The length, within the walls, is four hundred and sixteen feet eight inches (about four hundred and fifty feet english measure), which may be divided in the following manner: The nave, two hundred and forty four feet; the choir, one hundred and two feet; the remaining portion, to the extremity of the chapel of the Virgin, seventy feet eight inches; in the whole, eight feet eight inches more than the Cathedral. The height under the keystone is one hundred feet. The breadth, including the aisles, is seventy eight feet; viz: thirty four feet for the nave, and twenty two feet for each aisle. The transept is one hundred and thirty feet in length, by thirty four in width.

The church is lighted by one hundred and twenty five windows placed in three rows not including the three rosaces. The second row lights a circular inner gallery, which is above the aisles, and several of them offer paintings of great beauty. Amongst others Saint-Romain is represented making himself master of the _Gargouille_, and forcing the Seine to return to its bed.

Against the first pillar to the right, on entering by the Western porch, is placed a large marble vessel containing holy water. By a very curious optical effect, we can see the roof of the church in its entire length.

The choir was formerly separated by a magnificent screen, of which we find an engraving in the _History of the Abbey_, by Pommeraye. This screen, was erected in 1462 by the munificence of the cardinal d'Estouteville; in 1562, it was partly destroyed by the calvinists, and repaired in 1655, by William Cotterel, grand prior of Saint-Ouen. This fine structure entirely disappeared at the revolution.

Eleven chapels, including the one dedicated to the Virgin, surround the choir of the church. The first, in going towards the eastern extremity, contains the baptismal font, and is dedicated to Saint-Martial. There also, was formerly a very curious clock, which has disappeared within the last forty years. A small figure of Saint-Michael came out and struck the hours on a figure representing satan and then disappeared.

In the second chapel, following the same direction, Alexander de Berneval, one of the architects of the church, was buried in 1440. He is represented, on the sepulchral stone which covers his remains, by the side of his pupil; the following inscription is engraved on this stone in gothic letters:

Ci gist maistre Alexandre de Berneval, maistre des uvres de Machonnerie du Roy, notre Sire, du baillage de Rouen et de cette Eglise, qui trespa.s.sa l'an de grace mil CCCCXL le vo jour de janvier. Priez Dieu pour l'ame de lui.

We also remark the statue of Sainte-Cecile, which is placed between two pillars of the corinthian order. The other chapels, except that of the Virgin, do not offer any thing remarkable.

English tourists will find in the latter, the tomb of the youngest son of Talbot; the following is the epitaph:

Ci gist n.o.ble homme Jean Tallebot, fils du sieur de Tallebot, Mareschal de France, qui deceda en aunees de puerilite, le IV Banvier MCCCCx.x.xVIII.

The interior of the church contains several fine paintings, such as: _The miracle of the loaves_, by Daniel Halle, and _a Visitation_, by Deshayes, of Rouen, in the chapel of the Virgin; _an opening of the holy gate_, by Leger, of Rouen, behind the pulpit on the wall of the aisle.

This painting has been much spoiled by the damp. The different chapels also contain some less worthy of notice.

The great tower is altogether a monument of great beauty. Its height is about one hundred feet above the roof of the church. It is surmounted by a crown wrought in openwork and of a fine effect. The total height of the tower is two hundred and forty four feet, from the pavement of the church. It is supported, in the interior of the edifice, by four pillars, each formed of a group of twenty four columns.

The whole body of the church is supported, to the exterior, by thirty four arches, forming with the b.u.t.tresses by which they are supported, a most magnificent ensemble.

The western porch from its unfinished state does not offer any thing remarkable except the rosace of which we have already spoken.

The southern porch, commonly called _des Marmquzels_, merits much more the attention of the curious, by the astonishing variety of sculptures, which ornament it. We may especially admire two pendants of a very bold execution.

Above the door, is a bas-relief, which is divided into three parts, representing the different circ.u.mstances of the sepulture of the Virgin, of her a.s.sumption and entrance into heaven. This porch is a.s.suredly 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, p.r.o.nounced marriages, and even gave a great breakfast to the conscripts of the _year VII_, the first who went under that denomination. At last it was restored to its primitive use, the only one worthy of it, for we may say of Saint-Ouen: _Hic vere est domus Dei_.

The ancient abbey-house of Saint-Ouen was demolished, in 1816. So many historical recollections were attached to the existence of this edifice, that its loss is much regretted by the friends of the arts. This mansion was the ordinary place of abode of the kings of France, on their pa.s.sage through this town. Henry II, Charles IX, Henri III, Henry IV, Lewis XIII successively inhabited it. Henry IVth, resided there four months; it was from this house that he addressed to the aldermen of his good town of Rouen those words which will never be forgotten: _Mes amis, soyez-moi bans sujets, et je vous serai bon roi, el le meilleur roi que vous ayez jamais eu_.

In the public garden, formerly that of the monastery, and which lies to the north, east and south sides of the church, is a very curious construction, in the form of a tower, called the _Chambre aux Clercs_.

It is without doubt a fragment of one of the churches, which succeeded each other on this spot. It is situated at the north-east angle of the northern transept. Its architecture is of the XIth century. People have remarked, that it holds as much resemblance to the remains of a strong castle, as to a fragment of a religious edifice. The interior is divided into two stories, the second contains the works of the clock.

The meridian placed against the wall, to the north of the basin, is that which ornamented the ancient exchange. On the lower extremity of the obelisk, we remark a woman seated, representing Commerce. The figure of Time points to the solar line. In 1815, the medallion of Lewis XVth was replaced, which had been taken away in 1792. This monument is by Paul Slodtz, a statuary of the last century.

[Footnote 15: Dibdin's _Bibliographical, antiquarian and picturesque tour in France and Germany_; London, Payne and co. 1821, royal 8vo, vol.

1.]

SAINT-MACLOU.

In the year 1228, this parish was situated without the walls of the town. In that year, Geoffroy de Capreville granted a portion of ground belonging to himself, and situated in the parish of Saint-Maclou, _without_ the town. At that time the church of Saint-Maclou was only a chapel, of which the construction was not very remarkable. About the middle of the XVth century, the erection of the present edifice was commenced. In the year 1511, the works were far advanced, the platform which was to support the steeple having been already built.

[Ill.u.s.tration: Saint-Maclou]

This church was formerly called the _fille ainee de Mgr l'archeveque_.

The sacred oils were kept in this church, and were distributed to the different parishes of the diocese. This privilege was shown by two vases, supported on two iron bars on each side of the cross, which surmounted the great porch. In the general processions, the cross of Saint-Maclou took precedence of all others, and led the procession.

The church is one hundred and forty two feet in length, by seventy six feet in breadth, taking in the aisles. Its height, from the pavement of the nave to the extremity of the ancient steeple, was about two hundred and forty feet. This handsome steeple, in the form of a cone, rose to a height of one hundred and fifteen feet above the lantern: one could ascend to the cross, by the exterior of it, without a ladder. In 1705, it was shaken by a hurricane; thirty years later, it became dangerous: and they were obliged to take down the greater part of it. It was almost destroyed during the revolution, when its whole covering of lead was taken off, to make bullets. At present they are repairing the belfry which was erected instead of that steeple.

The interior of the church merits the whole attention of the curious. I will mention particularly the beautifully sculptured staircase, which leads to the organ. The authors of _the picturesque and romantic travels into ancient France_, have not forgotten to place this gothic jewel in their work.

The great porch of Saint-Maclou is very remarkable. It had formerly three very commodious entrances; but, they have contrived, at I do not know what time, to build a house _before_ and _quite close_ to the southwest door way; which, in consequence is closed up.

The munic.i.p.al administration lately decided that this house should be pulled down, that the door which it closes up may be opened; but it will be of no use but for the general appearence of the front of the edifice, as this door does not present, like the others, any very interesting details of architecture. It is more than probable that they existed formerly, but, being hid from view, the door was taken off and replaced by the plain one, which exists at present; this loss must be deeply felt, when we contemplate the sculpture, which ornamented the other entrances and which strangers will not fail to admire, either in the western front or the northern porch from the rue Martainville. These sculptures, which are attributed to the celebrated Jean Goujon, consist princ.i.p.ally of bas-reliefs representing different subjects from the Bible, such as _the death of the Virgin_, on the door in the rue Martainville; the _baptism of Jesus-Christ_, on the door of the great porch, etc. On the small door to the left, are also some very curious bas-reliefs.

Saint-Maclou still preserves almost the whole of its ancient painted gla.s.s windows, which are composed in general of isolated figures of saints, covered with canopies and in the style of the _Renaissance_. The lower portions of these paintings have been very much mutilated.[16]

Almost opposite the northern porch of the church, we find the entrance to what was formerly the burying ground of Saint-Maclou, which answered the same purpose in Rouen, as that of the SAINT-INNOCENTS, in Paris.

M.E.-H. Langlois has discovered, on the columns of the buildings which surrounded this ancient churchyard, the fragments, unfortunately almost shapeless, of a _macabre_ dance.

[Footnote 16: The model in relief of this church and made in the first hall of the XVth century, may be seen in the Museum of antiquities.]

SAINT-PATRICE.

This church was built in 1535, on the ground and in place of a smaller one. The chapel of the pa.s.sion, which is to the right on entering the choir, dates from 1648, as well as the side of the edifice, which faces the rue Saint-Patrice. Quite near the church, and in buildings belonging to the parish, a community of priests had been founded in 1641, at the expense of the curate; they had several privileges allowed by the king.

They could enter fifteen _muids_ of wine, without paying duty for it, they could take eight bushels of salt in the year, from the kings stores and at the merchant's price, and give the right of _committimus_ to all ecclesiastics, after a year's residence in the town.

The church of Saint-Patrice, has some stained gla.s.s windows of the greatest beauty. They are of the XVIth century, which was the most brilliant period of painting on gla.s.s in France.

Mr Langlois, in his excellent work, which I have already cited, gives a description of the painted gla.s.s windows. The whole interior of the chapel, which is situated at the extremity on the left side, and facing the east, is remarkable for the beauty of its windows. Most of them bear the date of their execution, and the name of the donor. The pulpit of Saint-Patrice was formerly in the church of Saint-Lo; it is of the style of the _Renaissance_, and in good taste.

SAINTE-MADELEINE.

From the avenue of the Mont-Riboudet, we perceive this elegant church at the end of a row of young trees. It is built after the plans of Lebrument and ornamented by the chisel of Jadoulle; this modern building is distinguished by the beauty of its architecture and of its sculptures. It was terminated and consecrated the 7th april 1781.

The front, which faces the south, is composed of a peristyle, supported by four corinthian columns. In the pediment, above the entablature, we perceive a bas-relief, which represents a _woman suckling children_, the symbol of charity. The representation of this virtue could not have been better placed, than on the front of a church adjoining the Hotel-Dieu.

The interior of the edifice is composed of a nave and two aisles, at the upper extremity of the nave rises an arched dome, which is surmounted on the outside by an obelisk supporting a globe.

Several costly pictures decorate the chapels. Those which are perceived at the extremities of the two aisles are more particularly esteemed.

They are by Vincent, a distinguished painter of the french school. That on the right represents the _cure of the blind man_; that on the left, the _cure of the paralytic_.

The chapel of the _religiouses_ of the Hotel-Dieu, is situated behind the high altar.

(For a description of the hospital, see farther on, the article on civil monuments).

SAINT-SEVER.

In the commencement of the VIth century, Rouen possessed a bishop of this name. At first, it might be natural to think that this bishop was the patron of the church of Saint-Sever; but it is not so. The following legend, is the history of this foundation, in a few words.