span> through the industry +of those who inhabit it. The eye reposes with pleasure on the gothic +tower of the church of <i>Carville</i>; and of which, according to tradition, +Henry IV<sup>th</sup>, made a post of observation when he besieged the fort of the +<i>ligue</i>. We must not forget that an English detachment, which served in +the army of the king, conducted itself very bravely in the different +attacks, with which it was entrusted. On the opposite side of the valley +of Darnetal and towards the north, we distinguish the hill named <i>des +Sapins</i>, on which the monumental burying ground is situated. This latter +hill adjoins the <i>Bois-Guillaume</i> from which also the view is admirable +although inferior to that from the mount Saint-Catherine, which advances +like a promontory, above the immense valley of the Seine, while that of +Bois-Guillaume or Beauvoisine, recedes from the circular line formed by +the union of these different hills.<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span></p> + +<p>The Bois-Guillaume joins <i>Saint-Aignan</i>. We cross the latter <i>commune</i>, +on our way to <i>Mont-aux-Malades</i>, formerly the <i>Mont-Saint-Jacques</i>. +Antiquarians will not fail to go and see a church at this place, which +is a venerable remains of norman architecture. There were two, but the +other is now almost destroyed. Travellers should also visit the hill of +<i>Canteleu</i> from which the view is very fine, and at the same time the +country house of M. Élie Lefebure, called the <i>Chateau of Canteleu</i>.</p> + + + +<hr style="width: 65%;" /> +<h2>BURYING GROUNDS OF ROUEN.</h2> + + +<p>There are at present, five burying grounds for the roman catholics, and +two for the protestants. They are the burying grounds of +<i>Saint-Gervais</i>, <i>Beauvoisine</i>, <i>Val-de-<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span>la-Jatte</i>, of which a part has +been walled off for the protestants; <i>Mont-Gargan</i>, <i>Saint-Sever</i>, and +<i>Champ-des-Oiseaux</i>, which latter forms the second protestant burying +ground. The great demand of families, to obtain a piece of ground, on +which to erect a monument on the tomb of a relation, had caused a great +diminution of ground for interments; the municipal administration +therefore took measures to prevent the consequences of it. On the +proposition of the marquis de Martainville, then mayor of the town they +determined, on the 24<sup>th</sup> april 1823, that a monumental burying should be +established on the east of Rouen, on a portion of the hill of Fir-Trees +which was barren, and could be disposed of without any loss.</p> + +<p>This new burying ground contains about ten acres of ground, enclosed +with walls. A chapel is erected on the highest point of the hill; and a +vault has been formed under it for the provisional deposit of bodies, +which<span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span> cannot be interred immediately. A tariff exists, which regulates +the sum to be paid by families, who wish to purchase a place in this +burying ground.</p> + + +<h5>THE END.</h5> + +<hr style="width: 65%;" /> + +<div class="figcenter"> + <a href="images/07large.jpg"> + <img src="images/07.jpg" + alt="Map" + title="Map" /></a> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span></p> +<h2>CONTENTS.</h2> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'>Historical introduction</td> + <td align='right'><a href='#Page_1'>1</a>.</td> +</tr> +<tr> + <td align='center'><b>RELIGIOUS MONUMENTS.</b></td> + <td align='left'></td> +</tr> +<tr> + <td align='center'><b>Parochial churches.</b></td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Cathedral</td> + <td align='right'><a href='#Page_19'>19</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Ouen</td> + <td align='right'><a href='#Page_56'>56</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Maclou</td> + <td align='right'><a href='#Page_69'>69</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Patrice</td> + <td align='right'><a href='#Page_74'>74</a>.</td> +</tr> +<tr> + <td align='left'>Sainte-Madeleine</td> + <td align='right'><a href='#Page_76'>76</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Sever</td> + <td align='right'><a href='#Page_77'>77</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Romain</td> + <td align='right'><a href='#Page_79'>79</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Godard</td> + <td align='right'><a href='#Page_85'>85</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Nicaise</td> + <td align='right'><a href='#Page_88'>88</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Vincent</td> + <td align='right'><a href='#Page_90'>90</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Vivien</td> + <td align='right'><a href='#Page_92'>92</a>.</td> +</tr> +<tr> + <td align='center'><b>Chapels of ease.</b></td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Saint-Gervais</td> + <td align='right'><a href='#Page_93'>93</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Hilaire</td> + <td align='right'><a href='#Page_96'>96</a>.</td> +</tr> +<tr> + <td align='left'>Saint-Paul</td> + <td align='right'><a href='#Page_96'>96</a>.</td> +</tr> +<tr> + <td align='center'><b>Protestant worship.</b></td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Saint-Eloi</td> + <td align='right'><a href='#Page_99'>99</a>.</td> +</tr> +<tr> + <td align='center'><b>Churches closed in 1791</b></td> + <td align='right'><a href='#Page_101'>101</a>.</td> +</tr> +<tr> + <td align='center'><span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span><b>CIVIL MONUMENTS.</b></td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Town hall (Hotel-de-Ville)</td> + <td align='right'><a href='#Page_104'>104</a>.</td> +</tr> +<tr> + <td align='left'>Archiepiscopal palace</td> + <td align='right'><a href='#Page_106'>106</a>.</td> +</tr> +<tr> + <td align='left'>Palace-of-Justice</td> + <td align='right'><a href='#Page_103'>103</a>.</td> +</tr> +<tr> + <td align='left'>Tower of the Grosse-Horloge</td> + <td align='right'><a href='#Page_113'>113</a>.</td> +</tr> +<tr> + <td align='left'>Coverted markets</td> + <td align='right'><a href='#Page_116'>116</a>.</td> +</tr> +<tr> + <td align='left'>Exchange (la Hourse)</td> + <td align='right'><a href='#Page_120'>120</a>.</td> +</tr> +<tr> + <td align='left'>Tribunal of commerce or the Consuls</td> + <td align='right'><a href='#Page_122'>122</a>.</td> +</tr> +<tr> + <td align='left'>Custom house (la Douane)</td> + <td align='right'><a href='#Page_123'>123</a>.</td> +</tr> +<tr> + <td align='left'>Public slaughterhouse (les Abbatoirs)</td> + <td align='right'><a href='#Page_126'>126</a>.</td> +</tr> +<tr> + <td align='left'>Royal college</td> + <td align='right'><a href='#Page_129'>129</a>.</td> +</tr> +<tr> + <td align='center'><b>Hospitals</b></td> + <td align='right'><a href='#Page_131'>131</a>.</td> +</tr> +<tr> + <td align='center'><b>Prisons</b></td> + <td align='right'><a href='#Page_141'>141</a>.</td> +</tr> +<tr> + <td align='center'><b>Soldiers-Barracks</b></td> + <td align='right'><a href='#Page_142'>142</a>.</td> +</tr> +<tr> + <td align='center'><b>Remarkable edifices.</b></td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Hotel du Bourgtheroulde</td> + <td align='right'><a href='#Page_144'>144</a>.</td> +</tr> +<tr> + <td align='left'>Ancient abbey of Saint-Amand</td> + <td align='right'><a href='#Page_146'>146</a>.</td> +</tr> +<tr> + <td align='left'>Ancient bureau des finances</td> + <td align='right'><a href='#Page_149'>149</a>.</td> +</tr> +<tr> + <td align='left'>Remarkable houses and celebrated men</td> + <td align='right'><a href='#Page_150'>150</a>.</td> +</tr> +<tr> + <td align='center'><b>Bridges.</b></td> + <td align='right'></td> +</tr> +<tr> + <td align='left'>Stone bridge and statue of Corneille</td> + <td align='right'><a href='#Page_152'>152</a>.</td> +</tr> +<tr> + <td align='left'>Suspension bridge</td> + <td align='right'><a href='#Page_155'>155</a>.</td> +</tr> +<tr> + <td align='center'><b>River and rivulets</b></td> + <td align='right'><a href='#Page_157'>157</a>.</td> +</tr> +<tr> + <td align='center'><b>Fountains</b></td> + <td align='right'><a href='#Page_160'>160</a>.</td> +</tr> +<tr> + <td align='center'><b>Mineral waters</b></td> + <td align='right'><a href='#Page_165'>165</a>.</td></tr> +<tr> + <td align='center'><span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span><b>Squares and marketplaces</b></td> + <td align='right'><a href='#Page_166'>166</a>.</td> +</tr> +<tr> + <td align='left'>The maid of Orleans, etc.</td> + <td align='right'><a href='#Page_167'>167</a>.</td> +</tr> +<tr> + <td align='center'><b>Library, picture gallery and museums.</b></td> + <td align='right'></td> +</tr> +<tr> + <td align='left'>Public library</td> + <td align='right'><a href='#Page_171'>171</a>.</td> +</tr> +<tr> + <td align='left'>Picture gallery</td> + <td align='right'><a href='#Page_174'>174</a>.</td> +</tr> +<tr> + <td align='left'>Museum of antiquities</td> + <td align='right'><a href='#Page_177'>177</a>.</td> +</tr> +<tr> + <td align='left'>Museum of natural history</td> + <td align='right'><a href='#Page_179'>179</a>.</td> +</tr> +<tr> + <td align='center'><b>Learned societies</b></td> + <td align='right'><a href='#Page_180'>180</a>.</td> +</tr> +<tr> + <td align='left'>Botanical garden, etc.</td> + <td align='right'><a href='#Page_181'>181</a>.</td> +</tr> +<tr> + <td align='left'>Public and gratuitous courses of instruction</td> + <td align='right'><a href='#Page_189'>189</a>.</td> +</tr> +<tr> + <td align='center'><b>Theatres</b></td> + <td align='right'><a href='#Page_184'>184</a>.</td> +</tr> +<tr> + <td align='center'><b>Walks in Rouen</b></td> + <td align='right'><a href='#Page_186'>186</a>.</td> +</tr> +<tr> + <td align='center'><b>Walks without the town</b></td> + <td align='right'><a href='#Page_188'>188</a>.</td> +</tr> +<tr> + <td align='center'><b>Burying grounds</b></td> + <td align='right'><a href='#Page_190'>190</a>.</td> +</tr> +</table></div> + +<hr style="width: 65%;" /> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> It is the sugar refinery of M<sup>r</sup> Sautelet, rue des Carmes, +opposite the place of the same name.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> <i>Recherches sur l'histoire religieuse, morale et littéraire +de Rouen, depuis les premiers temps jusqu'a Rollon</i>. Rouen, J. Frère, +1826, 8vo.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The principal filatures, manufactories and bleaching +establishments, are situated in the suburb of Saint-Sever, and in the +valleys of Deville, Bapeaume and Maromme. Amongst the principal stuffs, +which are wrought in its manufactories, we must mention its +<i>rouenneries</i>, the general name given to all those striped or checked +cotton, stuffs which are used for womens dresses.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <i>Historical description of the Cathedral of Rouen</i>, by +Gilbert Rouen, Ed. Frère, 1837, 8vo. with 3 plates.—<i>Essay on ancient +and modern painting on glass</i>, etc., by E.H. Langlois. Rouen, Ed. Frère, +1832. 8vo, with 7 plates.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> It is an error: Rollon did not die till the year 931 or +932.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>Monuments of the cathedral of Rouen</i>, by A. Deville. +Rouen, N. Periaux, 1837, 8vo, with 12 plates.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> O Louis de Brezé, 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.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> That is to say that the pope Julias II<sup>nd</sup> was of the house +of Rovero (<i>Quercus</i>).</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> The cathedral possesses also several other remarkable +pictures; we distinguish amongst others, an <i>Annunciation</i>, 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 <i>Samaritan</i>, by Charles Tardieu, and +<i>The lying in the Sepulchre</i>, by Poisson.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> M<sup>r</sup> Deville makes the dates between the years 1480 to +1482, according to the manuscript capitulary registers of the +cathedral.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> We perceive two counterforts, which have been lately +erected on each side of the portal, under the direction of M<sup>r</sup> Alavoine, +to consolidate the front of the edifice, which had caused some fear, as +to its solidity.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> So called from the college of the same name founded by +Pierre de Colmieu, archbishop of Rouen and cardinal of Albe.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> For the description of the archbishop's palace, see the +chapter on the civil monuments.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Dibdin's <i>Bibliographical, antiquarian and picturesque +tour in France and Germany</i>; London, Payne and co. 1821, royal 8vo, vol. +1.</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> The model in relief of this church and made in the first +hall of the XV<sup>th</sup> century, may be seen in the Museum of antiquities.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> <i>The art of painting on glass</i>. 1774, folio, fig.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> To have all accounts of this ceremony, see the work of M<sup>r</sup> +Floquet, entitled: <i>Histoire du Privilige de Saint-Romain</i>, etc,—Rouen, +E. Le Grand, 1833, 2 vol. 8vo.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Erected in 1626, it was demolished in september 1836.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> See: <i>Voyage from Havre to Rouen</i>; and <i>Excursion from +Rouen to Paris, by the Seine</i>. Rouen, 1839, in-18vo, with maps and +plates.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> According to these manuscripts, the three heads represent +<i>Logic</i>, <i>Philosophy</i> and <i>Metaphysics</i>. They were surmounted by a +crown.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Another statue of Corneille, in marble, is placed in the +large hall on the ground floor; it is a much esteemed work of Cortot, a +french sculptor.</p></div> + +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Rouen, It's History and Monuments, by +Théodore Licquet + +*** END OF THIS PROJECT GUTENBERG EBOOK ROUEN, IT'S HISTORY AND MONUMENTS *** + +***** This file should be named 18740-h.htm or 18740-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/8/7/4/18740/ + +Produced by R. 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