Of this aera, the cathedral[73] of Rouen is unquestionably the most interesting building; and it is so s.p.a.cious, so grand, so n.o.ble, so elegant, so rich, and so varied, that, as the Italians say of Raphael, "ammirar non si pu che non s'onori."--By an exordium like this, I am aware that an expectation will be raised, which it will be difficult for the powers of description to gratify; but I have still felt that it was due to the edifice, to speak of it as I am sure it deserves, and rather to subject myself to the charge of want of ability in describing, than of want of feeling in the appreciation of excellence.

The west front opens upon a s.p.a.cious _parvis_, to which it exposes a width of one hundred and seventy feet, consisting of a centre, flanked by two towers of very dissimilar form and architecture, though of nearly equal height. Between these is seen the spire, which rises from the intersection of the cross, and which, from this point of view, appears to pierce the clouds; and these ma.s.ses so combine themselves together, that the entire edifice a.s.sumes a pyramidical outline. The French, who, without any real affection for ancient architecture, are often extravagant in their praises, regard this spire as a "chef d'oeuvre de hardiesse, d'elegance, et de legerete." Bold and light it certainly is; but we must pause before we consider it as elegant: the lower part is a combination of very clumsy Roman pediments and columns; and, as it is constructed of wood, the material conveys an idea of poverty and comparative meanness.--It is commonly said in France, that the portal of Rheims, joined to the nave of Amiens, the choir of Beauvais, and the tower of Chartres, would make a perfect church; nor is it to be denied that each of these several cathedrals surpa.s.ses Rouen in its peculiar excellence; but each is also defective in other respects; so that Rouen, considered as a whole, is perhaps equal, if not superior, to any. The front is singularly impressive: it is characterised by airy magnificence. Open screens of the most elegant tracery, and filled, like the pannels to which they correspond, with imagery, range along the summit. The blue sky shines through the stone filagree, which appears to be interwoven like a slender web; but, when you ascend the roof, you find that it is composed of ma.s.sy limbs of stone, of which the edge alone is seen by the observer below. This _free_ tracery is peculiar to the pointed architecture of the continent; and I cannot recollect any English building which possesses it. The bas.e.m.e.nt story is occupied by three wide door-ways, deep in retiring mouldings and pillars, and filled with figures of saints and martyrs, "tier behind tier, in endless perspective." The central portal, by far the largest, projects like a porch beyond the others, and is surmounted by a gorgeous pyramidal canopy of open stone-work, in whose centre is a great dial, the top of which partly conceals the rose window behind. This portal, together with the niches above on either side, all equally crowded with bishops, apostles, and saints, was erected at the expence of the cardinal, Georges d'Amboise, by whom the first stone was laid, in 1509[74].

The lateral door-ways are of a different style of architecture, and, though obtusely pointed, are supposed to be of the eleventh century: a plain and almost Roman circular arch surmounts the southern one. Over each of the entrances is a curious bas-relief: in the centre is displayed the genealogical tree of Christ; the southern contains the Virgin Mary surrounded by a number of saints; the northern one, the most remarkable[75] of all, affords a representation of the feast given by Herod, which ended in the martyrdom of the Baptist. Salome, daughter of Herodias, plays, as she ought to do, the princ.i.p.al character. The group is of good sculpture, and curiously ill.u.s.trative of the costumes and manners of the times. Salome is seen dancing in an att.i.tude, which perchance was often a.s.sumed by the _tombesteres_ of the elder day; and her position affords a graphical comment upon the Anglo-Saxon version of the text, in which it is said that she "_tumbled_", before King Herod.

The bands or pilasters (if we may so call them) which ornament the jambs of the door-ways, are crowned with graceful foliage in a very pure style; and the pedestals of the lateral pillars are boldly underworked.

On the northern side of the cathedral is situated the cloister-court.

Only a few arches of the cloister now remain; and it appears, at least on the eastern side, to have consisted of a double aisle. Here we view the most ancient portion of the tower of Saint Romain.--There is a peculiarity in the position of the towers of this cathedral, which I have not observed elsewhere. They flank the body of the church, so as to leave three sides free; and hence the spread taken by the front of the edifice, when the breadth of the towers is added to the breadth of the nave and aisles. The circular windows of the tower which look in the court, are perhaps to be referred to the eleventh century; and a smaller tower affixed against the south side, containing a stair-case and covered by a lofty pyramidical stone roof, composed of flags cut in the shape of shingles, may also be of the same aera. The others, of the more ancient windows, are in the early pointed style; and the portion from the gallery upwards is comparatively modern; having been added in 1477.

The roof, I suppose, is of the sixteenth century.

The southern tower is a fine specimen of the pointed architecture in its greatest state of luxuriant perfection, enriched on every side with pinnacles and statues. It terminates in a beautiful octagonal crown of open stone-work.--Legendary tales are connected with both the towers: the oldest borrows its name from St. Romain, by whom chroniclers tell us that it was built; the other is called the _Tour de Beurre_, from a tradition, that the chief part of the money required for its erection was derived from offerings given by the pious or the dainty, as the purchase for an indulgence granted by Pope Innocent VIIIth, who, for a reasonable consideration, allowed the contributors to feed upon b.u.t.ter and milk during Lent, instead of confining themselves, as before, to oil and lard.--The archbishop, Georges d'Amboise, consecrated this tower, of which the foundation was laid in 1485; and he had the satisfaction of living to see it finished, in 1507, after twenty-two years had been employed in the building.

The cardinal was so truly delighted by the beauty of the structure, which had arisen under his auspices, that he determined to grace it with the largest bell in France; and such was afterwards cast at his expence.--Even Tom of Lincoln could scarcely compete with Georges d'Amboise; for thus the bell was duly christened. It weighed thirty-three thousand pounds; its diameter at the base was thirty feet; its height was ten feet; and thirty stout and sweating bell-ringers could hardly put it into swing.--Such was the importance attached to the undertaking, that it was thought worthy of a religious ceremony. At the appointed hour for casting the bell, the clergy paraded in full procession round the church, to implore the blessing of heaven upon the work; and, when the signal was given that the glowing metal had filled the enormous mould, _Te Deum_ resounded as with one voice; the organ pealed, the trombones and clarions sounded, and all the other bells in the cathedral joined, as loudly and as sweetly as they could, in announcing the birth of their prouder brother.--The remainder of the story is of a different complexion:--The founder, Jean le Machon, of Chartres, died from excess of joy, and was buried in the nave of the cathedral, where Pommeraye[76] tells us the tomb existed in his time; with a bell engraved upon it, and the following epitaph:--

"Cy-dessous gist Jean le Machon De Chartres homme de facon Lequel fondit Georges d'Amboise Qui trente six mille livres poise Mil cinq cens un jour d'Aoust deuxieme Puis mourut le vingt et unieme."

Nor was this the only misfortune; for, after all, this great bell proved, like a great book, a great nuisance: the sound it uttered was scarcely audible; and, at last, in an attempt to render it vocal, upon a visit paid by Louis XVIth to Rouen in 1786, it was cracked[77]. It continued, however, to hang, a gaping-stock to children and strangers, till the revolution, in 1793, caused it to be returned to the furnace, whence it re-issued in the shape of cannon and medals, the latter commemorating the pristine state of the metal with the humiliating legend, "monument de vanite detruit pour l'utilite[78]."

Some of the clerestory windows on the northern side of the nave are circular: the tracery which fills them, and the mouldings which surround them, belong to the pointed style; the arches may therefore have been the production of an earlier architect. The windows of the nave are crowned by pediments, each terminating, not with a pinnacle, but with a small statue. The pediments over the windows of the choir are larger and bolder, and perforated as they rise above the parapet; the members of the mouldings are full, and produce a fine effect.

The northern transept is approached through a gloomy court, once occupied by the shops of the transcribers and caligraphists, the _libraires_ of ancient times, and from them it has derived its name. The court is entered beneath a gate-way of beautiful and singular architecture, composed of two lofty pointed arches of equal height, crowned by a row of smaller arcades. On each side are the walls of the archiepiscopal palace, dusky and shattered, and desolate; and the vista terminates by the lofty _Portal of St. Romain_; for it is thus the great portal of the transept is denominated. The oaken valves are bound with ponderous hinges and bars of wrought iron, of coeval workmanship. The bars are ornamented with embossed heads, which have been hammered out of the solid metal. The statues which stood on each side of the arch-way have been demolished; but the pedestals remain. These, as well as other parts of the portal, are covered with sculptured compartments, or medallions, in high preservation, and of the most singular character.

They exhibit an endless variety of fanciful monsters and animals, of every shape and form, mermaids, tritons, harpies, woodmen, satyrs, and all the fabulous zoology of ancient geography and romance; and each spandril of each quatrefoil contains a lizard, a serpent, or some other worm or reptile. They have all the oddity, all the whim, and all the horror of the pencil of Breughel. Human groups and figures are interspersed, some scriptural, historical, or legendary; others mystical and allegorical. Engravings from these medallions would form a volume of uncommon interest. Two lofty towers ornament the transept, such as are usually seen only at the western front of a cathedral. The upper story of each is perforated by a gigantic window, divided by a single mullion, or central pillar, not exceeding one foot in circ.u.mference, and nearly sixty feet in height. These windows are entirely open, and the architect never intended that they should be glazed. An extraordinary play of light and shade results from this construction. The rose window in the centre of the transept is magnificent: from within, the painted gla.s.s produces the effect of a kaleidoscope.--The pediment or gable of this transept was materially injured by a storm, in 1638, one hundred and thirty years after it was completed; and the damage was never restored.

The southern transept bears a near resemblance to that which I have already described; but it was originally richer in its ornaments, and it still preserves some of its statues. Here the medallions relate chiefly to scripture-history; but the sculpture is greatly corroded by the weather, and the more delicate parts are nearly obliterated; besides which, as well here, as at the other entrances, the Calvinists, in 1562, and, more recently, the Revolutionists, have been most mischievously destructive, mutilating and decapitating without mercy. The spirit, indeed, of the French reformers, bore a near resemblance to the proceedings of John Knox and his brethren: the people embraced the new doctrine with turbulent violence. There was in it nothing moderate, nothing gradual: it was not the regular flow of public opinion, undermining abuses, and bringing them slowly to their fall; but it was the thunderbolt, which--

"In sua templa furit, nullaque exire vetante Materia, magnamque cadens magnamque revertens Dat stragem late sparsosque recolligit ignes."

Among the legends recorded on the southern portal, or the _Portail de la Calende_, is that of the corn-merchant; the confiscation of whose property paid, as the chronicles tell us, for the erection of this beautiful entrance. He himself, if we may believe the same authority, was hanged in the street opposite to it, in consequence of having been detected in the use of false measures.

The original Lady-Chapel, at the east end of the cathedral, was taken down in 1302. The present, which is considerably more s.p.a.cious, is chiefly of a date immediately subsequent. Part, however, was built in 1430, when new and larger windows were inserted throughout the church; whilst other parts were not finished till 1538, at which time the Cardinal Georges d'Amboise restored the roof of the choir, which had been injured in 1514, by the destruction of the spire.

The square central tower, which is low and comparatively plain, is the work of the year 1200. It is itself more ancient than would be supposed from the character of its architecture; but it occupies the place of one of still greater antiquity, which was materially damaged in 1117, when the original spire of the church was struck by lightning. This first spire was of stone, but was replaced by another of wood, which, as I have just mentioned, was also destroyed at the beginning of the sixteenth century. A fire, arising from the negligence of plumbers employed to repair the lead-work, was the cause of its ruin.--To remedy the misfortune, recourse was had to extraordinary efforts: the King contributed twelve thousand francs; the chapter a portion of their revenue and their plate; collections were made throughout the kingdom; and Leo Xth authorised the sale of indulgences, a measure, which, at nearly the same period, in its more extensive adoption for the building of St. Peter's at Rome, shook the Papacy to its foundation. The spire thus raised, the second of wood, but the third in chronological order, is the one which is now in existence. It was, like its predecessor, endangered by the carelessness of the plumbers, in 1713; but it does not appear to have required any material reparations till ten years ago, when a sum of thirty thousand francs was expended upon it.

From what has already been said, you will not have failed to observe that this cathedral is the work of so many different periods, that it almost contains within itself a history of pointed architecture. To attempt a labored description of it were idle: minute details of any one of the portals would fill a moderate volume; and a quarto of seven hundred pages, from which I have borrowed most of my dates, has already been written upon the subject by a Benedictine Monk of the name of Pommeraye, who also published the history of the Archbishops of the See[79].

The first church at Rouen was built about the year 270: three hundred and thirty years subsequently, this edifice was succeeded by another, the joint work of St. Romain and St. Ouen, which was burned in the incursions of the Normans, about the year 842. Fifty years of Paganism succeeded; at the expiration of which period, Rollo embraced the faith of Christ, and Rouen saw once more within its walls, by the munificence and piety of the conqueror, a place of Christian worship. Richard Ist, grandson of this duke, and his son Robert, the archbishop, enlarged the edifice in the middle of the tenth century; but it was still not completed till 1063, when, according to Ordericus Vitalis, it was dedicated by the Archbishop Maurilius with great pomp, in the presence of William, Duke of Normandy, and the bishops of the province. Of this building, however, notwithstanding what is said by Ducarel[80] and other authors, it is certain that nothing more remains than the part of St.

Romain's tower, just noticed, and possibly two of the western entrances; though the present structure is believed to occupy the same spot.

To the honor of the spirit and good feeling of the inhabitants of Rouen, this church is one of those that suffered least in the outrages of the year 1793. Its dimensions, in French feet, are as follows:--

FEET.

Length of the interior.............. 408 Width of ditto....................... 83 Length of nave...................... 210 Width of nave........................ 27 Ditto of aisles...................... 15 Length of choir..................... 110 Width of ditto....................... 35-1/2 Ditto of transept.................... 25-1/2 Length of ditto..................... 164 Ditto of Lady-Chapel................. 88 Width of ditto....................... 28 Height of spire..................... 380 Ditto of towers at the west end..... 230 Ditto of nave........................ 84 Ditto of aisles and chapels.......... 42 Ditto of interior of central tower.. 152 Depth of chapels..................... 10

Four cl.u.s.tered pillars support the central tower, each of which is thirty-eight feet in circ.u.mference; the rest, of which there are forty-four in the nave and choir, those in the former cl.u.s.tered, the others circular, are less by one-third. The windows amount in number to one hundred and thirty-three; the chapels to twenty-five. Most of the latter were fitted up during the minority of Louis XIVth, with wreathed columns, entwined with foliage, the style in vogue in the seventeenth century. In the farthest of these chapels, upon the south side, is the tomb of Rollo, first Duke of Normandy; in the opposite chapel, that of his son and successor, William Longue-Epee, who was treacherously murdered at Pecquigny, in 944, during a conference with Arnoul, Count of Flanders.

[Ill.u.s.tration: Monumental Figure of Rollo, in Rouen Cathedral]

The effigies of both these princes still remain placed upon sarcophagi, under plain niches in the wall. They are certainly not contemporary with the persons which they represent, but are probably productions of the thirteenth century, to which period Mr. Stothard, from whose judgment few will be disposed to appeal, refers the greater part of what are called the most ancient in the _Musee des Monumens Francais_. At the same time, they may possibly have been copied from others of earlier date; and I therefore send you a slight sketch of the figure of Rollo.

Even imaginary portraits of celebrated men are not without their value: we are interested by seeing how they have been conceived by the artist.--Above the statue is the following inscription:--

HIC POSITUS EST ROLLO, NORMANNIae A SE TERRITae, VASTATae, RESt.i.tUTae, PRIMUS DUX, CONDITOR, PATER, A FRANCONE ARCHIEP. ROTOM.

BAPTIZATUS ANNO DCCCCXIII, OBIIT ANNO DCCCCXVII.

OSSA IPSIUS IN VETERI SANCTUARIO, NUNC CAPITE NAVIS, PRIMUM CONDITA, TRANSLATO ALTARI, HIC COLLOCATA SUNT A B. MAURILIO ARCHIEP. ROTOM.

ANNO MLXIII.

Two other epitaphs in rhyming Latin, which were previously upon his tomb, are recorded by various authors: the first of them began with the three following lines--

DUX NORMANNORUM, CUNCTORUM NORMA BONORUM, ROLLO FERUS FORTIS, QUEM GENS NORMANNICA MORTIS INVOCAT ARTICULO, CLAUDITUR HOC TUMULO.

Over William Longue-Epee is inscribed--

HIC POSITUS EST GULIELMUS DICTUS LONGA SPATHA, ROLLONIS FILIUS, DUX NORMANNIae, PREDATORIE OCCISUS DCCCCx.x.xXIV.

with an account of the removal of his bones, exactly similar to the concluding part of his father's epitaph.

The perspective on first entering the church is very striking: the eye ranges without interruption, through a vista of lofty pillars and pointed arches, to the splendid altar in the Lady-Chapel, which forms at once an admirable termination to the building and the prospect. The high altar in the choir is plain and insulated. No other praise can be given to the screen, except that it does not interrupt the view; for surely it was the very consummation of bad taste to place in such an edifice, a double row of eight modern Ionic pillars, in white marble, with the figures of Hope and Charity between them, surmounted by a crucifix, flanked on either side with two Grecian vases.

The interior falls upon the eye with boldness and regularity, pleasing from its proportions, and imposing from its magnitude. The arches which spring from the pillars of the aisles, are surmounted by a second row, occupying the s.p.a.ce which is usually held by the triforium: the vaulted roof of the aisles runs to the level of the top of this upper tier. This arrangement, which is found in other Norman churches, is almost peculiar to these; and in England it has no parallel, except in the nave of Waltham Abbey. Within the aisle you observe a singular combination of small pillars, attached to the columns of the nave: they stand on a species of bracket, which is supported by the abacus of the capital; and they spread along the spandrils of the arches on either side. These pillars support a kind of entablature, which takes a triangular plan.

The whole bears a near resemblance to the style of the Byzantine architecture. Above the second row of arches are two rows of galleries.

The story containing the clerestory windows crowns the whole; so that there are five horizontal divisions in the nave.--I give these details, because they indicate the decided difference of order which exists between the Norman and the English Gothic; a difference for which I have not been able to a.s.sign any satisfactory cause.

The tombs that were originally in the choir, commemorating Charles Vth, of France; Richard Coeur de Lion; his elder brother, Henry; and William, son of Geoffrey Plantagenet, were all removed in 1736, as interfering with the embellishments then in contemplation. The first of them alone was preserved and transferred to the Lady-Chapel, where it has subsequently fallen a victim to the revolution. The others are wholly destroyed; nor could Ducarel find even a fragment of the effigies that had been upon them; but engravings of these had fortunately been preserved by Montfaucon[81], from whom he has copied them. The monument of the celebrated John of Lancaster, third son of our Henry IVth, better known as the Regent Duke of Bedford, had been previously annihilated by the Calvinists. Lozenge-shaped slabs of white marble, charged with inscriptions, were inserted in the pavement over the spots that contain the remains of the princes, and they have been suffered to continue uninjured through the succeeding tumults. On the right of the altar, you read,--

COR RICHARDI, REGIS ANGLIae, NORMANNIae DUCIS, COR LEONIS DICTI.

OBIIT ANNO MCXCIX.

On the opposite side:--

HIC JACET HENRICUS JUNIOR, RICHARDI, REGIS ANGLIae, COR LEONIS DICTI, FRATER.

OBIIT ANNO MCLx.x.xIII.

And in the choir behind the altar:--

AD DEXTRUM ALTARIS LATUS JACET JOHANNES, DUX BEDFORDI, NORMANNIae PROREX.

OBIIT ANNO MCCCCx.x.xV.

Of Prince William nothing is said; it was found, upon opening his place of sepulture, that he had not been interred here.--Richard strangely received a triple funeral. In obedience to his wishes, his heart was buried at Rouen, while his body was carried to Fontevraud, and his entrails were deposited in the church of Chaluz, where he was killed:--this division is commemorated in the quaint, yet energetic lines, which are said to have been inscribed upon his tomb:--

VISCERA CARCEOLUM, CORPUS FONS SERVAT EBRARDI, ET COR ROTOMAGUM, MAGNE RICHARDE, TUUM.

IN TRIA DIVIDITUR UNUS QUI PLUS FUIT UNO; NEC SUPEREST UNI GLORIA TANTA VIRO.

Richard neither withheld his gifts nor his protection from the metropolitan church; and, after his death, the chapter inclosed the heart of their benefactor in a shrine of silver. But a hundred and fifty years subsequently, the shrine was despoiled, and the precious metal was melted into ingots, forming a portion of the ransom which redeemed St.

Louis from the fetters of his Saracen conqueror.

Henry the younger, who was crowned King of England during the life-time of his father, against whom he subsequently revolted, also requested on his death-bed, that his body might be interred in this church; and his directions were obeyed, though not without much difficulty; for the chapter of the cathedral of Mans, where his servants rested with the body _in transitu_, seized and buried it there; nor did those of Rouen recover the corpse, without application to the Pope and to the King his father.

A tablet of black marble, affixed to one of the pillars of the nave, contains the following interesting memorial: