The historical recollections that are called forth at almost every turn, would probably have some influence in determining my choice; the n.o.ble specimens of ancient architecture which happily remain, unscathed by wars and Calvinists and revolutions, might possibly have more; but the literary resources which the town affords, the pleasant society with which it abounds, and, above all, the amiable character of its inhabitants, would be my great attraction.--At present, indeed, we have not been here sufficiently long to say much upon the subject of society from our own experience; but the testimony we receive from all quarters is uniform in this point, and the civilities already shewn us, are of a nature to cause the most agreeable prepossessions. It is not our intention to be hurried at Caen; and I shall therefore reserve to my future letters any remarks upon its history and its antiquities. To a traveller who is desirous of information, the town is calculated to furnish abundant materials.

FOOTNOTES:

[Footnote 70: The following were among the articles of the decree:--"No individual to leave his _arrondiss.e.m.e.nt_ without a pa.s.sport.--No person to receive a stranger in his house, or suffer one to quit it, without apprising the police.--The inhabitants to carry their arms of all kinds to the Htel de Ville.--No plays to be performed, except first approved by the officers of the police.--The manager of the theatre to give notice every Friday to the mayor, of the pieces intended to be acted the following week.--The actors to read nothing, and say nothing, which is not in the play.--The performance to begin precisely at six, and close at ten.--Only a certain interval to be allowed between the different pieces, or between the acts of each.--Every person to be uncovered, except the soldiers on duty.--No weapons of any kind, nor even sticks or umbrellas, to be taken into the theatre."]

LETTER XXIV.

HISTORIANS OF CAEN--TOWERS AND FORTIFICATIONS--CHTEAU DE LA GENDARMERIE--CASTLE--CHURCHES OF ST. STEPHEN, ST. NICHOLAS, ST. PETER, ST. JOHN, AND ST. MICHEL DE VAUCELLES.

(_Caen, August,_ 1818.)

France does not abound in topographical writers; but the history and antiquities of Caen have been ill.u.s.trated with singular ability, by men to whom the town gave birth, and who have treated their subject with equal research and fidelity--these are Charles de Bourgueville, commonly called the Seigneur de Bras, and the learned Huet, Bishop of Avranches.

De Bourgueville was a magistrate of Caen, where he resided during almost the whole of the sixteenth century. The religious wars were then raging; and he relates, in a most entertaining and artless manner, the history of the events of which he was an eye-witness. His work, as is justly observed by Huet, is a treasure, that has preserved the recollection of a great variety of the most curious details, which would otherwise have been neglected and forgotten. Every page of it is stamped with the character of the author--frankness, simplicity, and uprightness. It abounds in sound morality, sage maxims, and proofs of excellent principles in religion and politics; and, if the writer occasionally carries his _navet_ to excess, it is to be recollected that the book was published when he was in his eighty-fifth year, a period of life when indulgence may reasonably be claimed. He died four years subsequently, in 1593.--In Huet's work, the materials are selected with more skill, and are digested with more talent. The author brought to his task a mind well stored with the learning requisite for the purpose, and employed it with judgment. But he has confined himself, almost wholly, to the description of the town; and the consequence is, that while the bishop's is the work most commonly referred to, the magistrate's is that which is most generally read. The dedication of the former to the town of Caen, does honor to the feelings of the writer: the portrait of the latter, prefixed to his volume, and encircled with his quaint motto, _"L'heur de grace use l'oubli,"_ itself an anagram upon his name, bespeaks and insures the good will of the reader.

The origin of Caen is uncertain.--Its foundation has been alternately ascribed to Phoenicians, Romans, Gauls, Saxons, and Normans. The earliest historical fact connected with the town, is recorded in an old chronicle of Normandy[71], written in 1487, by William de Talleur, of Rouen. The author, in speaking of the meeting between Louis d'Outremer, King of France, and Richard Ist, Duke of Normandy, about the year 945, enumerates Caen among the good towns of the province. Upon this, Huet observes that, supposing Caen to have been at that time only recently founded, it must have acquired importance with much rapidity; for, in the charter, by which Richard IIIrd, Duke of Normandy, granted a dowery to Adela, daughter of Robert, King of France, whom he married in 1026, Caen is not only stated as one of the portions of the dower, but its churches, its market, its custom-house, its quay, and its various appurtenances are expressly mentioned; and two hundred years afterwards, Brito in his _Philippiad_, puts Caen in compet.i.tion with Paris,

"Villa potens, opulenta situ, spatiosa, decora, Fluminibus, pratis, et agrorum fertilitate, Merciferasque rates portu capiente marino, Seque tot ecclesiis, domibus et civibus ornans, Ut se Parisio vix annuat esse minorem."--

Caen is designated in Duke Richard's charter, by the appellation of "in Bajocensi comitatu villa qu dicitur _Cathim_, super fluvium Oln."--From _Cathim_, came _Cahem_; and _Cahem_, in process of time, was gradually softened into _Caen_. The elision that took place in the first instance, is of a similar nature to that by which the Italian words _padre_ and _madre_, have been converted into _pre_ and _mre_; and the alteration in the latter case continued to be indicated by the diresis, which, till lately, separated the two adjoining vowels.--Towards the latter part of the eleventh century, Caen is frequently mentioned by the monkish historians, in whose Latin, the town is styled _Cadomus_ or _Cadomum_.--And here ingenious etymologists have found a wide field for conjecture: Cadomus, says one, was undoubtedly founded by Cadmus; another, who hesitates at a Phoenician antiquity, grasps with greater eagerness at a Roman etymon, and maintains that _Cadomus_ is a corruption from _Caii domus_, fully and sufficiently proving that the town was built by Julius Csar.

Robert Wace states, in his _Roman de Rou_, that, at the time immediately previous to the conquest of England, Caen was an open town.--

"Encore ert Caen sans Chtel, N'y avoit mur, ny quesnel."--

And Wace is a competent witness; for he lived during the reign of Henry Ist, to whom he dedicated his poem. Philip de Valois, in 1346, allowed the citizens to surround the town with ditches, walls, and gates. This permission was granted by the king, on the application of the inhabitants, Caen, as they then complained, being still open and unfortified. Hence, the fortifications have been considered to be the work of the fourteenth century, and, generally speaking, they were unquestionably, of that time; but it is equally certain, that a portion was erected long before.

A proof of the antiquity of the fortifications may perhaps be found in the name of the tower called _la Tour Guillaume le Roi_, which stands immediately behind St. Peter's, and was intended to protect the river at the extremity of the walls, dividing the town from the suburb of Vaugeux. This tower is generally supposed to be the oldest in the fortifications. Its masonry is similar to that of the wall with which it is connected, and which is known to have been built about the same time as the abbey of St. Stephen. The appearance of it is plain, ma.s.sy, and rugged; and it forms a picturesque object. Such also is the _Tour au Ma.s.sacre_, which is situated at the confluence of the Orne and Odon. The tower in question is said to have received its gloomy t.i.tle from a ma.s.sacre, of which our countrymen were guilty, at the time when the town was taken in 1346. There is, however, reason to believe that this tale is a mere fiction. Huet, at the same time that he does not venture so far to oppose popular belief, as altogether to deny the truth of the story of the ma.s.sacre, adds, that the original name of the tower was _la Tour Machart_, and suspects its present appellation to be no more than a corruption of the former one. Renauld Machart was bailiff of Caen two years prior to the capture of the place by Edward IIIrd; and the probability is, that the tower was erected by him in those times of alarm, and thus took his name. It has been supposed that the figure sculptured upon it, may also be intended for a representation of Machart himself.

Caen contains another castellated building, which might easily mislead the studious antiquarian. The _Chteau de Calix_, as it is sometimes called, is situated at the extremity of the suburb known by that name; and the curious inhabitants of Caen usually suppose that it was erected for the purpose of commanding the river, whilst it flowed in its ancient, but now deserted, bed; or, at least, that it replaces such a fortification. According to the learned Abb de la Rue, however, and he is a most competent authority, no real fortification ever existed here; but the castle was raised in conformity to the caprice of Girard de Nollent, the wealthy owner of the property, who flourished towards the beginning of the sixteenth century.--Girard de Nollent's mansion is now occupied by a farmer. It has four fronts. The windows are square-headed, and surrounded by elegant mouldings; but the mullions have been destroyed. One medallion yet remains over the entrance; and it is probable that the walls were originally covered with ornaments of this kind. Such, at least, is the case with the towers and walls, which, surrounding the dwelling, have given it a castellated aspect. The circular tower nearest the gate forms the subject of the accompanying sketch: it is dotted on all sides with busts in ba.s.so-relievo, enclosed in medallions, and of great diversity of character. One is a frowning warrior, arrayed in the helmet of an emperor of the lower empire; another, is a damsel attired in a ruff; a third, is a turbaned turk. The borders of the medallions are equally diversified: the _cordelire_, well known in French heraldry, the vine-leaf, the oak-leaf, all appear as ornaments. The battlements are surmounted with two statues, apparently Neptune, or a sea-G.o.d, and Hercules. These heathen deities not being very familiar to the good people of Caen, they have converted them, in imagination, into two gens-d'armes, mounting guard on the castle; and hence it is frequently called the _Chteau de la Gendarmerie_. Some of the busts are accompanied by inscriptions--"Vincit pudicitiam mors;" "Vincit amor pudicitiam;" "Amor vincit mortem;" and all seem to be either historical or allegorical. The battlements of the curtain-wall are ornamented in the same manner. The farther tower has less decoration, and is verging to decay. I have given these details, because the castle of Calix is a specimen of a style of which we have no fair parallel in England, and the workmanship is far from being contemptible.

[Ill.u.s.tration: Tower in the _Chteau de Calix_, at Caen]

In the Rue St. Jean is a house with decorations, in the same style, but more sumptuous, or, perhaps I ought rather to say, more perfect. Both of them are most probably of nearly the same date: for it was princ.i.p.ally during the reigns of Charles VIIIth and Louis XIIth, that the practice prevailed in France, of ornamenting the fronts of houses with medallions. The custom died away under Francis Ist.

I must now return to more genuine fortifications.--When the walls of Caen were perfect, they afforded an agreeable and convenient promenade completely round the town, their width being so great, that three persons might with ease walk abreast upon them. De Bourgueville tells us that, in his time, they were as much frequented as the streets; and he expatiates with great pleasure upon the gay and busy prospect which they commanded,

The castle at Caen, degraded as it is in its character by modern innovation, is more deserving of notice as an historical, than as an architectural, relic. It still claims to be ranked as a place of defence, though it retains but few of its original features. The s.p.a.cious, lofty, circular towers, known by the names of the black, the white, the red, and the grey horse, which flanked its ramparts, have been brought down to the level of the platform. The dungeon tower is destroyed. All the grandeur of the Norman castle is lost; though the width of its ditches, and the thickness of its walls, still testify its ancient strength. I doubt whether any castle in France covers an equal extent of ground. Monstrelet and other writers have observed, that this single fortress exceeded in size the towns of Corbeil or of Montferrand; and, indeed, there are reasons for supposing that Caen, when first founded, only occupied the site of the present castle; and that, when it became advisable to convert the old town into a fortress, the inhabitants migrated into the valley below. Six thousand infantry could be drawn up in battle-array within the outer ballium; and so great was the number of houses and of inhabitants enclosed within its area, that it was thought expedient to build in it a parochial church, dedicated to St. George, besides two chapels.

One of the chapels is still in existence, though now converted to a store-house; and the Abb de la Rue considers it as an erection anterior to the conquest, and, belonging to the old town of Caen. Its choir is turned towards the west, and its front to the east.--The religious edifices upon the continent do not preserve the same uniformity as our English ones, in having their altars placed in the direction of the rising sun; but this at Caen is a very remarkable instance of the position of the entrance and the altar being completely reversed[72].

The door-way is a fine semi-circular arch: the side pillars supporting it are very small, but the decorations of the archivolt are rich: they consist princ.i.p.ally of three rows of the chevron moulding, enclosed within a narrow fillet of smaller ornaments, approaching in shape to quatrefoils. Collectively, they form a wide band, which springs from flat piers level with the wall, and does not immediately unite with the head of the inner arch. The intermediate s.p.a.ce is covered by a reticulated pattern indented in the stone. Above the entrance is a window of the same form, its top encircled by a broad chequered band, a very unusual accompaniment to this style of architecture. The front of the chapel presents in other respects, a flat uniform surface, unvaried, except by four Norman b.u.t.tresses, and a string-course of the simplest form, running round the whole building, at somewhat less than mid-height. The sides of the chapel are lighted by a row of circular-headed windows, with columns in the angles; and between these windows are b.u.t.tresses, as in the chapel of the lazar-house of St.

Julien, at Rouen.

Huet endeavours to prove that the first fortress which was built at Caen, was erected by William the Conqueror, who frequently resided here with his Queen Matilda, and who was likely to find some protection of this nature desirable, as well to guard his royal residence against the mutinous disposition of the lords of the Bessin, as to command the navigation of the Orne. The castle was enlarged and strengthened by his son Henry; but it is believed that the four towers, just mentioned, and the walls surrounding the keep, were added by our countrymen, during that short period when the Norman sceptre was again wielded by the descendants of the Norman dukes. Under Louis XIIth and Francis Ist, the whole of the castle, but particularly the dungeon, underwent great repairs, by which the original form of the structure was entirely changed.--From that period history is silent respecting the fortress. I cannot, however, take leave of it without reminding you, that Sir John Fastolf, whilom our neighbour at Castor, was for some time placed in command here, as Lieutenant to the Regent Duke of Bedford. You, who are acquainted with the true character of the knight, need scarcely be told, that even his enemies concur in bearing testimony to his ability, his vigilance, and his valor: it is to be regretted that he has not met with equal justice at home. Not one individual troubles himself about history, whilst a thousand read the drama; and the stains which Shakspeare's pen has affixed to the name of Fastolf, are of a nature never to be wiped away; thus disproving the distich of the satyrist, who indeed, by his own works, has effectually falsified his own maxim, that--

"Truth will survive when merry jokes are past; For rising merit must buoy up at last."

As usual, the buildings dedicated to religion are far more numerous and valuable than the relics of military architecture. Of these, the first which salutes the stranger who enters by the great high road, is the Htel Dieu, which is almost intact and unaltered. The bas.e.m.e.nt story contains large and deep pointed arches, ornamented with the chevron moulding, disposed in a very peculiar manner.--From the style of the building, there is every reason to believe that it is of the beginning of the thirteenth century, at which time William, Count of Magneville, appropriated to charitable purposes the ground now occupied by this hospital, and caused his donation to be confirmed by a bull from Pope Innocent IIIrd, dated in April, 1210.

The abbeys, the glories of Caen, will require more leisure: at present let us pa.s.s on to the parochial churches. Of these, the most ancient foundation is _St. Etienne le Vieil_; and tradition relates that this church was dedicated by St. Ren.o.bert, bishop of Bayeux, in the year 350.--But, though the present edifice may stand upon the site of an ancient one, there would be little risk in affirming, that not one stone of it was laid upon another till after the year 1400. The building is s.p.a.cious, and its tower is not devoid of beauty. The architecture is a medley of debased gothic and corrupted Roman; but the large pointed windows, decorated by fanciful mouldings and scroll-work, have an air of richness, though the component parts are so inharmonious.

Attached to the wall of the choir of this church is still to be seen an equestrian statue[73], part of the celebrated group supposed to represent William the Conqueror making his triumphal entry into Caen. A headless horse, mounted by a headless rider, and a figure, which has lost all shape and form, beneath the feet of the steed, are all that now remain; but De Bourgueville, who knew the group when perfect, says, that there likewise belonged to it a man and woman upon their knees, as if seeking some explanation for the death of their child, or rather, perhaps, in the act of imploring mercy.--I have already pointed out the resemblance between these statues and the bas-relief, of which I have sent you a sketch from St. Georges. One of the most learned antiquaries of the present time has found a prototype for the supposed figure of the Duke, among the sculptures of the Trajan column. But this, with all due deference, is far from a decisive proof that the statue in question was not intended for William. Similar adaptations of the antique model, "mutato nomine," frequently occur among the works of the artists of the middle ages; and there is at least a possibility that, had the face been left us, we might have traced some attempt at a portrait of the Norman Duke. Upon the date of the sculpture, or the style of the workmanship, I dare not venture an opinion. There are antiquaries, I know, (and men well qualified to judge,) who believe it Roman: I have heard it p.r.o.nounced from high authority, that it is of the eleventh century, others suspect that it is Italian, of the thirteenth or fourteenth centuries; whilst M. Le Prevost and M. De Gerville maintain most strenuously that it is not anterior to the fifteenth. De Bourgueville certainly calls it "une antiquit de grand remarque;" but we all know that any object which is above an hundred years old, becomes a piece of antiquity in the eye of an uncritical observer; and such was the good magistrate.

The church of St. Nicholas, now used as a stable, was built by William the Conqueror, in the year 1060, or thereabouts. Desecrated as it is, it remains entire; and its interior is remarkable for the uniformity of the plan, the symmetry of the proportions. All the capitals of the pillars attached to the walls are alike; and those of the arches, which very nearly resemble the others, are also all of one pattern. In the side-aisles there is no groining, but only cross vaulting. The vaulting of the nave is pointed, and of late introduction. Round the choir and transepts runs a row of small arches, as in the triforium.--The west end was formerly flanked by two towers, the southern of which only remains.

This is square, and well proportioned: each side contains two lancet windows. The lower part is quite plain, excepting two Norman b.u.t.tresses.

The whole of the width of the central compartment, which is more than quadruple that of either of the others, is occupied below by three circular portals, now blocked up.--Above them are five windows, disposed in three tiers. In the lowest are two not wider than loop-holes: over these two others, larger; another small one is at the top. All these windows are of the simplest construction, without side pillars or mouldings.--The choir of the church ends in a semi-circular apsis, divided into compartments by a row of pillars, rising as high as the cornice: in the intercolumniation are windows, and under the windows small arches, each of which has its head hewn out of a single stone.--The roof of the choir is of stone, and the pitch of it is very high.

Here, then, we have the exact counterpart of the Irish stone-roofed chapels, the most celebrated of which, that of Cormac, in Cashel Cathedral, appears, from all the drawings and descriptions I have seen of it, to be altogether a Norman building. Ledwich a.s.serts that "this chapel is truly Saxon, and was erected prior to the introduction of the Norman, and gothic styles[74]." If, we agree with him, we only obtain a proof that there is no essential difference between Norman and Saxon architecture; and this proposition, I believe, will soon be universally admitted. We now know what is really Norman; and a little attention to the buildings in the north of Germany, may terminate the long-debated questions, relative to Saxon architecture and the origin of the stone-roofed chapels in the sister isle.

In the burial-ground that surrounds the church of St. Nicholas, are several monumental inscriptions, all of them posterior to the commencement of the reign of Napolon, and all, with one single exception, commemorative of females. The epitaphs are much in the same tone as would be found in an English church-yard. The greater part, however, of the tomb-stones, are uninscribed. They are stone coffins above-ground, sculptured with plain crosses, or, where they have been raised to ecclesiastics, with an addition of some portion of the sacerdotal dress.

[Ill.u.s.tration: Tower and Spire of St. Peter's Church, at Caen]

Among the churches of comparatively modern erection, St. Peter deserves most attention. From every part of the town and neighborhood, its lofty spire, towering above the surrounding buildings, forces itself upon your view. It is not easy to carry accurate ideas of height in the memory; but, as far as recollection will serve me, I should say that its elevation is hardly inferior to that of the spire of Salisbury cathedral. I have no hesitation in adding, that the proportions of the tower and spire of the church at Caen, are more pleasing. Elegance, lightness, and symmetry, are the general characters of the whole, though the spire has peculiar characters of its own.--The tower, though built a century later than that of Salisbury, is so much less ornamented, that it might be mistaken for an earlier example of the pointed style. The lowest story is occupied wholly by a portal: the second division is surrounded by pointed arches, beneath crocketed gables: the third is filled by four lancet arches, supported by reeded pillars, so lofty, that they occupy nearly two-thirds of the entire height of the tower.

The flanking arches are blanks: the two middle ones are pierced into windows, divided by a central mullion. The bal.u.s.trade at the top of the tower is of a varied pattern, each side exhibiting a different tracery.

Eight crocketed pinnacles are added to the spire, which is octangular, and has a row of crockets at each angle. From the base to the summit it is encircled, at regular distances, with broad bands of stone-work, disposed like scales; and, alternating with the bands, are perforations in the form of cinquefoils, quatrefoils, and trefoils, diminishing as the spire rises, but so disposed, that the light is seen distinctly through them. The effect of these perforations was novel and very pleasing.

[Ill.u.s.tration: Sculpture upon a Capital in St. Peter's Church at Caen]

This tower and spire were built in the year 1308, under the directions of Nicolle L'Anglois, a burgher of Caen, and treasurer of the church.--How far we are at liberty to infer from his name, as Ducarel does, that he was an Englishman, may admit of some doubt. He was buried here; and De Bourgueville has preserved his epitaph, which recounts among his other merits, that

"Et par luy, et par sa devise Fut la tour en sa voye mise D'estre faicte si n.o.blement."--

But the name of the architect who was employed is unrecorded.--The rest of the church was erected at different periods: the northern aisle in 1410; the opposite one some time afterwards; and the eastern extremity, with the vaulted roof of the choir and aisles, in 1021.--With this knowledge, it is not difficult to account for the diversity of styles that prevails in the building.--The western front contains much good tracery, and well disposed, apparently as old as the tower.--The exterior of the east end, with its side-chapels, is rather Italian than gothic.--The interior is of a purer style: the five arches forming the apsis are perhaps amongst the finest specimens of the luxuriant French gothic: roses are introduced with great effect amongst the tracery and friezes, with which the walls are covered. The decorations of the chapels round the choir, although they display a tendency towards Italian architecture, are of the most elaborate arabesque. The niches are formed by escalop sh.e.l.ls, swelling cylinders of foliage, and scrolls: some of the pendants from the roofs are of wonderfully varied and beautiful workmanship.--The nave has nothing remarkable, saving the capital of one of the side pillars. Its sculptures, with the exception of one mutilated group, have been drawn by Mr. Cotman.--The subjects are strangely inappropriate, as the ornaments of a sacred edifice. All are borrowed from romance.--Aristotle bridled and saddled by the mistress of Alexander. Virgilius, or, as some say, Hippocrates, hanging in the basket. Lancelot crossing the raging flood.--The fourth, which is not shewn in the sketch, is much defaced, but seems to have been taken from the _Chevalier et la Charette_. According to the usual fate of ancient sculpture, the _marguilliers_ of the parish have so sadly enc.u.mbered it with white-wash, that it is not easy to make out the details; and a friend of mine was not quite certain whether the bearded figure riding on the lion, was not a youthful Cupid. No other of the capitals has at present any ba.s.so-relievo of this kind; but I suspect they have been chopped off. The church suffered much from the Calvinists; and afterwards, during the revolution, when most of the bas-reliefs of the portal were destroyed.

[Ill.u.s.tration: Tower of St. John's Church, at Caen]

The neighboring church of St. John appears likewise to be the work of the fourteenth and fifteenth centuries. This building and St. Peter's agree in general character: their towers are nearly the counterparts of each other. But, in St. John's, the great tower is placed at the west end of the edifice, the princ.i.p.al portal being beneath it. This is not very usual in the Norman-gothic churches, though common in England. The tower wants a spire; and, at present, it leans considerably out of the perpendicular line, so that some apprehensions are entertained for its safety. It was originally intended that the church should also be surmounted by a central tower; and, as De Bourgueville says, the beginning was made in his time; but it remains to the present day incomplete, and has not been raised sufficiently high to enable us to form a clear idea of the design of the architect, though enough remains to shew that it would have been built in the Romanizing-gothic style.--The inside is comparatively plain, excepting only the arches in the lower open part of the tower. These are richly ornamented; and a highly-wrought bal.u.s.trade runs round the triforium, uniform in its pattern in the nave and choir, but varying in the transepts.--In the other ecclesiastical buildings at Caen, we saw nothing to interest us.--The chapel of St. Thomas l'Abattu, which, according to Huet, "had existed from time immemorial," and which, to judge from Ducarel's description and figure, must have been curious, has now entirely disappeared.

In the suburb of Vaucelles, the church of St. Michael contains some architectural features of great curiosity[75]. The circular-headed arches in the short square tower, and in a small round turret that is attached to it, are unquestionably early Norman, and are remarkable for their proportions, being as long and as narrow as the lancet windows of the following ra. It would not be equally safe to p.r.o.nounce upon the date of the stone-roofed pyramid which covers this tower. The north porch is entered by a pointed arch, which, though much less ornamented, approaches in style to the southern porch of St. Ouen, and, like that, has its inner archivolt fringed with pendant trefoils. The wall above the arch rises into a triangular gable, entirely covered with waving tracery, the only instance of the kind which I have seen at Caen.

FOOTNOTES: