A.Pngni 3*1* J.LeKrux Ob. 
 
 Architectural Specimens 
 
 CHURCH OF GRANDE MALADRERIE NEAR CA15N. 
 
 With View of that Town. 
 
 ZonJan. fij/>li.*fisd t'eJ'-" 1.1627. i't/ ./ /IniUm , fiiu-Um Strrrt . 
 
Digitized by the Internet Archive 
 
 in 2014 
 
 https://archive.org/details/historicaldescriOObrit_0 
 
HISTORICAL AND DESCRIPTIVE ESSAYS 
 
 ACCOMPANYING A SERIES OF 
 
 ENGRAVED SPECIMENS 
 
 OF 
 
 Cte &rc!ntertttral atottguttteg 
 
 OF 
 
 NORMANDY. 
 
 EDITED BV 
 
 JOHN BRITTON, F.S.A., M.R.S.L., 
 
 HONORARY MEMBER OF THE SOCIETY OF ANTIQUARIES OF NORMANDY, ETC. 
 
 THE SUBJECTS MEASURED AND DRAWN 
 
 By AUGUSTUS PUGIN, Architect; 
 
 HONORARY MEMBER OF THE SOCIETY OF ANTIQUARIES OF NORMANDY. 
 AND ENGRAVED BY 
 
 JOHN and HENRY LE KEUX. 
 
 LONDON: 
 
 PRINTED FOR THE PROPRIETORS, J. BRITTON, 17, BURTON STREET; A. PUGIN, 105, GREAT RUSSELL STREET; 
 J. LE KEUX, PENTON PLACE, PENTONVILLE; AND H. LE KEUX, DORSET STREET, PORTMAN SQUARE. 
 
 M.DCCCXXVIII. 
 
LONDON: 
 
 HRINTUD BY J. MOVES, TOOK'S COURT, CHANCERY LAN 
 
TO 
 
 JEFFRY WYATVILLE, Esq. R.A., F.S.A. 
 
 *«• 
 
 DEAR SIR, 
 
 Having witnessed, with great satisfaction, the splendid 
 Designs, and the judicious and skilful application which you have made 
 of the Architectural beauties of our forefathers in the new Works now 
 executing at Windsor Castle; and knowing that you admire and 
 appreciate those interesting Ecclesiastical Edifices of our own Country, 
 and of the Continent, which the present publication and others that I 
 have produced tend to illustrate, I beg to address this Volume to you, in 
 testimony of long-cherished respect and esteem ; and remain, 
 
 June 20, 1828. 
 
 DEAR SIR, 
 
 Yours very sincerely, 
 
 J. BRITTON. 
 
THE 
 
 EDITOR'S PREFACE. 
 
 In submitting these literary Essays to the public, it is necessary to explain 
 the reasons of their appearing detached from the Engravings to which they 
 frequently refer ; and also to give some account of the origin, progress, and 
 termination, of the series of prints and the letter-press, which are intended to 
 exemplify each other, and, in conjunction, to elucidate some interesting facts 
 and characteristics in the Ecclesiastical, or Christian Architecture of Normandy. 
 
 Few persons who know any thing of the present state of literature in 
 England can be unacquainted with a statutable enactment, which requires 
 every publisher of a "a book" to present eleven copies of such book to certain 
 public and private libraries. This is considered so great a hardship, that it 
 has, in some instances, induced authors to withhold their productions, rather 
 than risk their publication under such an arbitrary and oppressive statute. 
 Others have published expensive books, and have thereby lost considerable 
 sums of money ; whilst another class has issued prints, independently, and 
 exclusive of letter-press, or prints and letter-press separated from each other, 
 and constituting two separate publications, or to be procured together, at the 
 option of the purchaser. The proprietors of the " Architectural Antiquities 
 of Normandy" have adopted the latter plan, and have sold the graphic 
 illustrations in the first place, and now offer the purchasers of this work these 
 descriptive Essays to accompany and to render them more practically useful, 
 as well as more amusing and interesting. They adopt this technical evasion* 
 
 * In a very useful periodical publication, called " the Crypt," devoted to topographical and 
 antiquarian literature, is an essay on the " law of presentation of copies," alluding to the decision 
 in the Court of King's Bench respecting Sibthorpe's " Flora Graeca;" and stating, that had 
 Mr. Britton foreseen the extraordinary decision made in this case, " he would have been spared a 
 novel manoeuvre of selling the plates only of his ' Architecture of Normandy,' and giving away the 
 letter-press." That he has resorted to manoeuvre in this instance is true; but he has done so with 
 much regret and sorrow : for he thinks that literature should be candid, open, explicit, and honest, — 
 at once superior to subterfuge, and exempt from every thing tricky and sophistical. 
 
VI 
 
 THE EDITOR'S PREFACE. 
 
 with pain and reluctance ; for they would willingly deposit and register copies 
 of their literary and graphic productions in one, two, or even three, public 
 institutions ; but they cannot reconcile themselves either to the justice or the 
 equity of being dispossessed of a sort of birth-right — of making an offering 
 to private and close corporations, of the best efforts of their mental powers and 
 of their pecuniary resources, — without the slightest remuneration — without 
 any semblance of reward or advantage. Against such a statute — which an 
 impartial and liberal parliament ought immediately to abrogate — every author 
 and publisher should loudly and unceasingly protest ; and to evade its literal 
 clauses, every man, without impeaching his honesty or loyalty, is fairly 
 justified. It seems almost futile to argue such a point; and it seems also 
 quite incomprehensible that the upright members of the English legislature 
 should suffer such a statute to remain in force, and at once entail disgrace on 
 those who enacted, and those who tolerate it. Let us hope, that in " the 
 march of intellect" — in the diffusion of, and respect for, liberal principles — at 
 a time when literature pays so much to the State in the shape of taxation, 
 and when it conduces so much to the happiness and improvement of the 
 people, as well as to the dignity and importance of the kingdom, — let us hope 
 that its honourable and talented professors may be duly appreciated by the 
 Monarch and his ministers, and be relieved from such an unnecessary and 
 partial tax, by the legislature of the country. The foreigner, who has heard 
 much of the liberal and equable laws of England, will be astonished to 
 learn, that an author thus pays a more exorbitant assessment than any other 
 member of a liberal profession. The counsellor, the solicitor, the clergyman, 
 the physician, the architect, and the general artist, are exempt from any similar 
 impost; and although some of them pay certain fees for licenses, &c, yet even 
 the highest of such sums do not amount to so much, nor are the most lucrative 
 of employments amerced to the same extent. — So much in justification of the 
 plan of publishing in the manner now adopted ; and less the Editor could 
 not say explanatory of his feelings, and of a case so peculiarly oppressive to 
 literature. 
 
 The present work originated with the Artists whose names appear in the 
 title-page; and who, from predilection for architectural antiquities, and from 
 some experience in the execution of works illustrative of the ancient buildings 
 in England, persuaded themselves that a series of Engravings, which should 
 define and clearly exemplify the Christian Architecture of Normandy would 
 be at once useful and popular. Influenced by corresponding feelings and 
 
THE EDITOR'S PREFACE. 
 
 vii 
 
 conviction, the writer of this Preface was induced to co-operate with his 
 friends, and enter warmly and zealously into the plan. He wrote a pro- 
 spectus, assisted in arranging and digesting the work, and advised with 
 Mr. Pugin previous to his visits to Normandy. It was also his intention, 
 when he first engaged in the work, to see and examine all the buildings 
 delineated, and to write the accounts of them after careful examination.* 
 This intention was frustrated by illness, at the very time when he had pre- 
 pared for a journey into Normandy. Thus disappointed, he wrote down 
 particular instructions, and sent them, with letters of inquiry, to distinguished 
 antiquaries in the province. Waiting for, and expecting answers, — anxious 
 to render the history and description of each building and of every variety of 
 architecture, original, accurate, and discriminating, he has delayed the pub- 
 lication, and even now has been impelled to hasten it through the press, with- 
 out obtaining the answers and information he sought for, and consequently 
 without satisfying himself in many parts of its execution. 
 
 It may be necessary to explain the reason of affixing the word Editor to 
 the name of the writer of this Preface, — a thing so unusual to him, — for there 
 are still many persons, even in England, who do not clearly discriminate the 
 distinction between that and the word Author. According to the most correct 
 interpretation, the latter applies strictly and exclusively to the writer of a 
 book or literary essay ; and Editor means the person who superintends, directs, 
 and occasionally writes a part or parts of a miscellaneous publication, such as 
 a newspaper, magazine, review, &c. : the Author, as Gibbon, Hume, Sir 
 Walter Scott, &c, is the writer, the sole composer of a book, to which his 
 name is attached : whilst the Editor, as Campbell, Lockhart, Barnes, &c, is 
 the director, and partly the writer, of a periodical work, such as the New 
 Monthly Magazine, the Quarterly Review, the Times : by the same rule, the 
 writer of this Preface is Editor of the volume, and also Author of its principal 
 contents. He likewise edited two former volumes of a corresponding class, 
 entitled " Specimens of Gothic Architecture ;" but in that instance did not insert 
 his name in the title-page ; nor was he at all desirous of announcing it, or 
 taking the responsibility of the present publication. Averse as he always has 
 been to anonymous writings, he deemed it most honourable to avow his name 
 
 * This has always been his practice with the Architectural and Cathedral Antiquiti is, 
 in which works he has devoted much time to local investigations, and many hundreds of pounds in 
 collecting materials and in travelling expenses. 
 
Vlll 
 
 THE EDITOR'S PREFACE. 
 
 on this occasion, and be at once amenable for defects as he is entitled to 
 his fair portion of credit. He deems it merely justice to himself to make 
 this explanation, which will also account for the origin and completion of the 
 volume ; and this he hopes will give the student in ancient architecture more 
 satisfaction than it has afforded to himself. His views and wishes at the com- 
 mencement were to investigate the history, and definitively characterise the 
 ancient architecture of Normandy, — to ascertain and point out what is really 
 indigenous and what is exotic, — to shew when and by whom its various 
 changes of style were effected, and how these were progressively improved; to 
 seek diligently and scrupulously to ascertain the origin of the pointed style, 
 and to compare and contrast the correspondencies and varieties of the archi- 
 tecture of Normandy with the contemporary architecture of England. These 
 points he considered to be desiderata in English literature, and these he 
 had marked out to himself as objects for inquiry and for accomplishment. 
 Thwarted in his wishes and intentions, he looks forward with anxiety to the 
 Society of Antiquaries of Normandy for the accomplishment of this, or 
 for something of the like nature; and from the Essays already published 
 by that Society, and from the zeal and knowledge some of its enlightened 
 members have evinced, he is persuaded that such a publication can be pro- 
 duced by them jointly, if not by any single member. To that Society the 
 writer of this Preface tenders his best wishes and thanks, for the compliment 
 they have paid him in making him an Honorary Member. To John Coles, 
 Esq., Dawson Turner, Esq., and Mr. S. Tymms, he is also obliged for 
 useful hints, and to the latter gentleman for some of the ensuing Essays. 
 
 Since writing the above, a new publication, in two volumes 4to., has made 
 its appearance, from the pen of Mr. Joseph Woods, entitled, " Letters of 
 an Architect from France, Italy, and Greece;'' and, written by a man of 
 science, of general knowledge, of discriminating habits of observation, it may 
 be referred to with confidence, and read with pleasure by every person 
 who is attached to the fine arts generally, or to architectural antiquities in 
 particular. 
 
INTRODUCTION: 
 
 EMBRACING 
 
 A BRIEF REVIEW OF THE CHARACTERISTICS 
 
 OF 
 
 CHRISTIAN ARCHITECTURE IN NORMANDY. 
 
 For the purpose of obtaining a complete history and ample illustrations 
 of the Architectural Antiquities of Normandy, it would be necessary to 
 select various examples from all the different parts of the province. Almost 
 every distinct department, as well as every building, presents some varia- 
 tions, either in the general design or subordinate architectural details ; and 
 although each of these may not be sufficient to mark a complete style or 
 class, it constitutes a species which ought to be known and characterised, 
 to complete the history of the genus. In the present work we are only 
 enabled to offer some evidences towards this history ; we can merely bring 
 forward a few examples, faithfully and geometrically delineated, as authentic 
 documents to aid the critical historian, or as materials for the professional 
 architect ; each of whom will know how to apply them. After what has 
 been said by Dr. Ducarel of the varied classes and characters of the edifices 
 of Normandy, the present volume will appear to be very meagre and imperfect. 
 He states, that the province abounds with " magnificent palaces, stately 
 castles, beautiful churches, and sumptuous mansions, together with a variety 
 of monuments of almost every kind."* 
 
 The ensuing illustrations are chiefly of Church Architecture, and mostly 
 belong to an early class of buildings. There are a few of a late or decorated 
 style, called the Burgundian in the " Quarterly Review ;" whilst some repre- 
 sent the domestic buildings dissimilar to any thing in England, and which 
 
 * " Anglo-Norman Antiquities," Preface, p. i. 
 B 
 
ii 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 are certainly of singular characteristic features. The truly Norman specimens 
 will be examined with much interest by the English antiquary, who seeks 
 to deduce from them evidences either to confirm his own theories respecting 
 the disputed distinctions between Saxon and Norman architecture, or to 
 confute the theories of others. 
 
 Of the lancet, or first pointed style, our illustrations are neither so 
 numerous nor so select as could be wished ; for the critical antiquary 
 wants a mass of materials to exemplify and unfold the history of this essential 
 novelty and beauty of architecture.* The origin, and the progressive growth 
 of the pointed style during nearly four centuries — its fanciful varieties and 
 endless combinations — the latitude it gave to genius, and the numerous 
 beauties of art and science which it has bequeathed to us, are so many 
 claims on our curiosity and admiration. Whether it germinated in the East, 
 in Italy, France, Normandy, Germany, or Britain, is a point not likely to 
 be easily settled ; nor is it worthy of jealous or envious contention. It more 
 behoves the historian of art to ascertain where and when it was systema- 
 tised, — by whom and in what building the pointed style was employed 
 throughout all the parts and members of the edifice. The adoption of an 
 arch with a pointed apex, as at Malmsbury, in St. John's Church, Devizes, in 
 Buildwas Abbey,t &c, does not prove that the architects were familiar with, 
 or had introduced it as a member of an established style, but merely as a new 
 feature in the formation of an opening in the wall, and adapted to the parti- 
 cular proportion of the edifice. J The lateral columns, the walls, the mouldings, 
 continued nearly as before; and even the triforium openings, and windows of 
 
 * Mons. Caumont contends, that the circular style was generally abandoned towards the end of 
 the first half of the twelfth century, about 1140, and the pointed adopted. " Every thing of the 
 romance style disappeared, and the Gothic fashion was exclusively adopted." Our learned antiquary, 
 however, qualifies this opinion, in a note, by saying, " the pointed style had existed at Coutances, 
 Mortain, Seez, and Fecamp, ever since the 11th century; but there are exceptions to the general 
 rule ; and Fecamp, for instance, is extremely heavy.'' I must venture to differ with Mons. Caumont 
 respecting the Gothic fashion being exclusively adopted at the middle of the 12th century; for we 
 continually find the first pointed blended with the circular style in arches, mouldings, ornaments, &c, 
 in England, and I am persuaded the same prevails in Normandy. See the upper parts of the towers 
 at Bayeux Cathedral, the east end of Canterbury Cathedral, &c. 
 
 t See " The Architectural Antiquities of Great Britain," where these buildings are represented 
 and described. 
 
 X In the east end of Canterbury Cathedral it was judiciously made to suit the proportion of the 
 intercolumns ; at St. John's Church, Devizes, from the difference in the width of the tower at its two 
 sides, one being much wider than the other, and yet the heights of the arches range together. 
 
DISPUTES ABOUT THE FIRST POINTED STYLE. 
 
 iii 
 
 the ailes, as at Malmsbury and at Buildwas, were finished with semicircular 
 heads. In the apsis end of Canterbury Cathedral we recognise the pointed 
 system, or style, introduced, not merely in the open arches between the 
 centre and ailes, but in the slender shaft, with its capital and base, in the 
 window, the buttress, groining of the roof, &c. The circular arch was not 
 then wholly abolished, nor were its analogous mouldings and details. The 
 date of this part of the building is fortunately well authenticated (1176); and 
 we have also very satisfactory evidence of successive and progressive improve- 
 ments in the same style through the reigns of kings Richard I., John, and 
 Henry III., in the cathedrals of York, Wells, Rochester, Salisbury, &c. 
 Were our information as authentic and conclusive respecting the dates of 
 the churches in Normandy and France, we should write with more fulness 
 and confidence on the subject ; and should be able to decide the controversy 
 which the late Mr. Whittington commenced in 1809, and which was warmly, 
 and also successfully, opposed by the late Rev. Dr. Milner and other authors.* 
 The Germans, the French, and the Normans, have revived the discussion, 
 and separately contend for the honour of the invention, as originating in 
 the country of each writer. On this, as on most subjects of controversy, 
 each person contends for victory — for the establishment of a favourite hypo- 
 thesis — and hazards peremptory conclusions, without waiting for sufficient 
 evidence. It is granted, that truths and facts are generally elicited in such 
 Jiterary contests, and that rational deduction is ultimately established. Even 
 at the present time, I apprehend, we have not sufficient data to decide the 
 question of the origin and establishment of the pointed style, or to define the 
 positive coincidences and dissimilarities between the Saxon and Norman. 
 
 "It is in Normandy that the first pages of the architectural annals of 
 this island (England) must be read. According to our most judicious anti- 
 quaries, no one structure, scarcely any one fragment, in Great Britain, is 
 now in existence that can be referred with certainty to the Saxon era. 
 Neither can we quote any architectural examples in Normandy of an earlier 
 period than the eleventh century; at least if we wish to guide ourselves 
 in our researches with any degree of satisfactory evidence or conjecture. 
 The duchy of Normandy does not possess the monuments of Neustria.t 
 
 * See " Treatise on Ecclesiastical Architecture in England during the Middle Ages," by 
 Dr. Milner, 8vo. 1811 ; and Gentleman's Magazine, 1809-10. 
 
 t Before the Norwegians, under Rollo, took possession of the north-western territory of France, at 
 the commencement of the tenth century, it was called Neustria. 
 
iv ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 The fury of the north-men destroyed all the memorials both of Roman mag- 
 nificence and of Christian piety, by which the province had been adorned, 
 when they wrested it from the Carlovingian empire. Nought remained but 
 scathed and mouldering walls, and these were afterwards lost in the edifices 
 raised by the piety of the converted subjects of Rollo. A few insignificant 
 remains — a tomb at Lisieux, a crypt at Rouen, a chapel at Jumieges, which 
 probably ought to be dated before the Norwegian conquest, are of little 
 moment in a general view of the subject, and do not connect themselves 
 in the general series of specimens. It is useless to descant on relics of more 
 dubious antiquity, which receive their date from untenable opinions ; for the 
 Norman archaeologists, like our own, have often wrongly imagined that old 
 age and ugliness must necessarily be synonymous. Thus, the Abbey Church 
 of St. Lo, on account of its clumsy sculpture, has been considered as a temple 
 of Isis, a deity who in France appears to claim all antiquarian estrays ; and 
 the church of Bernieres is sometimes attributed by the Norman antiquaries 
 to the old inhabitants of the ' Saxon shore,' though the marguilliers of the 
 parish, with most reason, are satisfied that it owes its origin to Duke 
 William." 
 
 " The principal features of the Norman style are sufficiently familiar. 
 Originating with the attempts which were successfully made to adapt the 
 architecture of Rome to the uses of a Christian community, the order of 
 which the Norman is merely a modification, acknowledges, in all its varieties, 
 the parent stock from which it sprang. Mr. Gunn proposes to distinguish this 
 style by the name of the Romanesque* 
 
 " The Norman style being marked by some minor peculiarities which seem 
 to distinguish it from the coeval modes of architecture used on the Continent, 
 it might be the subject of conjecture whether the Norman buildings vary 
 from their prototypes in consequence of any vestiges or reminiscences of the 
 rude art of the first Norwegian settlers. Sacred structures were built in 
 Scandinavia by the Heathens. The flinty remains of the sacellum adjoining 
 the Cathedral Church of Upsala, which is thought to have been dedicated to 
 the sanguinary worship of the ' King of men,' are perforated by round Roman 
 arches. Peringskiolld has given a representation of this edifice ; but if any 
 body chooses to dispute its original destination, we shall not be inclined 
 to fight very strenuously for the authenticity of Odin's Temple. We are not 
 
 * « An Inquiry into the Origin and Influence of Gothic Architecture."' By William Gunn, B.D. 
 8vo. London, 1819. 
 
RISE AND PROGRESS OF ARCHITECTURE. V 
 
 in the number of those who swear implicitly by the books of northern 
 archaeologists, who are usually fattened by erudition, at the expense of 
 common sense and judgment. 
 
 " The discrepancies between the Norman buildings and others of equal 
 date in other parts of France, arise partly from the inferior skill of the stone- 
 cutter, and partly from the influence of that inventive faculty, without 
 which no architect can enjoy any pleasurable feelings in following his 
 profession, though it is as often hurtful as useful. This same faculty is 
 sometimes called by civil names, sometimes by harsh ones, — taste or 
 barbarity — fancy or whim — talent or caprice — appellations bestowed 
 righteously by the judgment, or wrongfully by the prejudices or passions, 
 of the observer."* 
 
 To these preliminary remarks let us add a concise review of the rise 
 and progress of that class of architecture, which constitutes the chief features 
 of the buildings illustrated in the annexed engravings. 
 
 Architecture derives its origin from the wants of man. The simplest 
 principle is that of uprights and horizontals ; but when the human mind 
 expanded — when men became more sensible of their immediate requisites, 
 and assumed a superiority above their dependants, their edifices presented 
 a. different appearance, and approximated towards elegance. An increased 
 knowledge of mechanics led architects to the more durable and harmonious 
 construction of their buildings, and accordingly gave rise to the semi-circular 
 arch and cylindrical column, which, possessing so many beauties over the 
 massy, square, or many-angled piers, became necessarily more admired, as 
 serving for ornament as well as use. These columns are said to have reached 
 their highest state of perfection in Greece, exhibiting proportions which 
 blended lightness with strength, and grandeur with simplicity. In Rome, 
 the rival country both in arts and arms, the columns were far inferior in 
 beautiful symmetry or tasteful ornament ; but the arch, generally considered 
 to have been unknown in Greece, may be estimated as peculiarly the pro- 
 perty of the architecture of the Romans. 
 
 The incursions of the northern nations, a rude and uncultivated race of 
 men, delighting only in predatory pursuits, tended greatly to the annihi- 
 lation of the beautiful works of the Romans, though, at the same time, 
 they assisted in extending the principles of the science ; for, being ignorant 
 
 * " Quarterly Review," June 1821. 
 
vi ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 themselves, they were surprised at the magnitude and beauty of what they 
 beheld, and felt the desire of transplanting them into their own countries. 
 Thence did they arrive at a knowledge — very imperfect, it is true — of the 
 science of architecture ; and the forms which they had observed were carried 
 by them into all their colonies. The Normans followed them in parts of Gaul, 
 and the Saxons in Britain ; but whilst the former were arriving at a greater 
 degree of perfection, on account of their nearer contiguity to the ancient 
 seat of the arts, the latter made but little or no progressive improvement. 
 
 Religion has been invariably considered the most influential power of a 
 nation : it is, therefore, to the edifices appropriated to the observance of 
 its ordinances that we must look for specimens of the skill and taste of 
 a people. The earliest churches, both in Normandy and in Britain, were 
 extremely simple in their plan, scarcely differing from the basilica?, or courts 
 of justice, belonging to all the great cities of the Roman empire, many of which 
 were, on the introduction of the religion of the Cross, converted into Christian 
 churches, by order of the Emperor Constantine. These basilicse had their 
 porticoes within the building — in that respect differing from the temples, 
 which had them without, and consequently exposed to the weather, — and 
 the end porticoes, in their width, were confined to the dimensions of the 
 centre or oblong square of the building. The principal entrance was at 
 one end, and the other was generally terminated in a semi-circular form. 
 In this plan are observable all the features of the early or primeval Christian 
 churches. In the body of the basilica we distinctly trace the nave and ailes, 
 in the chief entrance we recognise our west end, and in the termination 
 our semi-circular apsis. 
 
 In those places where the Romans had established themselves, and 
 erected houses or temples, we find that their peculiar brick* was made use of, 
 and specimens of these may now be seen in the crypt of the church of 
 St. Gervais at Rouen, which some consider to be altogether of Roman 
 workmanship. The masonic construction was also imitated. The masonry 
 of the walls at Vindomi (Silchester), Verulamium (St. Alban's), and Camaldo- 
 dunum (Colchester) — stations established by the Romans, appear to have been 
 
 * It was far from being uncommon to find the edifices of that people mutilated and destroyed 
 to furnish materials for new buildings ; — metals were melted down, marbles were torn away, capitals 
 and bases separated from their shafts and entablatures, &c. And this is not a subject of wonder, 
 when we find that the senate of Rome had set the example, by plundering the ancient buildings 
 for the decoration of the Triumphal Arch of Constantine. 
 
ROMAN MASONRY! — SOLIDITY, &C. OF BUILDINGS. vii 
 
 disposed in a zig-zag or herring-bone direction : and similar walls occur in 
 the Norman churches of Anisy, Perriers, St. Matthieu, St. Croix at St. Lo, 
 and St. Hildebert at Gournai. Others of the like kind are to be found in 
 England, in the castles of Colchester, Corfe, Tamworth, &c. M. de Caumont. 
 a French antiquary, speaking of the works of the Romans, says, that when 
 they employed flat or rough stones they arranged them diagonally, and sloped 
 in each alternate tier to the right and left ; but when they made use of cut 
 stones they laid them horizontally; and we may remark, that the latter 
 were small, and nearly of the same size. We also observe that the stones 
 are sometimes disposed so as to resemble a chess-board ; as at Ver, Mouen, 
 Abbaye aux Dames ; in the tower of Steyning Church, Sussex, &c. 
 
 The extreme solidity of the materials, and the almost total absence of 
 ornament, induce us to believe that the only aim of the architects was to erect 
 edifices that should last for many ages ; as at the church of Lery, near Pont 
 de l'Arche, the interior of which is remarkable for those qualities.* They 
 also appear to have been fearful of weakening the lateral walls by piercing 
 them for windows of any considerable dimensions, as we find the latter 
 are but few, and those only narrow openings, of an oblong form. Their 
 apsides were also plain, as we may judge from the semi-circular terminations 
 of the church of Querqueville, near Cherbourg; and the apertures which 
 were caused by the scaffolding were left, as appears throughout the whole 
 of the body of Anisy Church, where, it is very remarkable, they are edged 
 with freestone. The inconveniences consequent upon the narrow single- 
 light openings must have compelled succeeding architects to provide for 
 more light. Accordingly we notice, that the windows, from being narrow 
 at the opening, expanded in width through the whole thickness of the wall, 
 and formed a comparatively wide embrasure in the interior. Normandy 
 presents many specimens of the long and narrow semi-circular-headed 
 windows — resembling in size the lancet ones of the pointed style — in the 
 
 * A double row of pillars and arches separate the body of the church into three parts of unequal 
 width, and another arch of greater span divides it from the chancel. The arches are in every 
 instance devoid of mouldings, the capitals altogether without ornamental sculpture of any description, 
 and the pillars without bases — [a peculiarity confined to the ancient Grecian Doric, in classic architec- 
 ture.] Indeed, the pillars are nothing more than rounded piers ; and they are not less remarkable 
 for their proportions than for their simplicity, their diameter being equal to full two-thirds of 
 their height. These are in windows in the nave ; but a series of statues adorn each side, resting on 
 brackets between the arches. — Cotman, Arch. Antuj. of Normandy, vol. i. pi. xlvi. 
 
VIU 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 short square tower of St. Michael's Church, Vaucelles ; and the examples 
 are numerous of long cylindrical columns at small intervals, with small 
 semi-circular arches, and low massy cylinders supporting wider arches. 
 
 About the latter part of the ninth, or the commencement of the tenth 
 century,* it is highly probable that the use of bells gave occasion to the first 
 and most considerable alteration that was made in the general plan of our 
 churches, by the necessity it induced of having strong and high-raised towers 
 for their reception. These from being necessary soon became ornamental, 
 and a lofty and light form was given to them, which was calculated to inspire 
 those sentiments of awe which usually accompany admiration and surprise. 
 To make them harmonise with the other parts, it was necessary to give more 
 height to the whole edifice ; and again, to establish a just proportion between 
 the height and length, they deemed it requisite to build their churches on a 
 larger scale than before. About the same period the churches first began to be 
 built in the form of a cross, a plan materially tending to heighten the general 
 effect of the whole edifice, and which continued through the era in which 
 the pointed style occurs. The western entrances, with their towers, were 
 usually plain during the tenth century, and the latter were seldom carried 
 much above the apex of the roof of the nave. 
 
 In the eleventh century a new and most interesting era in the history 
 of architecture commenced, for in it the Norman style may be said to have 
 attained nearly its pinnacle of grandeur : it will therefore deserve our 
 serious and minute investigation. The plan of the churches differed but 
 little from those of the preceding century, being that of a cross, with the 
 transepts extending north and south, and the east end marked by the semi- 
 circular-ending, or apsis. The principal entrance was at the west end of 
 the nave, and a tower was usually raised on each side of it, to coincide with, 
 and terminate the ailes. Another tower was frequently placed at the 
 intersection of the cross, where it added to the solidity by pressing on the 
 centre, against which the walls and arches abutted. The form of the 
 towers was square, and they were pierced by semi-circular arches, more or 
 
 * I am. aware that M. Caumont, in his Essay on the Religious Architecture of Normandy, 
 adduces a passage from Anastas. Biblioth. in Vita Steph. III., proving the erection of a tower in the 
 eighth century by that pope to the church of St. Peter, to contain bells ; but it was not till the period 
 assigned above that the use of towers became indispensable, from the size of the bells. Mr. Whitaker, 
 in his " Ancient Cathedral of Cornwall," vol. ii. 152 ; and Mr. Faulkner, in his " History of Kensing- 
 ton," have entered into ample dissertations on the origin and history of towers, bells, &c. 
 
TOWERS AND WESTERN ENTRANCES. ix 
 
 less narrow, and variously distributed, sometimes duplicated, at others 
 intersected ; and again with two smaller arches within a larger one. Those 
 of the church of St. Nicholas, at Caen, appear perfectly plain, with narrow 
 single lights, and flat buttresses, like pilasters. The buttresses present 
 the same appearance at the church of Fontaine le Henri ; and they some- 
 times occur flanked by cylindrical columns. Cylindrical buttresses are 
 occasionally observed. At the church of Cheux, on the north side of the 
 east end, is one; and on the southern side of the round tower* of Tancerville, 
 one runs nearly to the top of the first story. These towers were joined to the 
 edifice, and the most ancient are, as before stated, low, whilst the pyramids 
 surmounting them are flat, as at Ver. About the latter part of this century, 
 during the reign of our William the First, the towers became larger in their 
 square, more lofty, and had a proportionate degree of enrichment, being 
 completely adorned on each side with two or three ranges, one above 
 another, of small arcades,f of narrow depth, and sometimes interlacing each 
 other, to the number of twenty. This produces an agreeable effect, from 
 affording relief to the heaviness of a building. 
 
 The western entrances were, in the commencement of the eleventh cen- 
 tury, very plain, with the exception of the principal door-ways — sometimes 
 three, but more generally one — the archivolts of which were charged with 
 numerous ornaments, proportioned to the splendour of the building, and to the 
 imagination of the architect. The church of St. George's de Bocherville, 
 " the most genuine and the most magnificent specimen of the circular style 
 in Upper Normandy," built by Ralph de Tancerville, chamberlain to William 
 the First, has a door-way divided into as many as five mouldings, all highly 
 wrought, and presenting almost every pattern commonly found in such parts 
 of Norman buildings. According to Mr. D. Turner, Normandy does not contain 
 a richer arch than this ; but in England numbers are to be found, even in 
 obscure parish-churches, which are equal, if not superior. J At Bieville 
 and Perriers there are square-headed door-ways, the transoms of which are 
 
 * The round towers are more properly the productions of a century later. There is one at 
 St. Ouen, Rouen, built by Abbot William Balot in 1126. 
 
 t Similar decorations are observable on the exterior of the body of the church. Than Church 
 has the number of twenty-nine arches, every sixth of which, from the westward, is narrower than 
 the rest, and pierced with a window. The surface of the blank ones is cut into squares, which are 
 alternately depressed. Examples occur at the abbey churches of Tewkesbury and St. Alban's, &c. 
 
 I At Iffley, Tutbury, Ely, Malmsbury, &c. 
 
 C 
 
X 
 
 ARCHITECTURAL ANTIQUITIES 
 
 OF NORMANDY. 
 
 cut into the shape of pediments, surmounted by semi-circular arches. That at 
 Bieville is surrounded by only a single, flat, and plain moulding; whilst Perriers 
 displays some pleasing decorations. We frequently find, where we see a square- 
 headed door-way under an arch, that the intermediate space between the 
 arch and the door is filled with bas-reliefs, rudely carved, as at Marigny and 
 Colville, in the district of Bayeux; Urville, in the department of La Manche ; 
 and Bully and Cambe, in the district of Caen. Sometimes, but the examples 
 are very rare, we see arched doors without columns — though the early win- 
 dows are commonly so — and adorned with ornaments the whole height.* 
 At Frenouville, Busly, Plessis-Grimoult, is a kind of door- way, which, ac- 
 cording to M. de Caumont, has round the arches one or more rows of stone, 
 generally cut in the form of a wedge, and arranged so as to be jointed one 
 within the other. These are commonly decorated by a profusion of delicately 
 sculptured stars, frequently with undulating points. Specimens of similar 
 work may be seen in the churches of the pointed style, and in the monu- 
 ments of the thirteenth and fourteenth centuries. 
 
 The walls, from the western towers to the transept, produce a paral- 
 lelogram in plan, which is divided by porticoes, or, more properly speaking, 
 arches, into three unequal compartments, the nave and two ailes. The 
 columns, or piers, and the semi-circular arches producing these divisions, are 
 more or less ornamented, according to the antiquity of the edifice, and the 
 importance of the building. At Than Church the terminating arches of the nave 
 are larger than the intermediate ones : at the abbey church of Jumieges they 
 alternately spring from round pillars and from square piers, with semi-cylin- 
 drical columns affixed to each of their sides ; and at Pavilly they are supported 
 by clustered columns, with unadorned capitals and enormous hexagonal bases. 
 Sometimes we observe duplicated columns, that is, two isolated columns 
 rising from one base, and crowned by one capital, as at the Abbaye aux Dames, 
 Canterbury, &c. The columns of the era of which we are treating, had no 
 fixed proportions, being either heavy and short, or very tall and light, and 
 some rising to a considerable height : they are all of equal thickness from top 
 to bottom, and in general have a sort of plinth for a base, sometimes only a 
 few inches high, and at others one or two feet : but this was varied in 
 
 * The inner archivolt of the western entrance at Foullebec is carved into flower-work, whilst 
 the outer moulding has the plain embattled fret of considerable size, and some grotesque carving, 
 besides two sculptural pieces, representing the lamb and flag, and a man on an ass — probably our 
 Saviour riding through Jerusalem. 
 
DISPUTES ABOUT ORNAMENTS AND MOULDINGS. XI 
 
 different ages. The base is sometimes composed of a plinth and a torus ; 
 and in one or two instances may be seen a near approximation to the 
 attic base. 
 
 The capitals of the columns appear to be extremely rude imitations of the 
 various orders of classic and even Egyptian architecture.* The most ancient 
 are miserably executed Tuscan and Doric, grotesquely carved ; but the 
 Corinthian and Composite are the most commonly imitated : the rarest 
 is that of the Ionic. The church of St. George's de Bocherville has a 
 pleasing variety of specimens ; for we there find the receding abacus and 
 richly sculptured foliage of the Corinthian ; and the palm leaves and bell- 
 shape of the Egyptian, as well as a mixture of grotesque. In the church of 
 the Holy Trinity, at Caen, the capitals are ornamented with rams' heads, 
 the horns of which form the volutes, curling out from beneath the abacus. 
 This specimen is the more curious, as it serves to shew what our ancestors 
 conceived to be the origin of the volute in the Ionic order ; an origin certainly 
 more plausible, though less honourable, than deriving it from the curls which 
 so beautifully adorn the heads of the fair sex. From the rich display of 
 diversified capitals to be found at St. George's de Bocherville, St. Hildebert 
 at Gournay, &c, we are enabled to form some idea of the extent to which 
 the caprice and imagination of the architects led them. Some of these repre- 
 sent gryphons, lacs d'amour, grotesque heads, or monsters with their heads 
 turned behind them, and biting their tails, some of which are cloven towards 
 the end. Besides the chimeras, serpents, dragons, and all the inexplicable 
 creations of the imaginative fancy, we discern some allegorical figures and 
 subjects from religious history, the most esteemed of all adorned capitals. 
 The arches springing from these columns have sometimes very enriched 
 archivolts. As the mouldings which serve to decorate them are similar to 
 those employed in the arches of the western and other entrances, and in the 
 enriched windows, we have thrown into a note a list of many of them, with 
 references to the churches where they are to be met with.f 
 
 * The capitals of the columns remaining at St. Sanson, we are informed by Mr. Joseph Woods, 
 resemble those of the Temple of Bacchus at Teos. 
 
 f The most common ornament is that of the chevron, or zig-zag, which seems to have been the 
 earliest used, and latest abandoned. When there are many rows of them, they are called, according to 
 the numbers, double, triple, quadruple zig-zags, &c. A specimen of the chevron, disposed in a triple 
 row, occurs at the church of St. Giles, at Evreux, now used as a stable. Their angles are more or less 
 acute; and sometimes we see two rows of zig-zags with the angles opposite one another. This is called 
 
xii 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 Above the arches, between the nave and ailes, usually runs a string-course, 
 separating the lower arches from those of the next story, called the triforium, 
 the arches of which are sometimes of nearly the same width as those below, 
 though less in height, as at the abbey church of Jumieges, where they are 
 devoid of either archivolts or mouldings. They seldom or ever were pierced 
 with windows, but generally formed a kind of communication with the tower 
 and roof of the edifice. They are subject to all the varieties which distinguish 
 the Norman arches, as well in distribution as in plan and decoration. Above 
 the triforium was a range of windows called the clerestory, which are in 
 general devoid of pillars, are unadorned, and narrower externally than they 
 are within. 
 
 The choir and sacrarium usually terminate with a semi-circular apsis; but 
 instances occur, as at Fontaine le Henri, and at Than, of square east ends. 
 The churches of the Holy Trinity, and of St. Nicholas at Caen, and at 
 Cheux, may be considered as good specimens of the general features of the 
 exterior of these apsides, being divided by slender cylindrical pillars into 
 several compartments, and by string-courses into three stories, the basement 
 one occupied by a range of small arcades, the heads of which are hewn out 
 of a single stone, and the others pierced by windows, variously diversified ; 
 the whole terminated by roofs of very high pitch: the corbel tables'* are gro- 
 
 byM.de Caumont the zig-zag counter zig-zag. A specimen may be seen in Bayeux Cathedral. The 
 embattled fret is formed by a single round moulding, traversing the face of the arch, making its 
 returns, and crossing at right angles, so forming the intermediate spaces into squares, alternately 
 open above and below. In England we frequently observe a triangular fret, where the same kind 
 of moulding at every return forms the side of an equilateral triangle, and encloses the intermediate 
 space in that figure. Billets resemble a cylindrical piece of wood, sawed into many pieces of equal 
 length. The Nail-head resembles the heads of great nails, driven in at regular distances. This is so 
 rare an ornament for the string-course in Normandy, that Mr. Cotman recollects no other instance of 
 it than in the church of Lery, near Pont de l'Arche. The hatched moulding appears to have its 
 origin from the circumstance of the workmen making indents in the mortar with their trowels, and is 
 accordingly a very general ornament of the string-course. Nebules, or undulating lines. Of the 
 dog-tooth a specimen exists at the church of St. George's de Bocherville. Cable, or twisted mouldings. 
 A line of quatrefoils may be seen at the church of St. Giles, at Evreux. This ornament, so exceed- 
 ingly common in the pointed style, is said to be met with on this one Norman building only. Birds' 
 heads and beaks were sometimes placed round the arches; and a great variety of foliage, besides 
 many indescribable combinations, likewise appear. 
 
 * This species of ornament was derived originally from the jutting out, or projection of the 
 joists of the roof underneath the cornice or eaves. To remedy their unsightly appearance, they were 
 carved and ornamented with a great variety of patterns, as heads of monsters, gryphons, birds, &c. 
 
ORIGIN OF THE POINTED STYLE. Xlii 
 
 tesquely sculptured. The choir of Cheux is remarkable for being wider than 
 the nave. The portion east of the tower is of three distinct parts, unequal in 
 size, the central being the narrowest, but all of the same height, and each 
 lateral one exactly equalling in its width the length of the transept to which 
 it is attached ; and thus, also, the choir and transepts collectively form nearly 
 a square, except, that to the end of the middle compartment is attached a 
 semi-circular apsis. 
 
 From the north and south sides of the choir project the transepts, producing 
 the cruciform appearance of the plan. The general features of these trans- 
 verse chapels (for it was not unusual to dedicate them to some saint), accorded 
 with the style of the nave, when of the same era ; but at the abbey churches 
 of Fecamp, St. Stephen, at Caen, and Cerisy, in the cathedral of S^ez, and at 
 St. George's de Bocherville, the transepts are separated by screens, by means 
 of which Mr. Cotman considers that the architects intended that the aile of 
 the nave should receive apparent length, from the columns which form the 
 screen ranging in a line with the outer walls of the ailes. To the eastern 
 end of the transepts it was customary to affix small semi-circular chapels, 
 as at St. Nicholas, at Caen, St. Taurinus, at Evreux, in Normandy, and at 
 Canterbury, Norwich, Westminster, Romsey, &c. in England. 
 
 The circular style, which, as we have seen, reached its eminence during 
 the eleventh century, was in the succeeding one to give place to another 
 species of architecture, more appropriately adapted to the celebration of 
 religious rites. But this was neither simultaneous nor uniform, and was 
 not effected without a struggle ; for we frequently observe, that in the 
 buildings of the beginning of the twelfth century the two styles are 
 variously intermixed, as at Bayeux Cathedral, &c. &c. There, if we refer 
 to the Plates of that interesting edifice, we shall observe the enriched 
 specimens of the circular mingling themselves with those of the pointed 
 styles. To endeavour to ascertain the precise origin of the pointed order 
 of architecture — to weigh duly, and examine critically, the numerous 
 theories which have been already adduced, — and to point out their ab- 
 surdities and inconsistencies, would require more space than can be allotted 
 
 The most ancient are highly projecting, and are surmounted by a heavy flat cornice, and others of 
 subsequent date support small arcades. The cornice over the corbels is often adorned with zig- 
 zags, billets, &c. At first, like the corbels, they projected considerably, but gradually diminishing, 
 they were superseded by the light parapets of the pointed style. 
 
xiv 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 in this essay.* In the end of the north transept of Graville Church we 
 perceive two semi-circular arches interlaced ; by removing the upper arcs of 
 which we produce three perfect specimens of early pointed, or lancet-headed 
 arches. Numerous other examples may be found, as well in England as in 
 Normandy. 
 
 When the pointed arch began to be introduced, we frequently find that 
 the ornaments which had been used to decorate the archivolts of the semi- 
 circular arches were retained and applied to the new ones ; as we perceive at 
 the abbey church of Jumieges, where are frets, cables, clustered columns, 
 ornamented capitals, pointed arches, &c. Another species of the intermix- 
 ture of styles appears at the west end of St. Peter's Church at Lisieux, where 
 are windows composed of two small pointed arches resting on a cylindrical 
 column, in the centre, and enclosed by a larger arch resting on clustered 
 columns with Norman sculptured capitals. At the beginning of the thirteenth 
 
 * In our endeavours to methodise the history of the pointed, or Gothic specimens of Normandy, we 
 encounter more difficulties than we should in a similar essay on the buildings of our own country ; for 
 in the former province, and in France generally, this style does not exhibit that regular gradation which 
 is to be found in England, where, to use the language of the Quarterly Reviewer, June 1821, p. 134, 
 " we can place the simple arches of Salisbury at the extremity of the vista, and terminate it by the 
 gorgeous turrets of the sepulchral chapel of Henry VII." But a careful examination of the existing re- 
 mains and specimens will enable us to furnish something like accurate data for the antiquarian architect. 
 The same acute critic remarks, — " If we take a general view of the best French styles, it will be seen 
 that the French free-mason arranged his plan with a more comprehensive feeling of architectural 
 design and unity. The elevation is well based, and stands gracefully and firmly ; the cathedral 
 rises in the boldest and most commanding masses ; the western front of York could be placed 
 beneath the roofs of the choir of Beauvais or Amiens. It is not, however, by magnitude alone that 
 the French architects produced a powerful effect. The various features are produced by powerful 
 management of light and shade, and by judicious arrangement and proportion; the porches stand 
 back ; the buttresses advance ; the masses are broad, fresh, and distinct. All the divisions and 
 openings are narrower, loftier, more graceful, more pyramidical, than amongst us ; they guide 
 the sight upwards to the high-pitched roof, which, rising from the entraced parapet, is itself 
 crowned with the serrated ranges of fleur-de-lis, setting themselves off against the sky. The free 
 tracery of the French buildings is seen no where in England, except in the choir of York, and 
 there on a very meagre scale ; and their filagree tower, such as that of St. Ouen, has no counter- 
 parts in England." Enthusiastically as this is written, and hazardous as are the statements, there 
 is, nevertheless, some truth and justice in the observations. But no impartial critic can yield the 
 palm of general beauty and harmony of effect to the productions of the continental school. The 
 pyramidical form, admired in the extract just quoted, being carried to too great an excess, and 
 not being relieved by such a display of delicate ornaments as we are accustomed to admire in those 
 of our own country, may be regarded rather as a defect than a beauty. 
 
PROGRESS OF THE POINTED STYLE OF ARCHITECTURE. XV 
 
 century the circular arch and cylindrical column seem wholly to have been dis- 
 used, and the pointed arch and slender pillars substituted in their room. These 
 were clustered, and consisted of a larger one in the centre, with others either 
 wholly detached or separated in the shafts, and joined in the capitals and bases. 
 They were variously adorned with sculpture.* The Vaultings in the early 
 pointed style were generally made of chalk, or soft stone, for lightness ; but 
 the arches and principal ribs were formed of more durable materials. In the 
 earliest specimens of vaulting we find them high-pitched, between arches and 
 cross-springers only, without any further decorations : but they soon became 
 more ornamental, rising from imposts with more springers, and spreading to 
 the middle of the vaulting, where they were enriched at their intersections with 
 carved orbs, foliage, and highly decorated bosses. The greatest distinguishing- 
 marks of all eras are the Windows. In this we observe them long, narrow, 
 sharp-pointed, and decorated on the inside and outside with small shafts : the 
 order and disposition of the windows varied in some measure according to the 
 number of stories of which the building consisted. In one of three stories, the 
 uppermost had commonly three windows within the compass of each severy, 
 the centre one being higher than those on each side ; the middle tier or 
 story had two within the same space ; and the lowest only one window, 
 usually divided by a pillar or rather mullion, and often ornamented on the top 
 with a trefoil, single rose, or some such simple decoration. The Walls 
 were less in thickness than in the former style, but were strengthened by 
 bolder buttresses, which terminated in pinnacles adorned with crockets, and 
 finished with a handsome flower of four petals, called a finial. Respecting 
 the origin of Crockets, Mr. D. Turner, with great plausibility, imagines that 
 he has discovered it in the roof of the tower of Than Church, which is of 
 stone, with the angles faced by " slender cylindrical columns, terminating 
 in little hooks beneath which the pillars are banded to the part adjoining." This 
 kind of termination is considered unique, and appears to account for the 
 origin of this beautifully characteristic ornament of the pointed style. 
 
 The general feature of the architecture of this early era is simplicity ; 
 but when ornaments were introduced, they were usually bold and well- 
 executed — especially the foliated capitals of pillars, and the scrolls of foliage 
 with which the spandrils of the arches were sometimes filled. Towards the 
 
 * Some of the clustered columns are annulated, that is, fixed, or tied together in the middle 
 by rings, as at Bayeux, St. Stephen's, at Caen, &c. and in Westminster Abbey Church, Salisbury 
 Cathedral, the Temple Church, &c. in our own country. 
 
XVI 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 latter end of this century the pillars became more solid, the lights of the 
 windows were enlarged, and the slender detached shafts in a great measure 
 laid aside. The four-sided pyramid, which usually terminated the towers 
 during the continuance of the circular style, was superseded by the octagonal 
 spire, the base of which was relieved, and its beauty heightened, by the intro- 
 duction of richly decorated pinnacles at each of the angles of the cornice of 
 such towers. 
 
 The church of St. Ouen, at Rouen, affords a most pleasing and perfect 
 specimen of the more decorated style, which prevailed in the fourteenth cen- 
 tury. By examining the Plates of this edifice, we shall perceive flying but- 
 tresses end in richly crocketed pinnacles, supported by shafts of unusual 
 height. The triple tiers of windows seem to have superseded the solid wall- 
 work of the building. The vaulting is more decorated than before : the 
 principal ribs arising from their imposts, being spread over the inner face of 
 the arch, run into a kind of tracery, or rather with transoms, divided the roof 
 into various angular compartments, and were usually ornamented at the inter- 
 sections with gilded orbs, carved heads, figures, and other sculptured work. 
 The columns retained something of the general form already described, 
 that is, an assemblage of small pillars or shafts ; but these decorations 
 were now not detached or separated from the body of the column, or pier, 
 but made part of it; and being closely united and wrought up together, 
 formed one entire, firm, slender, and elegant column. The windows were 
 now greatly enlarged, and divided into several lights by stone mullions, 
 running into various ramifications above, and dividing the head into numerous 
 compartments of different forms, as leaves, open flowers, and other fanciful 
 shapes ; and more particularly the great eastern and western windows (which 
 became fashionable about this time) took up nearly the whole breadth of the 
 nave, and were carried up almost as high as the vaulting ; and being set off 
 with stained glass, of vivid colours, had a solemn and imposing appearance. 
 Large circular windows, sometimes known by the name of rose-windows and 
 marigold-windows, prevail in the Norman and French churches of the 
 pointed style. Few among the cathedrals or conventual churches in France 
 are without them; but in England the specimens are indeed very few. In 
 the church of St. Ouen these windows are more than commonly beautiful. 
 That in the west front is fully delineated in the annexed engravings ; whilst 
 another, in the northern transept, is almost as rich. Others in the cathedral 
 church of Rouen are still more elaborate in tracery. 
 
DECLINE OF THE POINTED STYLE — ABOUT A.D. 1500. Xvii 
 
 The arches of door-ways, of monuments, &c. were often very richly orna- 
 mented with foliage, or crockets, on the sides, and the pinnacles were enriched 
 in the same manner. This elegant and peculiar ornament retained its use 
 through the whole prevalence of the pointed style. In the early part of the 
 fourteenth century the arches were also frequently adorned with rows of rose- 
 buds in the hollow mouldings. 
 
 A parapet of open quatrefoils runs round the ailes and body of the 
 church of St. Ouen; and the centre tower, which is almost wholly composed of 
 open arches and tracery, terminates, like the south tower of the cathedral, with 
 an octangular crown of fleurs-de-lis. This armorial symbol of France, which 
 in itself is a form of great beauty, was often introduced by the French 
 architects of the middle ages amongst the ornaments of their edifices. It 
 pleases the eye by its grace, and satisfies the mind by its appropriate and 
 natural locality. 
 
 The same style and manner of building prevailed during the early half of 
 the fifteenth century, when it was succeeded by a more florid species of archi- 
 tecture, which may be said to have superseded the genuine pointed style. 
 The form of the arches became more and more obtuse, till at last they were 
 in some cases almost flat : the ribs of the vaulting, which were very large, 
 were divided into an infinite variety of parts, issuing from their imposts, 
 and enriched with a profusion of sculpture, and with clusters of pendant 
 ornaments. In this century, and in the beginning of the following, the 
 bosses of the groined roofs were wrought into filagree, the work extending 
 over the intersection of the groins, which are seen through its reticulation. 
 The side walls were also very frequently covered with abundance of 
 rich tracery, giving them the appearance of embroidery. The heads of the 
 windows, instead of being divided into various forms, as in the preceding- 
 century, were filled with a great number of small compartments with trefoil 
 heads, separated by perpendicular mullions, all richly ornamented with 
 tracery; and the jambs were formed into niches or tabernacles, with enriched 
 canopies, the soffites of which are minutely adorned with filagree work. 
 The large windows were usually divided by two bold mullions into three 
 parts, which were again subdivided into smaller compartments. Indeed, the 
 architecture of this century lost all its religious grandeur and sublime 
 solemnity; but what it lost in that respect, it gained in exuberance of orna- 
 ment. Every part of the edifice, however minute, was loaded with delicate 
 mouldings : although we may admire the fancy displayed in frittering a 
 
 D 
 
xviii 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 building into such toyish decoration, we cannot but regret the extinction of 
 that pleasing simplicity, which is in accordance with good taste. 
 
 Of the churches at Coutances, Lisieux, Seez, and others, in which the early 
 pointed style prevails in its genuine simplicity, combining with lofty and elegant 
 characteristics, we are unable to offer the antiquarian architect any engraved 
 examples. He will find, however, some interesting illustrations of parts of all 
 these edifices in Mr. Cotman's valuable work, as well as judicious essays on 
 the ages and styles of each. " The church of Seez," says Mr. Turner, " may 
 be compared in its architecture with those of Coutances and Lisieux : they 
 are unlike, indeed, but by no means different. Severe simplicity charac- 
 terises Lisieux : Coutances is distinguished by elegance, abounding in decora- 
 tion : S6ez, at the same time that it unites the excellencies of both, can rival 
 neither in those which are peculiarly its own. In the interior it exhibits 
 a series of noble lofty arches : below, the moresque ornament, like those 
 at Bayeux and Coutances, in the spandrils ; the double lancet arches of the 
 triforium placed in triplets; and the larger pointed arches above, arranged 
 two or three together, and increased with arches of the Norman form, though 
 not of the Norman style."* 
 
 In the middle of the fifteenth century, and at the commencement of the 
 following, an admixture of the Italian styles with that of the florid pro- 
 duced an inconsistent and inharmonious species of building, which Mr. Daw- 
 son Turner has designated by the appellation of the Burgundian.f This 
 almost distinctive species of architecture seems to have been wholly employed 
 in domestic buildings. Specimens must therefore be sought for among 
 that class of edifices ; and we accordingly find some very fine illus- 
 trations in the mansion of Chateau Fontaine le Henri, in the Palais de 
 Justice, and in a house in the Place de la Pucelle, at Rouen. The latter is 
 the richest specimen, being entirely divided into compartments by slender 
 and lengthened buttresses and pillars. The intervening spaces are filled 
 with basso-relievos, some of which are rich and fanciful, and represent 
 the labours of the field and of the vineyard. Here is a series of bas- 
 reliefs, executed in marble tablets, displaying the royal interview in the 
 
 * Architectural Antiquities of Normandy, vol. ii. p. 125. 
 
 t So called because supposed to have originated in the dominions of Philip the Good. No 
 distinct example of it can be dated anterior to his reign, and buildings bearing its characteristics are 
 found in all the States which were united under his authority. Its peculiar features are also displayed 
 in Philip's palace, at Dijon. 
 
BURGUNDIAN STYLE 
 
 16th CENTURY. 
 
 xix 
 
 Champ du Drap (TOr. The windows are in general square-headed, and 
 divided into four parts by a perpendicular stone mullion and a transom, and 
 are decorated with a series of plain mouldings, extending round all the four 
 sides, and giving them the appearance of being in pannel. Where pointed, 
 (generally in the upper stories,) they are particularly rich, being finished 
 with angular pediments supported by buttresses, terminating in pinnacles 
 highly crocketed, and "surmounted by bold finials. The heads are commonly 
 occupied by armorial bearings, and a range of foliage runs in the cavetto 
 of the arch. 
 
 Thus we have endeavoured to trace the progress of architecture from its 
 infancy to perfection, and from perfection to a species of enervated second 
 childhood. With the gradual decline of the massy Norman, rose the 
 beautiful pointed style, a description of architecture less understood by the 
 French than by the English antiquaries, and of which Normandy presents 
 some good specimens, though far inferior in the taste and execution of the 
 detail.* We have seen the elegant assemblage of ornaments which the 
 pointed style displayed in its height of grandeur; and we have had to contem- 
 plate, though not without feelings of deep regret and mortification, its barbaric 
 fall into that inharmonious, disagreeable jumble of styles and orders which 
 began to prevail, and to control the public taste, in the sixteenth century. 
 Happy indeed was it for the credit of the country, for the fame of its 
 artists, when the Italian architecture was introduced with greater perfection, 
 was released from the shackles of a debased taste, and allowed to claim 
 its meed of praise. In the present day, though it is painful to observe the 
 general want of refined taste, as well in England as on the Continent, it 
 is gratifying to find, that the science of architecture, the noblest and the 
 most elegant study that can engage the attention of the patricians of a 
 
 * A few portions of some English buildings resemble others in France — Canterbury choir, for 
 instance ; but no entire building is found in France which can be compared to one of entirely 
 English design. In the arrangement of the structure, in the style of the ornaments, in the elevation, 
 in the section, in the plan — in short, in some part or feature, a diversity will always be found, 
 which, without destroying the genuine Gothic character, designates a specific class. The continental 
 churches nearly all terminate in a semi-circular or polygonal apsis. Westminster, Canterbury, 
 Tewkesbury, Norwich, &c. in England, are built on this plan, but our examples are by no means 
 numerous. The foreign churches have often four side ailes. Of this magnificence we have but 
 few examples in England. As the churches thus became very broad, the extremities of the transepts 
 usually range within the walls of the side ailes, instead of projecting beyond them. 
 
 « 
 
XX 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 country, is making rapid strides, is becoming familiar to the enlightened 
 few, and is considered a necessary part of the education of the man of taste 
 and the elegant scholar. Let us hope, then, that the sun, which is now 
 rising, will soon reach the zenith, and command the attention, excite the 
 admiration, and illumine the whole of the scientific and accomplished part of 
 the world. With the following apposite remarks from the Quarterly Review, 
 let us terminate this introductory essay. 
 
 " The Anglo-Norman style appears in its native country with slight variations. 
 Generally speaking, the Norman door-way is less enriched than the English 
 portal, though it is of larger dimensions ; and the same remark applies to the 
 other parts of the front of the edifice. The windows are larger. No building 
 now exists with a flat boarded roof, as at Peterborough and St. Alban's; 
 though it is possible that some may have thus been originally constructed. 
 In such of the Norman buildings as bear the appearance of being built by 
 the more scientific architects of the age, the arches spring from piers, 
 except in the apsides, and they are locked by a key-stone. This con- 
 struction shews that the architect did not forget the lessons of a better 
 age. The masonry is always excellent ; the stones seldom exceed a foot 
 in length, with about a third of an inch of mortar in the joints. All orna- 
 ments composed of foliage, or of mathematical lines, are well sculptured ; 
 but the artist did not always succeed in zoography. Spires are not an 
 uncommon feature in Norman architecture ; we may instance the square 
 pyramid at Vaucelles, and in the suburbs of Bayeux : they are well built 
 of stone, and invariably carved into an imitation of shingles. 
 
 " As we have no instance of the Norman spire in England, those examples 
 are valuable. At St. Nicholas the roof is wholly of stone, and the pitch 
 is very high. Mr. Turner observes, ' that we have here the exact counter- 
 part of the Irish stone-roofed chapels, the most celebrated of which, that 
 at Cormac, in Cashel Cathedral, appears, from all the drawings and descrip- 
 tions which I have seen of it, to be altogether a Norman building.' The 
 Norman Romanesque does not abound with ornament ; it is rather cha- 
 racterised by plainness and simplicity. Very few sculptures ever adorned 
 the exterior of the Norman buildings. We do not recollect any instance 
 of whole-length figures, except those at Jumieges, where caryatides in alto- 
 relievo are affixed to the pillars which support the arches." 
 
AN ESSAY 
 
 ON THE 
 
 3rrtn'tertural Stottquftfesf of Caen : 
 
 EMBRACING 
 
 HISTORICAL AND DESCRIPTIVE ACCOUNTS 
 
 OF THE 
 
 CHURCHES OF THE HOLY TRINITY, AND OF ST. STEPHEN; 
 THE TOWER OF ST. PETER'S; THE CHURCH OF ST. NICHOLAS; 
 THE CHURCH OF ST. MICHAEL, VAUCELLES ; 
 CHURCH OF THAN; AND CHATEAU-FONTAINE LE HENRI. 
 
 The ancient ville, or town of Caen,* formerly the capital of Lower Normandy, 
 now of the department of Calvados, is seated in a flat tract of country, on the 
 banks of the rivers Orne and Odon, which branching into several streams, 
 unite their waters at this place, and become navigable at high tides for 
 vessels of 200 tons burden. In consequence of the dangerous navigation 
 at the mouth of the river, there is, however, but little commerce attached 
 to the town. Many plans have been proposed for removing all natural 
 impediments, and for making a harbour for shipping, at Caen. Napoleon, 
 amongst other great national schemes, commenced an excavation for this 
 purpose under the walls of the town, and intended to deepen and widen 
 the bed of the river in its course to the sea. It has also been proposed to 
 make a canal of communication between the Orne and the Loire, which 
 would be of infinite advantage to the interior towns, and obviate a dangerous 
 coasting passage by Capes Finisterre and La Hogue. " From a distance," 
 
 * Some writers have incorrectly named Caen a " populous and elegant city" a " royal city," 
 &c; but we do not find that it has ever been the see of a bishop. It is variously called, in old 
 writings, Cadon, Cadum, Cahom, Chaem, Chaam, Cathum, Cadomus, Caam, and Caem. 
 
2 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 says Mr. Turner,* " the view of Caen is grand, not only from the apparent 
 magnitude of the town, but from the numerous spires and towers, that, 
 rising from every part of it, give it an air of great importance. t Those 
 of the abbeys of St. Stephen and the Trinity, at opposite extremities, con- 
 stitute the principal features in the view. The same favourable impressions 
 continue when you enter the town. The streets are wide, and the houses 
 are built of stone. There is a certain degree of regularity in the construction 
 of the buildings, and some care is taken in keeping them clean." 
 
 The same enlightened tourist and antiquary says, that though France 
 does not abound with topographical writers, yet the history and antiquities 
 of Caen have been developed by men of singular ability. They are cha- 
 racterised by a learned critic in the Quarterly Review (June 1821, p. 115), in 
 these terms : — 
 
 " The Abbe de la Rue has most diligently illustrated the antiquities of his 
 native town in his 'Historical Essays.' De Bourgueville,\ in his ' History 
 of Caen,' and the celebrated Huet, in the ' Origines de Caen,' had previously 
 treated the same subject, but with far less diligence and accuracy. During 
 his residence in this country, the abb6 was enabled to study the Norman 
 rolls in the Tower of London, which were wholly unknown to his predecessors, 
 as well as the monastic chartularies of France, which, as the abb6 observes, 
 have only been accessible since the revolution. He has bestowed equal pains 
 in the investigation of the documents relating to Caen, in the Tr6sor des 
 Chartres h Paris." 
 
 Of the English writers and antiquaries who have endeavoured to elucidate 
 and illustrate the ancient edifices of Caen, it will be sufficient to notice 
 Dr. Ducarel, Mr. Turner, and Mr. Cotman.§ The first of these, though a native 
 of Normandy, where he was born in 1713, and stimulated by Littleton, Bishop 
 of Carlisle, President of the Society of Antiquaries, to whom he dedicates 
 
 * " Account of a Tour in Normandy, undertaken chiefly for the purpose of investigating the 
 Architectural Antiquities of the Duchy," &c. 2 vols. 8vo, 1820. 
 
 f In Ducarel's " Anglo-Norman Antiquities considered," &c. fol. 1767, is a distant view of Caen, 
 shewing several of these objects, but badly copied from a very fine old print, by P. Buache, 1747. 
 
 X Mr. Turner says, that every page of De Bourgueville s Essay, who was a magistrate of Caen, 
 and resided there nearly the whole of the seventeenth century, " is stamped with frankness, simplicity, 
 and uprightness." His work was published when he was 84 years of age. 
 
 § The Rev. T. F. Dibdin's " Bibliographical, Antiquarian, and Picturesque Tour in France," 
 &c. 3 vols. 8vo, 1821, does not profess to enter minutely into architectural subjects, though it contains 
 many highly finished engravings of buildings. The part of his work relating to Normandy, &c. 
 
DESCRIPTION OF CAEN. 3 
 
 his folio volume, was neither sufficiently informed, nor was he acute enough 
 to do justice to the subject. He only visited a few places, and but cursorily 
 examined the buildings, or histories of the buildings, which he undertook 
 to describe. Hence the Quarterly Reviewer characterises his work as " a 
 meagre compilation, only valuable from high price and scarcity. He led 
 the way ; but his travels in the province were confined to a few districts ; 
 and his architectural plates, which in books of this class must always 
 constitute the most important portion, are below contempt : executed by 
 the most unskilful artists, they bear no intelligible resemblance whatever 
 to the buildings which they caricature and deform."* 
 
 Mr. Turner's " Tour in Normandy" embraces a comprehensive and 
 interesting account of the principal towns, the ancient buildings, the pic- 
 turesque features, and the historical annals, of the province. It contains 
 several prints, beautifully etched by Mrs. and Miss Turner, illustrative of 
 some interesting architectural remains ; and may be regarded, in the aggre- 
 gate, as a work of real interest and merit. If, in the ensuing Essays, I 
 should have occasion to differ in opinion with this well-informed and diligent 
 tourist, I shall express that opinion with some degree of diffidence of my 
 own knowledge, and with all due respect to one whom I am proud to rank 
 among my friends. 
 
 Of Mr. Cotman's two folio volumes on " the Architectural Antiquities of 
 Normandy," I should forbear to give an opinion, if I fancied there was any 
 thing like rivalry or unfair competition between that and the present 
 work. His appeals fairly and forcibly to the amateur and antiquary, rather 
 than to the architect and man of science, to whom this volume is more 
 
 has been translated into French by Theod. Licquet, who has accompanied the text with numerous 
 notes and a preface. The work is published in 2 vols. 8vo. 1825. 
 
 Mrs. Stothard, in her very amusing and interesting " Letters written during a Tour through 
 Normandy, Brittany," &c. 4to, 1821, does not include any account of Caen, but furnishes some 
 judicious remarks on many other places in the province ; also on Carnac, Rennes, &c. in Brittany. 
 
 • In looking over Dr. Ducarel's work, we perceive that most of the engravings were presented 
 to him by different friends. The learned critic is rather harsh in his condemnation ; though he 
 softens it a little by saying, " at the period Ducarel wrote, these defects were not easily avoided ; the 
 architecture of the middle ages had not been studied." — Quarterly Review, June 1821, p. 114. 
 Though the engravings by Bayley are certainly executed in a common, mean style, compared with the 
 architectural plates of the present age, they are faithful copies of the drawings by M. Noel, a 
 " famous artist," as Ducarel calls him, and " Ingenieur du Bureau de Truasices a Caen." These 
 drawings, with the author's own copy of his work, and also numerous other illustrations, are now 
 in the possession of the writer of this Essay. 
 
A 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 immediately addressed. That work would have wholly superseded this, if it had 
 combined a few plans, sections, and elevations, with its tasteful and beautiful 
 picturesque views ; and had it appeared in quarto instead of folio volumes, it 
 would have pleased a larger portion of the public. The accompanying letter- 
 press, copious and liberal in quantity and sentiment, is from the pen of 
 Mr. Dawson Turner. 
 
 Respecting the architectural antiquities of Caen, I cannot do better than 
 quote the following passages from the Quarterly Review, by a writer who 
 examined the different buildings, and who is well qualified to appreciate 
 their characteristics and develop their respective histories. 
 
 " When a distinct gradation of style is observable in Normandy, it is 
 natural to conclude that these architectural varieties, emanating from one 
 prototype, each clearly to be discriminated, yet dying into another by 
 imperceptible shades, were successively developed at certain intervals of 
 time. This reasoning, though it advances on legitimate premises, may be 
 fallacious, as is proved at Caen, where three coeval churches, probably erected 
 by the same architect, are distinguished by such remarkable modifications 
 of the Norman Romanesque* style, that, were we not acquainted with the 
 facts, we might well suppose that they marked the progress of architecture 
 during three half centuries. St. Nicholas, the first of these edifices, was 
 built by the monks of St. Stephen's Abbey, some time between the years 
 1066 and 1083. The original lines are characterised by simplicity and 
 regularity. All the capitals of the columns embedded in the side walls are 
 of one order ; and the capitals of the pier columns, which nearly resemble 
 the others, are equally uniform. The east end terminates by an apsis, of 
 which the elevation resembles the exterior of the cathedral at Pisa. Three 
 circular arches, supported by Corinthianising pilasters, form the western 
 portal. The original cross vaulting of the side ailes still remains : it is 
 without groins, and of Roman construction ; and the whole interior shews 
 that the architect was endeavouring to recollect the models of the great city. 
 
 " If we pass from hence to the Abbey church of St. Stephen, erected at 
 the same period, we shall observe that the conception of the architect is 
 
 * The Rev. W. Gunn, in " An Inquiry into the Origin and Influence of Gothic Architecture," 
 8vo. 1819, uses this term to designate the early architecture with round-headed arches, as derived 
 from the Roman style (see page. 80) ; and the writer in the Quarterly Review, p. 118, says: "We 
 approve of the term, for it is formed by a just analogy. We would distinguish its classes as Norman 
 Romanesque, Anglo-Norman Romanesque," Sec. 
 
DESCRIPTION OF CAEN. 
 
 5 
 
 more Norman than in the church we have just quitted. The nave is divided 
 into bays by piers, alternating with circular pillars of smaller diameter. The 
 pier consists of a pilaster fronted by a cylindrical column, continuing to about 
 four-fifths of the height of the roof : two cylindrical columns then rise from 
 it, so that, from this point upwards, the pier becomes a clustered column : — 
 angular brackets, sculptured into knots, grotesque heads and foliage, are 
 affixed to the bases of the derivative pillars. A bold, double billeted moulding 
 is continued below the clerestory, whose windows adapt themselves to the 
 binary arrangement of the bays of the nave ; that is to say, a taller arch is 
 flanked by a smaller one on its right side, or on its left side, as the situation 
 requires ; these are supported by short, massy pillars, and an embattled 
 moulding runs round the windows. These features are Norman, but in 
 other portions of the church the architect Romanises again, as in St. Nicholas. 
 The piers of the aile arches are of considerable width ; the pillars at each 
 angle are connected by an architrave, distinctly enounced, running along the 
 front of the pier, and interposed between the capitals and the springing of the 
 well-turned semi-circular arch. The triforium is composed of a tier of semi- 
 circular arches, nearly of equal span with those below. The perspective 
 of the building is grand and palatial. In the evening, when it is illuminated 
 only by a few faintly burning tapers, the effect of the gleams of light 
 reflected from the returns of the arches and pillars, is particularly fine. 
 Beyond the central arch which supports the tower, all is lost in gloom, 
 except that at the extremity of the choir the star-light just breaks through 
 the topmost windows above the altar. 
 
 " In the church of St. Stephen the leading ideas of the architect were still 
 influenced by the Roman basilica ; a third and more fanciful modification is 
 to be observed in the coeval church of the Holy Trinity. Here the piers are 
 narrower, the columns supporting the aile arches are consequently brought 
 closer together, and the architrave is less prominent than at St. Stephen's ; 
 there the embattled moulding is confined to the clerestory ; in the present 
 church it runs round the principal arches ; and instead of the lofty triforium, 
 which there surmounts the side ailes, the walls which we now describe are 
 threaded by a gallery, supported by misproportioned pillars, whose capitals 
 exhibit every possible variety of grotesque invention. The bold archivolts 
 beneath the central tower are chased with the Norman lozenge ; they are 
 circular; but the eastern arch, which runs higher than the others, is obtusely 
 pointed, though it is evidently of the same date with its companions." 
 
 E 
 

 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 An Account of the Church of the Holy Trinity, 
 L'Abbaye aux Dames, — Caen. 
 
 If the testimonies of Ordericus Vitalis, and William of Jumieges, are to be 
 implicitly credited, this church must have been commenced, if not far 
 advanced, before the year 1064;* and it is said to have been dedicated in 
 June 1066, by Maurilius, Archbishop of Rouen. With the annexed abbey, 
 it was endowed with ample revenues by Matilda, wife of Duke William, who, 
 about the same time, founded and established the neighbouring monastery of 
 St. Stephen, for monks. The royal pair had married in contravention of a 
 canon of the church, which prohibits marriages between persons of certain 
 degrees of kindred. f That of the Trinity was founded for nuns of the Bene- 
 dictine order, and was invested with extensive manorial rights, privileges, 
 and immunities.]: Its annual revenue was estimated at 70,000 livres. The 
 abbesses were of distinguished rank and of high connexion. Among them 
 we find the names of Bourbon, Valois, Albret, Montmorenci, and Cicily, the 
 youngest daughter of the founder, who, it is related, was devoted by her 
 parents to the monastic life on the day of dedicating the church. The 
 nuns of this house were mostly of noble birth, and were invested with many 
 privileges and exemptions. They were not bound by vows, were allowed to 
 see their friends in private apartments, had the charge of younger relatives, 
 and were permitted to eat meat at their meals on days when fasting was 
 enjoined in other houses. 
 
 * These historians state, that the first abbess, Matilda, died in 1112, after governing the abbey- 
 more than forty-seven years. — See Huet, " Origines de Caen," p. 177. 
 
 f William, Duke of Normandy, commonly and inaccurately called the Conqueror, married his 
 first cousin, Matilda, daughter of Baldwin, Count of Flanders. This offended the clergy, and particu- 
 larly Lanfranc, then resident at Bee, who ventured to reprehend the duke in rather harsh terms. 
 Indignant at his clerical insolence, the duke banished the " proud priest." — An interview again 
 occurred, and Lanfranc engaged to visit the supreme pontiff, who granted a dispensation to the duke 
 and his duchess on their founding two abbeys, respectively for nuns and monks. 
 
 \ By the Domesday Survey it appears, that it possessed many estates in the counties of Essex, 
 Dorset, Devon, and Gloucester, in England. These distant lands were occasionally visited by the 
 lady abbess. M. de la Rue tells us that he saw a' diary of the Abbess Georgetta du Molley Bacon, in 
 which it is recorded, that she embarked at the fort of Caen, Aug. 16, 1370, with fifteen attendants, 
 and landed at London, whence she proceeded to Felsted, in Essex ; and that she returned home the 
 following year. — Essais Historique, &c. torn. ii. p. 19. 
 
CHURCH OF THE HOLY TRINITY. 
 
 As the object of the present work is architecture rather than monastic 
 history, I must proceed to point out the peculiarities of the church which still 
 remain. Considering this edifice as an indubitable and almost unaltered 
 specimen of genuine Norman architecture, it must be regretted that the 
 accompanying illustrations are not more numerous and more systematic. A 
 general plan, an elevation of one side, sections, and delineations of the west 
 front, are required to do justice to such a building; and the annexed prints 
 can only serve to shew the architectural members of a few particular parts. 
 The accompanying prints represent, first, an elevation and section of an 
 entrance gate-way, which displays a semi-circular arched opening, with three 
 arcades above, crowned by a parapet of more modern date. The mouldings, 
 string courses, capitals, and vaulting, are of the Romanesque style, and cor- 
 respond with many examples in England. The characteristic features and 
 members of the Nave of the church are displayed in Plates I. and III. The 
 whole interior is not only correctly but beautifully defined in the latter, in 
 which the clustered piers and arches of the nave, the triforium above, and the 
 clerestory with the arched roof, also its diagonal and direct ribs, are clearly 
 represented. In the distance is shewn the semi-circular apsis, or chevet. The 
 geometrical forms and proportions of the arch, triforium-arcade, clerestory, 
 vaulting, and various ornamental details, will be better understood by an 
 examination of Plate II. than by description. The English antiquary will 
 recognise many coincidences between the members of this church and that of 
 Norwich Cathedral. 
 
 Finer specimens of Norman architecture are scarcely to be seen in the pro- 
 vince than the four large arches which support the central tower ; the decora- 
 tions of which are very peculiar, consisting of numerous bands of ornaments in 
 bas-relief. The sculpture of the capitals is likewise remarkable. One of them 
 represents figures of two rams, while the opposite one has only the heads and 
 horns of the same animal, at its angles, accompanied by an ornament which 
 is rarely to be met with. These rams and rams' heads, as noticed in the 
 Introductory Essay, serve to hint at the origin of the volutes in the capital 
 of the Ionic column. The arch that separates the tower from the nave, 
 rises higher than any of the rest, and is obtusely pointed ; but its decorations 
 correspond with those of the others, and it appears to be of the same date. 
 It is probable, that originally it exhibited a uniform appearance with the 
 rest ; and, indeed, Mr. Cotman thought that he was able to discern traces 
 of the semi-circular arch. In the transepts, the gallery is on a different 
 
8 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 line, being elevated by the interposition of a very beautiful range of small 
 blank arches, between the larger arches below and the windows of the clere- 
 story ; and these latter, in conjunction with the small arches only, occupy the 
 same space as the windows of the choir. The southern transept is in the 
 best preservation, though the opposite wing is more curious : many of the 
 capitals represent events in Scripture history. The choir ends in a semi- 
 circle, and consists of two compartments, of five arcades each, and is 
 crowned by a sort of dome. The columns of the lower arcade are lofty, have 
 highly enriched capitals, and support semi-circular arches, with the square 
 embattled fret moulding. Eight of these capitals are engraved in Mr. Cot- 
 man's work. Against the centre arch is placed the high altar, and over it is a 
 painting of the Adoration of the Shepherds. On the north side is a figure 
 habited as a nun, which tradition designates as Queen Matilda, the royal 
 foundress of the abbey. The upper compartment is lighted by four windows. 
 In the centre of the choir is the original slab for Queen Matilda, with a long 
 inscription in Latin. It was richly ornamented with gold and precious stones, 
 but was demolished by the Calvinists in 1562 ; who also, with that brutality 
 and intemperance, generally the accompaniment of religious bigotry, tore up 
 the royal coffin, and dispersed the remains. Towards the close of the same 
 century, Anne de Montmorenci, then abbess, caused the royal bones to be 
 collected, and again to be deposited in the original stone coffin; and things 
 continued in this state till the year 1708, when the then abbess, Gabrielle- 
 Francoise Tronlay de Tesse, raised a second altar-tomb of black marble ; a 
 view of which may be seen in Ducarel's " Anglo-Norman Antiquities." 
 
 The Crypt, beneath the east end of the church, called by the Abbe" de la 
 Rue " une jolie chapelle," is delineated in Plate IV., by apian, shewing half 
 of the design a little above the ground line, and another half representing 
 a horizontal section through the windows. The form, proportion, and section 
 of the windows, are defined by this print, as well as the proportions and 
 characters of the bases, shafts, and capitals of the columns. Some of these 
 capitals, with one of the bases, are delineated more at large, with measure- 
 ments, in Plate V.* 
 
 * In Mr. Cotman's first volume are ten etchings, representing the west end, the east end, exter- 
 nally and internally, the interior and exterior of the nave, the choir, the central tower, the south 
 transept, the crypt, and eight capitals. 
 
CHURCH OF ST. STEPHEN — CAEN. 
 
 An Account of the Abbey Church of St. Stephen, 
 L'Abbaye aux Hommes, — Caen. 
 
 The church belonging to this abbey is stated by Huet* to have been 
 built by William, Duke of Normandy, in 1064 ; but the Abbe" de la Rue 
 argues, from the phraseology of the foundation charter, that the edifice was 
 not commenced till after the conquest of England, in 1066. t Lanfranc, after- 
 wards Archbishop of Canterbury, was appointed the first abbot, and he began 
 the building of the church ; % which was continued and completed under his 
 successor, William de Bonne Ame ; and, according to the testimony of Orde- 
 ricus Vitalis, a contemporary historian, it was dedicated in 1077.§ Some 
 writers have indeed referred this event to the year 1073, while others date 
 the dedication of the church in 1081 or 1086 ;|| but the precise and circum- 
 stantial narrative of Ordericus gives superior probability to the date which he 
 has advanced, and which De la Rue has adopted.^ 
 
 Of the original structure, the nave and transept are the only parts remain- 
 ing ; the choir and ailes having been rebuilt at a later period, when the 
 
 * " Origines de Caen," 2d edit. 1706, p. 175. 
 
 f " Essais Historiques sur la Ville de Caen," torn. ii. p. 52. In the foundation charter, Wil- 
 liam takes the title of " Rex Anglorum," and bestows on the monastery much English property : 
 in reference to the building of the abbey he says, " disposui construendum ; " words which imply 
 that the work was not executed when the charter was granted. See " Neustria Pia," p. 626. 
 
 % In the chartulary of St. Stephen, among several contracts entered into by Lanfranc, while 
 abbot, is one relating to four acres of land whence stone was procured to build the monastery 
 (" unde lapides extrahuntur ad opus monasterii"). Huet asserts that the stone used for this edifice was 
 brought from the quarries of Vaucelles and Allemagne, near Caen ; which statement is objected to 
 by De la Rue, who, however, does not mention the place whence the stone was obtained. — " Oruj. 
 de Caen," p. 179; Essais Historique, tome ii. p. 59. The Rev. Dr. Dibdin, in his " Bibliographical, 
 &c. Tour," confounds " Allemagne," near Caen, with Germany ; for which his translator and anno- 
 tator gives him a reprimand. 
 
 § Orderici, Hist. Eccles. lib. v. ad ann. 1077. 
 
 || See Huet, " Orig. de Caen," p. 175; and Dumonstier, p. 625. 
 
 % These variations are not very material : the fact of its having been built by Duke William is 
 undoubted ; and the time is so nearly ascertained, that it may be regarded as a standard example 
 of genuine Norman architecture of the early part of the eleventh century. Excepting being rather 
 plainer, its style nearly coincides with that of the Holy Trinity. 
 
10 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 pointed style prevailed.* The earlier portion of the building, however, 
 whether erected immediately before the conquest of England by the founder, 
 or a short time after that event, affords a specimen of genuine Norman archi- 
 tecture. The walls, construction, arches, door-ways, windows, mouldings, 
 and other ornaments, display the Romanesque, or truly Norman style. f 
 The Ground Plan of this church, Plate I., % exhibits an interesting display 
 
 * On the exterior of the apsis of this church is an inscription, much abbreviated, but which may 
 be read as follows, according to De la Rue : — 
 
 " Gulielmus jacet hie, petrarum summus in arte; 
 Iste novum perfecit opus, det prsemia Christus. Amen." 
 
 Huet, in reference to this inscription says, " The architect who built this church was interred 
 behind the chapel of Our Lady; and his epitaph may be seen engraved on the exterior wall of this 
 chapel, at the back of the principal altar." — " Orig. de Caen," p. 176. It is an obvious mistake to 
 suppose that the architect commemorated in these lines was the builder of the original church, since 
 the very words of the inscription, " Iste novum perfecit opus," — He completed the sew work, — 
 plainly restrict the labours of the artist to something posterior to the first structure. It may 
 also be added, that the letters of this inscription are such as were used in the beginning of the 
 fourteenth century, and by no means resemble those of the eleventh. Ducarel, (in his " Anglo- 
 Norman Antiquities,") and Jolimont, (in " Description Historique et Critique des Monumens du 
 Department de Calvados,") have given fac-similes of this epitaph ; a comparison of which with the 
 monumental inscription on the tomb of Queen Matilda, as exhibited in Cotman's " Antiquities of 
 Normandy," vol. i. plate 33, will sufficiently evince the differences between them. 
 
 t The stones employed in the construction of this church are generally 16 inches in length, by 13 
 inches in height, and some are even less ; they are supposed to have been taken from the quarries 
 of Allemagne, distant about a mile from Caen, and appear to be of excellent quality, as, both in the 
 interior and exterior of the church, the mouldings and ornaments are as sharp and perfect as if they 
 had been but recently executed. The stones, which run in horizontal layers throughout the building, 
 on an average are about 10 inches thick, and the binders more. The interior of the piers, as well as 
 the walls, are filled up with rubble, very firmly cemented ; and it is remarkable that not a single 
 settlement is perceptible throughout the whole edifice. 
 
 % References to the Engravings. 
 
 Plate I. Ground plan; the parts of which are specified on the Plate, as well as the measure- 
 ments. 
 
 Plate II. Perspective view of the western front, with its towers and spires ; also of the morning 
 chapel, the north transept, and part of the central tower. 
 
 Plate III. Exterior elevation and transverse section of one compartment of the nave, with plan, 
 and measurements. 
 
 Plate IV. Elevation of two compartments of the interior of the nave. 
 
 Plate V. Perspective view of the nave, looking east. 
 
 Plate VI. (figured I.) Plan, section, and details of a sacristy, or chapel, on the eastern side 
 of the south transept; another section of which is shewn in 
 
 Plate VII. (figured II.) In the lower portion is displayed the Romanesque, or Norman 
 style, and in the upper, the first pointed, or lancet. 
 
CHURCH OF ST. STEPHEN CAEN 11 
 
 of science and fancy; and we cannot but regret the want of similar plans 
 of the Trinity Church, and of other early edifices, in order to make com- 
 parative estimates of the different designs. Three entrances at the west end 
 lead to a spacious vestibule, occupying the whole width, and opening to the 
 nave of the church by a lofty archway. In the nave and its lateral ailes we 
 recognise a close similarity to many old English churches ; but in the transept 
 and eastern end it is unlike any edifice of our country. Both these parts are 
 not only singular, but are entitled to the most critical investigation of the 
 professional architect and the inquisitive antiquary. The northern transept 
 communicates to the aile by three arched openings, whilst on the opposite 
 side there are only two. These arches must be unequal in height to those 
 under the central tower, and hence must arise some singularity of construction 
 in the vaultings, &c. In the east end we perceive not only great peculiarity 
 of forms and arrangement by the plan, but by referring to Plate, figured VII. 
 and VIII., we shall find that complexity, difficulty, diversity, and pic- 
 turesque variety, enter into the design. It is a work replete with beauty, 
 science, and originality, and would form a most interesting subject for investi- 
 gation and for full elucidation. Although we can hardly expect to have 
 occasion for constructing such a building in the present age, yet an intimate 
 knowledge of its design, modes of execution, principles, and scenic effects, is 
 of more value and importance to the architect and practical builder than 
 has been generally imagined. It may be safely asserted, that a judicious 
 and well-directed investigation of such an edifice as that now under notice, 
 would impart more useful knowledge, excite more intense thinking, and 
 afford more varied information, than ever was conveyed by any temple in 
 Greece or Italy. The young architect would find it a difficult but an in- 
 teresting task to make a series of plans and sections of the east end, 
 from the materials here furnished. 
 
 By the annexed ground plan it will be seen that a series of chapels branch 
 
 Plate VIII. (figured VI.) Elevation of one compartment of the choir, externally (No. 1), and 
 internally (No. 2), with section of the arches, &c. (No. 3) ; to all of which the measurements are 
 affixed. 
 
 Plate IX. A double plate (figured VII. VIII.) Elevation of one compartment of the east end 
 of the choir, or apsis, with section of arches, walls, &c. through the aile and chapel at the extreme 
 east end ; also plan of the same, shewing the columns, piers, windows, buttress, ribs, &c. 
 
 Plate X. Architectural details, or parts at large of string courses, 1, 2, 3, 4, 7, — pateras, 5, 6, 
 — capitals and archivolt mouldings, 8, 9, — and blocking cornice, 10. 
 
12 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 off from the side aile of the choir, and that two ambulatories are continued 
 round the east end. Double and clustered columns, pointed arches of lofty and 
 narrow shapes, foliated capitals, engrailed ribs, &c. characterise the archi- 
 tecture of this end. Let us proceed to the examination of the other parts of 
 this interesting edifice. 
 
 The Western Front, Plate II., exhibits two different characters: below, all 
 is simple, almost to meanness, whilst the upper part abounds in ornament ; 
 and here the good sense of the architect, who added the spires and pinnacles, 
 merits commendation in having made them correspond so well in their decora- 
 tions with the tower. The annexed Plate exhibits a view of this interesting 
 facade, which is divided into three compartments longitudinally by flat 
 buttresses of very slight projection, and rising as high as the first string 
 course, under which they terminate. There are three entrances, one in 
 each division, but that in the centre is of the greatest proportions. The 
 space between the lintel of the door-way and the curvature of the arch, 
 instead of being blocked up, or decorated with sculpture, as common in 
 Norman works, is open and glazed. The architrave is composed of several 
 bands of the simplest mouldings, the two outermost of which being formed 
 of the chevron ornament, with its angles unusually acute ; the inner, of 
 the billet moulding. The capitals of the pillars are studded with small 
 heads, placed under the volute; z species of mixed decoration observable 
 upon one of the capitals of the neighbouring abbey church of the Trinity, and 
 also at Cerisy. Above these entrances is a double range of semi-circular 
 windows. The central compartment, corresponding to the nave in width, is 
 finished by a high pointed gable, and the two lateral ones are carried up into 
 lofty towers, supporting octagonal spires. The towers consist of three stories, 
 the lowest of which, on each face, has a range of seven blank arcades, with- 
 out any mouldings or imposts ; the second has five arches of a larger size, 
 two of which are pierced for windows, and have pillars, capitals, and bases. 
 The third and uppermost story exhibits two large arches, rising from clustered 
 columns, and having within them others of a lesser size, which are pierced for 
 windows. These arches are distinguished by the triangular ornament in the 
 spandrils. The towers are finished by a cornice, whence rise twelve rich 
 perforated pinnacles, surrounding the base of the spire; but the form and 
 tracery of the pinnacles differ on each tower. The north-east angle of the 
 northern tower is flanked by a semi-circular buttress, or staircase-turret, 
 partaking throughout of the characteristics of the square faces of the tower. 
 
CHURCH OF ST. STEPHEN CAEN. 13 
 
 The Norman features cease at the summit of the towers, where the spires and 
 pinnacles assume new and later styles of architecture. The Abbe de la Rue, 
 whose accurate researches entitle his opinions to respect, considers them 
 to have been the work of the Abbot Simon de Treviers, or at least to have 
 been erected during his abbacy, between 1316 and 1344 : but Mr. Dawson 
 Turner, who has brought to the investigation of Norman antiquities much 
 perseverance, ability, and acuteness, is disposed to assign to them an earlier 
 date ; though he, of course, admits that they must have been of later erection 
 than the original building. He grounds his argument on a comparison of 
 the architectural features of the pinnacles with the work in the choir. Fifteen 
 bands or fillets, decorated with a kind of pointed scales, extend round each 
 spire, and add much richness to the general effect. The spires terminate 
 with finials, surmounted by iron crosses. Their total height from the ground, 
 according to Mr. Turner, is about 400 feet. 
 
 Along the exterior of the upper part of the nave is a row of twenty-four 
 semi-circular arcades, of nearly uniform shapes, excepting that eight of them 
 are pierced for windows. At the extremity of the north transept are three 
 very shallow buttresses, which rise from the ground to the sills of the clere- 
 story windows, unbroken by any interruption, but here they meet with a string- 
 course, above which the two outer ones are continued to the summit of the 
 ends of the gable, while the centre one is reduced in depth. Over this latter 
 buttress is a window ; and between the buttresses are six other windows, 
 arranged in double rows. Eastward of the transepts is a series of blank 
 arches, remarkable for their mouldings, which consist of a flat, wide, and very 
 shallow band ; and here the mixture of the pointed with the Norman or cir- 
 cular architecture commences.* 
 
 The architectural character of the Nave is well represented in Plates III. 
 and IV., the first of which displays an elevation of two compartments, and the 
 latter a view of the whole, as seen at the western entrance. There are eight 
 divisions, or compartments on each side, consisting of three stories each ; and 
 it will be seen that a solid and ponderous style of architecture pervades the 
 church. 
 
 Between the piers are three rows of arches, the second of which forms 
 a gallery round the entire edifice ; but the balustrade of open quatrefoils 
 is apparently of modern introduction. The arches of the second tier are 
 
 * Cotman's " Architectural Antiquities of Normandy," vol. i. p. 23. 
 
 F 
 
14 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 similar to those below, with this difference, that their centres are on a 
 level with the top of the capital, instead of being above it. The third 
 tier also serves as a gallery of communication, and greatly resembles that 
 of Waltham Abbey Church, in England. A bold double-billeted moulding 
 string-course is continued below the clerestory, whose windows adapt them- 
 selves to the binary arrangement of the bays, (see ante, page 5). A taller arch 
 is flanked by a smaller one on the right or the left side, according to its 
 situation. These are supported by short massy pillars : an embattled mould- 
 ing runs round the windows. The choir and the eastern apsis are entirely dis- 
 similar to the nave, and in their style and combination have some resemblance 
 to the churches of Ely and Canterbury. In the accompanying Plates, VI. VII. 
 and VIII., the forms and ornaments of the arches, with their peculiarity of 
 mouldings ; the columns, with their respective capitals and bases ; the dress- 
 ings in the spandrels, with the forms, &c. of the three tiers of windows, are all 
 defined. From the Section No. 2, Plate VIII., it appears, that pointed 
 arches open to the ailes, springing from large solid piers, dressed with five 
 semi-columns on each side. In the triforium we see a semi-circular arch, 
 embracing two others of the acute pointed shape ; behind which is shewn a 
 circular window. The clerestory exhibits a gallery behind a screen of three 
 arches of unusual shapes. The ailes continue round the apsis, and serve as a 
 communication to the seven altar chapels, which terminate the eastern end of 
 the church. Each of these chapels has a smaller apsis, with buttresses 
 between them. The whole construction of this part of the fabric is extremely 
 interesting and curious, as it demonstrates the difficulty of applying a com- 
 plication of arches on the circle. Just before the high altar, and in the choir, 
 is a gray marble slab, the only memorial of the spot where the remains of 
 the royal founder were once deposited. 
 
 A monument was erected here to the memory of King William, according to 
 Ordericus Vitalis, by the command of his son, William Rufus, and constructed 
 by Otho, a goldsmith of Caen, who had considerable estates in England, 
 bestowed on him by the deceased monarch. This tomb was destroyed by the 
 Huguenots, in the religious wars of France in the sixteenth century, and its 
 contents wantonly dispersed. Subsequently, a monk getting possession of 
 one of the thigh-bones, re-interred it, and in 1642 raised a new monument of 
 black marble over it ; but this second tomb was also taken away in 1742, by 
 order of Louis XV, and the remains were once more removed into the sanc- 
 tuary. A flat stone, in front of the high altar, succeeded to the monument, 
 
CHURCH OF ST. STEPHEN — CAEN. 
 
 15 
 
 and this was again torn up by the democrats of 1793. It has been, however, 
 replaced by General Dugua, and still remains. 
 
 Respecting the date of the choir and apsis end of this church, I must 
 venture to make a few remarks, and contend against the inferences of those 
 antiquaries who assign the erection to the beginning of the fourteenth century. 
 Mr. Turner says, "it is known that the choir was enlarged, and the apsis 
 built, as it now exists, during the prelacy of Simon de Trevieres, which 
 extended from the year 1316 to 1344."* He proceeds to state, that " no 
 argument is to be drawn from the general aspect of the building." Dr. 
 Ducarel observes, that " the chapel of St. Mary, or the Duke's chapel, 
 behind the high altar, was built by Duke William, at the time of founding 
 the church. Within this is the grave of the architect of the church, to 
 whom an inscription is still legible on the exterior of the building." The 
 architectural antiquary will question these inferences, and will be inclined to 
 ascribe the choir and apsis to the middle of the twelfth century, rather than 
 the beginning of the fourteenth, and will found his reasonings on the analogy 
 between the style of architecture employed here and in the Trinity Chapel, 
 Canterbury. If required to enter into an argument on the subject, it would 
 be easy to point out many coincidences and parallels between the two build- 
 ings. The date of Canterbury has already been named, p. iii. of Introduction. 
 Mr. Joseph Woods, who has not only examined many continental buildings 
 with the eye of an architect, but with the judgment of a sound antiquary 
 and an accomplished artist, says, speaking of this part of the church, " at first 
 sight I should have pronounced it a work of the twelfth century ; but on 
 examination there are circumstances which excite a little suspicion. The 
 crenated ornaments on the ribs of the groins ; the number of small shafts 
 round the piers of the chapels ; the openings between the chapels ; the 
 disposition of the little shafts against the wall ; the smallness of the capitals 
 to the slender shafts about the principal piers, — are none of them exactly 
 what we should expect in a work of the eleventh, or even of the twelfth, 
 still less is the whole together what we should expect of the fourteenth 
 century. To found a true decision, it would be necessary to know exactly 
 the authority on which the latter date rests, and to examine the work itself 
 with this especial view ; a practised eye would certainly find further dis- 
 crepancies, if such a difference of time really exists. "y 
 
 * " Architectural Antiquities of Normandy," vol. i. p. 24. f Private letter. 
 
16 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 Account of the Church of St. Nicholas — Caen. 
 
 This edifice is situated in the district of Bourg-l'abb6, so called from 
 belonging to the Abbey of St. Stephen, in the same town. It was founded a 
 few years previous to 1083* by the monks of that convent ; and the juris- 
 diction of the territory on which it stood being disputed between the abbot 
 of St. Stephen's and the abbess of the Holy Trinity, William, Duke of 
 Normandy and King of England, by a charter of the date just mentioned, 
 made the church parochial, and assigned it to the former.-}" The rectory of 
 St. Nicholas thus became vested in the monks of St. Stephen's, who 
 appointed vicars or curates to perform all the pastoral functions. These 
 vicars, becoming perpetual by the laws of the realm, after many contests, 
 were enabled to maintain themselves in the possession of rights and emo- 
 luments similar to those which were enjoyed by the rectors of the other 
 parishes of Caen, though they always retained some dependence on the 
 abbey of St. Stephen's.^ As a monument of Norman church architecture, 
 this edifice is peculiarly interesting, its architectural features having been 
 preserved unaltered ever since its original foundation, excepting, perhaps, the 
 addition of the western tower near the portal, which is said to be more 
 modern than the rest of the building by nearly a century. § 
 
 The general form of this church is that of the Latin cross, divided into a 
 nave and choir, and having, at the intersection of these with the transept, a low 
 tower, surmounted by a gabled roof. The most remarkable part of the edifice 
 is the semi-circular apsis which terminates the choir, resembling that of the 
 church of the Holy Trinity, but covered by a conical roof, rising higher than 
 the other parts of the church. Mr. Turner says, " The height of this roof 
 is so much greater than in the choir, as almost to justify the suspicion that 
 it was no part of the original plan, but was an addition of a subsequent, 
 though certainly not of a remote, era. Were the line of it continued to the 
 
 * Mr. D. Turner says, " The church of St. Nicholas, now used as a stable, was built by William 
 the Conqueror, in the year 1060, or thereabouts." — " Tour in Normandy," vol. ii. p. 175. He perhaps 
 wrote 1060 by mistake for 1070, the probable date of the building, which must have been posterior 
 to the foundation of the Abbey of St. Stephen. In a previous page, 4, will be seen the remarks of 
 the Quarterly Reviewer on this church. 
 
 t De la Rue, " Essais Historiques," tome i. p. 323. I Id. p. 334. 
 
 § Jolimont, " Descript. Hist." p. 40. 
 
CHURCH OF ST. PETER CAEN. 17 
 
 central tower, it would wholly block up and conceal the windows there. 
 The discrepancy observable in the style of its architecture may also possibly 
 be regarded as enforcing the same opinion."* 
 
 The annexed Engravings represent a ground plan of the semi-circular, or 
 apsis end of the church ; also an elevation of part of the exterior of the same, 
 two sections, and capitals and bases. The plainness and simplicity of the 
 architecture of this building seem to imply greater age than either of those 
 already described : — but it must be remembered, that the church of St. Ni- 
 cholas was subordinate to, and dependent on, the royal abbey. It also serves 
 to shew that the absence of ornament in churches of this class does not 
 prove a priority of date to others more enriched. 
 
 Church of St. Peter — Caen. 
 
 St. Regnobert, who preached the Gospel to the Saxons in the seventh 
 century, is supposed to have been the original founder of a church on the site 
 of the present, and dedicated to St. Peter.-}" The present edifice is the work 
 of various ages. The choir and a part of the nave were erected very late in 
 the thirteenth century ; and the remainder of the nave and the bell-tower 
 were built in 1308. Mr. Turner remarks, that " the tower and spire were 
 built in the year 1308, under the direction of Nicolle VAnglois, a burgher of 
 Caen, and treasurer of the church." Ducarel asserts, from the name, that he 
 was a native of England. The portal under the tower, which is of the date of 
 1384, X was restored and ornamented with statues in 1608 ; and it has undergone 
 some alterations in modern times, not at all to the improvement of the original 
 work. Here were to be seen many bas-reliefs, representing memorable events 
 in the history of St. Peter, which, says De la Rue, were defaced by the 
 Vandals of 1793.§ 
 
 The north aile of the nave was erected in 1410; and the south aile some 
 years afterwards. The apsis of the choir, and the vaulted roof of the choir 
 and of its ailes, were executed by Hector Sohier, architect of Caen, in 1521. || 
 
 An elevation, section, and plans of the tower and spire will furnish every 
 information as to the design, style, and architectural features of this portion 
 
 * " Architectural Antiquities of Normandy," vol. ii. p. 60. 
 t De la Rue, " Essais," &c. tome i. p. 95. 
 
 J In a record of the year 1384, the great entrance is called the " Portail Neuf." Ib. p. 96. 
 § Ut supra. || Huet, " Orig. de Caen," p. 193. 
 
18 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 of the building. The door-way is finished by a lofty angular pediment, of the 
 altitude of half of the second story, and is pierced by three windows, and 
 has two niches, under an arch moulding. Over it, and within the pedi- 
 ment, is another niche, of plain workmanship. The remainder of the second 
 story is relieved by a series of blank arcades with angular pediments, their 
 tympanums being occupied by trefoils. A string-course of quatrefoil in 
 panel divides it from the next story, which consists of lancet arches, some 
 glazed and others blank, of very elaborate workmanship. This is crowned by 
 an open parapet of quatrefoil, which is adorned at each angle and in the 
 centre with pinnacles, having niches for statues, &c. The spire, which is very 
 lofty, is pierced by trefoils, quatrefoils, and other similar openings, distributed 
 in alternate compartments, the intermediate spaces being occupied by broad 
 bands of several rows of the dog-tooth ornament. The following judicious 
 remarks on this tower and spire are from Mr. Turner's Tour, vol. ii. p. 178: — 
 " The elevation is hardly inferior to that of the spire of Salisbury Cathedral.* 
 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." 
 
 A wooden door from this church is shewn in Plate LXIX. No. 2. It is 
 very plain, and divided horizontally into two compartments, distributed into 
 panels with trefoil-headed arches, within ogee arches crocketed. Those of the 
 upper compartment have pyramidal pediments ; and the whole of the panels 
 are separated by plain buttresses, terminated by pinnacles. 
 
 " This opinion may be adduced as one of the instances of the erroneous inferences we are liable 
 to in judging of the relative heights of objects, without taking pains to form something like a 
 scale. By the annexed elevation it will be seen that the whole altitude of the tower and spire of 
 St. Peter's is only 242 English feet, whereas that of Salisbury is 404 feet from the floor. Of the 
 comparative beauty, in proportions, of the two towers and spires, I must differ in opinion from my 
 esteemed friend ; he giving the preference to St. Peter's, I to that of Salisbury. In the former, the 
 spire is too large and heavy. It should be remarked, that the tower of St. Peter's is seen to rise 
 immediately from the ground — whereas that of Salisbury is only seen above the roof of the church. 
 Is not the learned Tourist in error respecting the date of the towers ? That of Salisbury is probably 
 not much earlier than 1300. 
 
CHURCH OF ST. MICHAEL DE VAUCELLES. 
 
 19 
 
 Church of St. Michael de Vaucelles. 
 
 Vaucelles is at this time the largest of the five parishes composing the 
 fauxbourgs of Caen, from which town it is separated by the canal of the Orne. 
 Of the precise date of the church, which is situated on an eminence, forming 
 a picturesque object in a distant view, we have no accurate information : it 
 exhibits specimens of many of the styles of architecture which prevailed 
 between the tenth and sixteenth centuries. The ancient tower, and the 
 pillars supporting it, belonged, according to De la Rue, to an ancient church 
 of which there are no records remaining. This tower is square and massy, 
 and surmounted by a pyramidal square stone roof, or stunted spire. The 
 basement story is plain, and only pierced by one single window of very 
 small dimensions. A second story extends from the cornice of the body of 
 the church to the pitch of the roof, and is decorated by small semi-circular 
 arches, without either mouldings or imposts. Each face of the upper story 
 is occupied by a series of three long and narrow Norman arches, supported 
 by columns having bases and capitals, as are those of the small round turret 
 at the angle of the tower. It is probable that a part of the nave is of the 
 same age as this tower, for some of the arches appear originally to have 
 been of the semi-circular form.* 
 
 The north porch, f with its attached chapel, is an interesting and singular 
 specimen of the decorative style of the latter part of the fourteenth century. 
 See the annexed Plate, representing an elevation of the front and flank, with 
 measurements and some details. It is entered by a pointed arch of con- 
 siderable ornament, and having its inner archivolt fringed with pendant 
 trefoils, a series of which adorn the two copings of its acute pediment : 
 the exterior corbel of the archivolt is crocketed, and finishes in a pinnacle, 
 which serves for the base of a statue placed in the triangular gable roof, 
 which is entirely faced with waving tracery. The pointed arch is flanked 
 by graduated buttresses, cut into panels, decorated with tabernacle work, 
 and surmounted by pinnacles, which are restored in the annexed print. The 
 vaulting is groined ; and the entrances into the church are by two flat- 
 headed arches under crocketed ogee canopies, between which is a piece of 
 sculpture standing on a bold pedestal. This is said to represent St. Michael, 
 the patron saint. 
 
 * A beautiful etching of this tower appears in Mr. Cotman's first volume. 
 
 ■\ This porch nearly resembles the southern porch to the church of St. Ouen at Rouen. 
 
20 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 An Account of the Church of Than. 
 
 About ten miles north-east of Caen is the village of Than, in which is 
 the fragment of a church delineated in the three annexed Engravings. 
 As a specimen of genuine Norman architecture, this building cannot fail 
 of engaging the attention of the antiquary. In its present arrangement it 
 consists of only one aile, or open apartment, but divided into three portions 
 by a tower in the centre, which stands on bold solid piers, and is vaulted 
 over the ground floor. It rises through the roof of the church, and exhibits 
 two stories, or divisions in the northern and southern faces ; whilst parts of the 
 other faces are obscured by the high-pitched roofs of the nave and chancel. 
 By the annexed plans, elevations, sections, and details, the reader will be 
 able to understand the whole characteristic features of this building. It will 
 be seen that the walls, to the west of the tower between columns, are 
 additions to the original design, as it may be inferred that the arches on 
 each side were formerly open to ailes. Mr. Cotman intimates that there was 
 only a south aile ; but the accompanying plan shews that there are columns 
 and arches on both sides. Externally these arches are plain, and without any 
 ornaments or mouldings ;* while internally they are adorned with three rows 
 of zig-zag, or chevron (see Plate II., No. 3). In the interior the clerestory 
 window is bounded by a string-moulding, which forms a hood to the arch, 
 and extends round the whole church. The exterior of the western and 
 eastern ends are shewn at Nos. 1 and 2 on the same Plates, as well as 
 the sections of the walls and some of the details, more at large. The flat 
 buttresses, arcades without columns, the small windows, also without columns 
 or ornamental dressings — are all evidences of a simple and systematic style 
 of architecture ; and the experienced antiquary will not fail to perceive an 
 analogy between the east end and the chancel of Barfreston Church, in Kent.f 
 In both these edifices early pointed or lancet windows are introduced. There 
 will also be found a coincidence in the nave of this church and that of St. 
 Peter's, at Northampton ; particularly in the range of arcades and small 
 
 • " On the corbels are not only represented grotesque heads, but some of the simplest heraldic 
 charges — as the chief, chief indented, pale, bend, bendlets, undy, fess, saltier, crosses of various 
 kinds, chevron, &c. Such ordinaries occasionally occur in similar situations on other Norman reli- 
 gious edifices, but only on the most ancient." — Architectural Antiquities of Normandy, vol. ii. p. 16. 
 
 t See " Architectural Antiquities of Great Britain," for engravings and accounts of this build- 
 ing and of that at Northampton. 
 
ACCOUNT OF CAEN-STONE. 21 
 
 windows to the clerestory, as well as in the block cornice, or corbel table. 
 These two English churches were raised, we have every reason to believe, 
 soon after the Norman colonisation of Britain. In Plate III., the design, con- 
 struction, and architectural character of the tower are clearly elucidated. 
 The construction of its roof or pyramid will not escape the notice of the 
 English antiquary, who will also examine the projecting heads at the angles 
 of the roof, called crockets in Mr. Cotman's work. 
 
 About one mile west of Caen is the village of St. Germain de Blancherbe, 
 commonly called La Maladerie, from a lazar house, founded there by Henry II. 
 A.D. 1161. The engraved Title-page to this Volume contains the repre- 
 sentation of an arch-way, and some architectural ornaments from a church 
 in this village. " The decorations," says Mr. Turner, " are remarkable : 
 they principally consist of a very sharp chevron moulding, interspersed with 
 foliage and various figures." In the annexed Engraving the string-course 
 beneath the opening consists of two different patterns, as does also the 
 blocking cornice above. The pateras, in the spandrils, are from another 
 building. 
 
 In the vicinity of this village, and at a place on the opposite side of 
 the river, are the celebrated quarries, from which the noted Caen-Stone is 
 now, and has for many centuries, been obtained. This stone, like that of 
 Bath, in England, is soft, and easily worked ; but it is of a more compact 
 substance and of finer grain : its weight is 150 pounds to the French cubic foot 
 in the quarry. The quarries are worked in the manner of caves, and thus 
 guarded against exposure to the weather, to preserve the surface of the rocks 
 from frost. Most of the stone is obtained from a stratum between 20 and 36 
 feet from the surface. The mode of working the quarries is by excavating 
 chambers of 25 feet, at the extremities of which, solid piers are left to support 
 the roof, which is 20 feet in height. The stones are raised through shafts, 
 at the top of which are large wheels, turned by two or three men. About 
 100 men are now employed in these quarries, who, like the colliers in 
 England, work by lamp-light, and their time of employment is from 6 a.m. 
 to 8 p.m., meal-times excepted. The ground landlord usually lets a piece 
 of land, measuring 200 by 100 French feet, on lease for nine years. During 
 the Norman dynasty in England, the Caen-stone was imported into this 
 island in large quantities. It is related that it was employed in London 
 Bridge, the Tower of London, Westminster Abbey, Canterbury Cathedral, &c. 
 Ducarel has quoted some charters shewing the estimation in which it was held. 
 
 G 
 
22 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 The stones known in France by the name of Carreaux cTAllemagne are 
 much used for floors of rooms in Normandy, and nearly all over the kingdom. 
 Great quantities are also exported. A fossil crocodile was found in these 
 quarries in 1817, perfect in form, with the scales clearly defined. It conse- 
 quently excited much curiosity amongst geologists. 
 
 Church of St. Jacques, at Dieppe. 
 
 Of this very interesting edifice we have only one Engraving, representing 
 part of a stone screen in the north transept, or " aile of the choir," as men- 
 tioned by Mr. Turner, who characterises it as " an elegant screen, which 
 probably encloses a chantry chapel, and which, like the lady chapel, exhibits 
 a singular mixture of pointed forms mixed with Roman members : parts of it 
 resemble the tomb of Bishop Fox, at Winchester."* The Engraving displays 
 two door- ways, with rich open work above. A portion of this Plate shews the 
 finished mouldings, whilst the other part represents only the leading lines. In 
 Mr. Cotman's Architectural Antiquities are views of the western front of this 
 church, and also the east end, both of which display a profusion of enriched 
 sculpture, in crockets, finials, tracery, double flying buttresses, an elegant 
 marigold window, &c. At the south angle of the west front is a square tower, 
 of handsome design, and highly decorated with ornaments. Mr. Turner 
 describes the church as a valuable specimen of the ecclesiastical archi- 
 tecture of successive ages. 
 
 Chateau-Fontaine le Henri. 
 
 About eight miles north of Caen is the chateau, or mansion, represented 
 by the three Engravings annexed ; and nothing in building, perhaps, could be 
 adduced more demonstrative of the want of taste, or the absence of all beauty, 
 harmony, and rational combinations, for domestic comforts and for economical 
 construction. Like the frightful head-dresses of the ladies in George the 
 Second's time, which disfigured and deformed " the human face divine," the 
 immense roof of this, and other similar houses, overpowers and oppresses the 
 
 * " Architectural Antiquities of Normandy," vol. i. p. 38. 
 
CHATEAU FONTAINE LE HENRI. 
 
 23 
 
 habitable and useful parts of the dwelling. At the north-west angle of the 
 building here delineated, the roof is strangely preposterous, and unaccountably 
 lofty, weighty, and unsightly. We seek in vain to ascertain the meaning 
 of the architect, and the purposes for which such superfluous work could 
 be intended. The view of the whole front (Plate I.), and elevations of two 
 of its windows, will fully elucidate the external features of this chateau ; and 
 if the interior be decorated in a corresponding style, we may safely conclude, 
 that it is tasteless and frittered in the extreme. Although we must reprobate 
 such works when considered as architectural designs, we do not deny that an 
 artist may derive interest, and even improvement, from analysing them; for 
 he may ascertain the state and caprices of the human mind, the manners and 
 habits of people in different eras, influenced by governments and climates 
 dissimilar to his own, and hence may deduce information both historical and 
 instructive. Speaking of this house, and of two others of similar character in 
 Caen and Rouen, Mr. Turner remarks: " Specimens like these are curious 
 in the history of the arts ; they shew the progress that architecture had made 
 in Normandy at one of the most interesting periods in French history : they 
 also shew its relative state as respectively applied to civil and religious 
 purposes."* " This chateau," says the same author, " is a noble building, 
 and a characteristic specimen of the residences of the French noblesse during 
 the latter part of the fifteenth century, at which period there is no doubt of 
 its having been erected, although no records whatever are left upon the 
 subject. Fontaine le Henri was then still in the possession of the family of 
 Harcourt, whose fortune and consequence might naturally be expected to 
 give rise to a similar building. As compared with the mansions of the 
 English nobility, this chateau may be advantageously viewed in conjunction 
 with Longleat, in Wiltshire,-}" the noble seat of the Marquess of Bath." Most 
 of the exterior surface of this building is covered with " medallions, scrolls, 
 friezes, canopies, statues, and arabesques, in bas-relief, worked with extra- 
 ordinary care and great beauty. Their style is that of the Loggia of Raphael ; 
 or, to compare them with another Norman subject of the same era, of the 
 sculptures upon the mausoleum raised to the Cardinal d'Amboise, in Rouen 
 Cathedral.";}; 
 
 * Cotman's " Architectural Antiquities of Normandy," vol. i. p. 68. 
 
 t Figured and described in Britton's " Architectural Antiquities," vol. ii. p. 105, &c. 
 
 + Turner's " Tour in Normandy," vol. i. p. 157. 
 
AN ESSAY 
 
 ON THE 
 
 3rrl)ttectural 3nttquttte$ of &mien : 
 
 WITH ACCOUNTS OF 
 
 THE CHURCH OF ST.OUEN; CHURCH OF ST. VINCENT; NUNNERY OF ST. CLAIR; 
 
 FOUNTAIN DE LA CROSSE; FOUNTAIN DE LA CROIX DE PIERRE; 
 PALAIS DE JUSTICE; HOTEL DE BOURTHEROULDE ; L'ABBAYE ST. AMAND; 
 CATHEDRAL OF NOTRE DAME; ARCHBISHOP'S PALACE; AND 
 CHURCH OF ST. MACLOU. 
 
 The archiepiscopal city of Rouen, if not so rich and interesting- in its speci- 
 mens of genuine Norman architecture as Caen, presents so many attractions 
 to the antiquary, artist, and general traveller, that it cannot fail of claiming a 
 large share of attention and inquiry from each and all of these persons. Its 
 Roman works, and most of its early Norman buildings, are nearly all erased ; 
 but in the enriched and even florid specimens of the pointed style, and in the 
 picturesque houses of the streets, this city is pre-eminent. The churches 
 of Notre Dame and St. Ouen are both of them large, spacious, and abound in 
 architectural beauties : almost every street offers highly picturesque features, 
 in its irregular houses, ornamented gables, halls, stone crosses, churches, &c. ; 
 but it must also be admitted, that these very features demonstrate the absence 
 of the modern comforts and luxuries of domestic residence. Narrow streets, 
 with houses whose upper stories overhang the lower, constructed with timber 
 and plaster, may please the eye of the artist, as subjects for pictorial delinea- 
 tion, but they are not calculated to surpass the wide street and flat-fronted 
 houses, as places to live in and derive comfort from. Rouen may be referred 
 to as a truly picturesque city, and in this respect may be said to bear some 
 resemblance to Bristol in England. The streets are described by Mr. Turner 
 as dark, dull, and filthy ; and in these deplorable characteristics too much 
 correspond with some other old towns, where modern improvements have not 
 superseded these defects. The same discriminating antiquary thus sketches 
 
BUILDINGS, &C. OF ROUEX. 
 
 25 
 
 the features of Rouen from Monte Sainte Catharine: — " The Seine, broad, 
 winding, and full of islands, is the principal feature of the landscape. This 
 river is distinguished by its sinuosity, and the number of islets which it em- 
 braces, and it retains this character even to Paris. Its smooth tranquillity well 
 contrasts with the life that is imparted to the scene by the shipping and the 
 bustle of the quays. The city itself, with its verdant walks, its spacious 
 manufactories, its strange and picturesque buildings, and the numerous spires 
 and towers of its churches, many of them in ruins, but not the less interesting 
 on account of their decay, presents a fore-ground diversified with endless 
 variety of form and colour. The Bridge of Boats seems immediately at our 
 feet ; the middle distance is composed of a plain, chiefly consisting of the 
 richest meadows, interspersed copiously with country seats and villages em- 
 bosomed in wood ; and the horizon melts into an undulating line of remote 
 hills."* 
 
 In addition to the buildings delineated, or in part defined, by the accom- 
 panying Engravings, Rouen offers to the antiquary several other very interest- 
 ing edifices for study. The Halks, according to the topographers of the city, 
 are the largest and finest in the world, \ though their prototypes at Bruges and 
 Ypres, are certainly very superior ; and we may venture to place our English 
 Halls of Westminster and Norwich in comparison, without much fear. In the 
 Churches of St. Paul and St. Gervals are some specimens of early ecclesiastical 
 architecture, particularly in the chancel of the former. This ends in three 
 circular compartments, — a singularity which renders it worthy of particular 
 investigation and display. The Church of St. Gervais has an apsis " obtusely 
 angular, and faced at the corners with large rude columns, of whose capitals 
 some are Doric, or rude Corinthian, and others as wild as the fancies of the 
 Norman lords of the country. The most singular part of this church is the 
 crypt under the apsis, a room about 30 feet long by 14 wide and 16 high, of 
 extreme simplicity and remote antiquity.";}: At the palace connected with 
 this church died William, the first Norman monarch of Britain ; and, like 
 
 * " Tour in Normandy," vol. i. p. 120. 
 
 t The hall allotted to merchants is 272 feet in length by 50 in width ; those for the drapers and 
 for wool are each 200 feet long; whilst that appropriated to corn is 300 feet in length: French 
 measure. These surround a square area. Westminster Hall measures 270 feet in length by 74 feet 
 in width, and 90 feet in height : English measure. St. Andrew's Hall at Norwich, divided into three 
 ailes by two rows of pillars, is 120 feet long and 70 feet wide. 
 
 I Turner's " Tour in Normandy," vol. i. p. 125. 
 
26 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 many other conquerors and heroes, was deserted by his friends, i. e. syco- 
 phants and physicians, the moment he was no more, and was plundered by 
 his servants whilst his body lay neglected and naked in the hall,— a sad and 
 awful lesson to military tyrants ! The Chapel of St. Julian, now a wood house, 
 about three miles from Rouen, is, according to Mr. Turner, " one of the 
 purest and most perfect specimens of the Norman era." Mr. Cotman has 
 given a view of it, and Mr. Turner has fully described its architecture. The 
 Churches of Lery, Pavilly, Yainville, and Jumieges, all in the vicinity of 
 Rouen, offer many varieties of Norman architecture, each of which buildings 
 has some peculiarity of design and detail worthy the examination and record 
 of the antiquary. The two splendid churches of St. Ouen and of Notre Dame 
 are at once instructive schools of architecture and noble monuments of the 
 taste, science, and enthusiasm, of their respective artists. 
 
 Account of the Church of St. Ouen — Rouen. 
 
 Among the numerous specimens of splendid ecclesiastical architecture in 
 Normandy and other parts of France, the Church of St. Ouen ranks pre- 
 eminent. In richness of decoration, in exuberance of fancy, in elaborate 
 execution, it cannot fail to attract the attention and admiration of all travel- 
 lers, and will prove more peculiarly interesting to the architectural antiquary. 
 Although the accompanying Prints do not constitute a complete illustration of 
 the church, they will serve to shew the stranger its prevailing features, and 
 furnish the artist with materials for practical purposes or historical inference. 
 The foundation of the present building was laid in 1318 by the Abbot Jean 
 Rousel, better known by the name of Mardargmt, by whom it was advanced 
 as far as the transept ; the remainder was the work of subsequent periods, 
 and the building was continued to the beginning of the sixteenth cen- 
 tury; — it is not even now completed. The annexed ground plan (Plate I.) 
 will convey some idea of the extent and dimensions of the church;* and the 
 view of the nave, looking east, displays the impressive perspective of the 
 
 * The following are the dimensions of the interior in French feet, as given in Mr. Turner's Tour : 
 — Length of the church, 416 feet; ditto nave, 234 feet; ditto choir, 108 feet; ditto lady chapel, 
 66 feet; ditto transept, 130 feet; width of ditto, 34 feet; ditto nave without the ailes, 34 feet; 
 ditto including ailes, 78 feet; height of roof, 100 feet; ditto of tower, 240 feet. 
 
CHURCH OF ST. OUEX. 
 
 27 
 
 interior, the arches of which are of great height and fine proportions, and the 
 whole appearance is excessively light and lofty ; the mouldings of the arches 
 are shallow, and the building seems all window. The lightness of effect is 
 considerably aided by the clerestory gallery opening to the glazed tracery of 
 the windows, behind, the mullions of the one corresponding with those of the 
 other. To each of the clustered columns of the nave are attached two taber- 
 nacles, consisting of canopies and pedestals, for the reception of statues of 
 saints. These are shewn in the interior view, and also in the Plate of an ele- 
 vation and section of one of the compartments of the nave. (Plate II). The 
 pillars of the choir do not appear to have been similarly ornamented ; but 
 upon one of them, serving as a corbel to a truncated column, is a head of our 
 Saviour, and on the opposite pillar, another of the Virgin ; the former exhibit- 
 ing a remarkably fine antique character. The capitals of the pillars in the 
 choir were formerly gilt, and the spandrils of the arches painted with angels — 
 now nearly effaced. Round the choir, as we perceive by the plan, is a series 
 of chapels, or oratories, the walls of which have been covered with fresco 
 paintings of figures and foliage. In the Chapel of St. Agnes is an inscribed 
 stone commemorating the melancholy death of Alexander Berneval, the master 
 mason of the building, who, it is traditionally said, murdered his apprentice 
 from jealousy, he having executed the very splendid circular window in the 
 northern transept, which is generally allowed to be superior to that on the 
 southern side, which was the workmanship of the envious master. This 
 window exhibits in its tracery the produced pentagon, or combination of 
 triangles, called the pentalpha. These large circular windows, sometimes 
 known by the name of rose, or marigold windows, are beautiful characteristic 
 features of French ecclesiastical architecture. In this church, besides those 
 in the transepts, there is a very fine specimen in the great west window, 
 which is fully delineated in the accompanying series of Plates. 
 
 The flying buttresses, one of which is shewn in the Plate, with the section 
 of a compartment of the nave, end in richly crocketed pinnacles, supported 
 by shafts of unusual height. The triple tiers of windows seem to have occu- 
 pied nearly all the wall work of the building. Balustrades of varied quatre- 
 foils run round the ailes and body; and the centre tower, which is wholly 
 composed of open arches and tracery, terminates, like the south tower of the 
 cathedral, with an octangular crown of fleurs-de-lis. The elegance of the 
 south porch and transept is unrivalled. This portion of the church was 
 always finished with care : it was the scene of many religious ceremonies, 
 
28 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 particularly of espousals. The bold and lofty entrance of this porch is sur- 
 rounded within by pendent trefoil arches, springing from carved bosses, and 
 forming an open festoon of tracery. The vaulting within is groined, and 
 ornamented with richly carved pendants, and the portal, which it shades, 
 is covered with a profusion of sculpture : the death, entombment, and apo- 
 theosis of the Virgin, form the principal groups. Mr. Turner considers them, 
 both in design and execution, far superior to any specimens of the correspond- 
 ing era in England. On the same side of the church is an interesting door- 
 way, a representation of which is preserved in Plate IT I. It exhibits an arch 
 of the Tudor form, richly crocketed, and terminating in a finial of very beau- 
 tiful design, and a pointed arch similarly ornamented with crockets, and 
 the mouldings decorated by a continued range of oak leaves, which descends 
 some way down the jambs. 
 
 The western front is still imperfect. According to the original design it 
 was to have been flanked by magnificent towers, ending in a combination of 
 open arches and tracery, corresponding with the outline and fashion of the 
 central tower. These towers, which are now only raised to the height of 
 about 50 feet, jut out diagonally from the angles of the facade ; and it is 
 supposed that they were to have been united by a porch of three arches, 
 somewhat resembling the western entrance of Peterborough Cathedral. 
 
 Several specimens of painted glass from this church are engraved and 
 coloured from the gorgeous originals. It is a singular but a happy circum- 
 stance, that the church preserves the whole of its original glazing. Each 
 intermullion contains one whole-length figure, represented upon a diapered 
 ground, good in design, though the artist seems to have avoided the employ- 
 ment of brilliant hues. The sober light harmonises with the gray, unsul- 
 lied stone-work, and gives a most pleasing unity of tint to the receding 
 arches. 
 
 The Church of St. Vincent 
 
 Is justly noted for the delicacy of its sculptured details. It is surmounted 
 by a large square tower, in which are bells and a clock. The windows of 
 this church are worthy the notice of the antiquary. The western porch, repre- 
 sented by the annexed Prints, is distinguished for the beauty of the crocketed 
 arch, relieved in the interior by trefoils, which extend considerably below the 
 
FOUNTAIN DE LA CROIX DE PIERRE, &C. 
 
 29 
 
 spring of the arch, and is flanked by buttresses, with tabernacles, niches, and 
 statues, of superior execution. The two Engravings will illustrate the pecu- 
 liar form and ornaments of this very singular porch. 
 
 The Nunnery of St. Clair 
 
 Has little claims to the admiration of the architectural antiquary; but the 
 entrance gate-way gives a variety to the examples here brought forward. 
 
 The Fountain de la Cro6se, 
 
 An interesting specimen of the architecture of the fifteenth century, is 
 situated in the Rue de l'Hdpital.* Its general design may be understood by 
 the annexed Print, which shews a plan, an elevation, and details, from the first 
 of which we perceive that it projects from a wall, and exhibits five faces, with 
 niches in each. These are surmounted by rich canopies of fanciful tracery. 
 The fountain is finished by a short truncated pyramid, which in Millin's time 
 was surmounted by a royal crown. 
 
 The Fountain de la Croix de Pierre 
 
 Stands at the junction of three streets, which, previous to the reign of 
 St. Louis, were without the walls of the city. Although, like the former sub- 
 ject, this is appropriated to a fountain, it is very different in design and situa- 
 tion. It is insulated, and has some resemblance to the crosses erected to the 
 memory of Queen Eleanor, in England. As shewn by the annexed plans 
 and elevation, it consists of three stories, of varied design, raised on a 
 plain basement. In the first and second stories are canopied niches, with 
 pedestals, &c. 
 
 The Palais de Justice. 
 
 In this interesting edifice the three estates composing the Duchy of Nor- 
 mandy, viz. the deputies of the church, the nobility, and the good towns, 
 
 * Rouen is noted for the number of its fountains, there being not less than thirty for the use of 
 the public, supplied with water from five different springs, and conveyed into the city by canals. 
 
 H 
 
30 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 formerly held their meetings. Here, also, the Court of Exchequer had its 
 sittings. Where the States once deliberated, the electors of the Depart- 
 ment now assemble for the purpose of naming the deputies who represent 
 them in the great council of the nation. The Palace, in its present state, is 
 composed of three distinct buildings, erected at different times, and forming 
 collectively three sides of a parallelogram, whose fourth side is merely an 
 embattled wall, with an elaborate gate-way. One of these buildings, named 
 the Salle des Procureurs, was erected six years anterior to that more properly 
 called the Palais de Justice; but was subsequently annexed to the palace. 
 The exterior of the Salle des Procureurs, the south elevation of which, with a 
 ground plan and section, forms one of the accompanying Prints, is compara- 
 tively simple : the most highly decorated part of it is the gable, which is 
 flanked by two octangular turrets, shewn in the same Print. The roof is of a 
 very high pitch, in which are lucerne windows, of rich execution. Between 
 the square windows, in the body of the hall, are buttresses, with tracery. 
 Beneath the hall is a prison. 
 
 The southern building, erected exclusively for the sittings of the Ex- 
 chequer, is very sumptuous in its decorations, both without and within. 
 Here the windows in the body of the building have flattened, elliptic heads ; 
 and are divided by one mullion and one transom. The mouldings are 
 highly wrought and enriched with foliage, and are nearly counterparts of 
 those in the chateau at Fontaine le Henri. The lucerne windows, vieing 
 with those in the Place de la Pucelle, are of a different design, and form the 
 most characteristic feature of the front : they are pointed, and enriched with 
 mullions and tracery, and are placed within triple canopies of nearly the same 
 form, flanked by square pillars, terminating in tall, crocketed pinnacles ; some 
 of them are fronted with open arches, crowned with statues. A most superb 
 specimen may be seen by consulting the engraved Plate of the elevation, sec- 
 tion, and plan, of the south front, PI. I., and the other Print, PI. IV., which must 
 be valuable to the architect. An oriel, or sort of tower, of highly enriched 
 workmanship, projects into the court, and varies the elevation. Much of 
 the interest of the Palais de Justice has been destroyed by not being allowed 
 to continue in its original state : for one half of it has been degraded by 
 alterations, or stripped of its ornaments. The room in which the parliament 
 formerly met, and which is now employed for the trial of criminal causes, 
 still remains comparatively uninjured. Its ceiling of oak, nearly as black 
 as ebony, divided into numerous compartments, and covered with a pro- 
 
PALAIS DE JUSTICE! — HOTEL DE BOURTHEROULDE. 31 
 
 fusion of carving and gilt ornaments, affords a gorgeous example of the taste 
 of the times when constructed. The open-work bosses of this ceiling are 
 gone, as are the doors enriched with sculpture, and the ancient chimney- 
 piece, and the escutcheons charged with sacred devices, and the great painting 
 by which, before the revolution, witnesses were made to swear. Around the 
 apartment are several sentences, in letters of gold, reminding judges, jurors, 
 witnesses, and suitors, of their duties. The room itself is said to be the most 
 beautiful in France for its proportions and quantity of light. 
 
 Hotel de Bourtheroulde. 
 
 In the Place de la Pucelle a" Orleans is a large house of stone, &c, partly 
 of the same era as the Palais de Justice, but richer in its sculptures. It is the 
 only house of the kind remaining at Rouen, and may be regarded as the 
 most curious specimen of domestic architecture in Normandy. This Hotel, 
 according to M. Auguste le PreVost, was begun towards the end of the fifteenth 
 century by William Leroux, the twelfth of the name, Lord of Bourtheroulde, 
 who was living in 1486, and finished by his son, William, whose arms are 
 emblazoned in various parts of the edifice. The entire front is divided into 
 compartments by slender buttresses, or pilasters. The intervening spaces 
 are filled with basso-relievos, evidently executed by different masters ; and 
 there is not a single square foot of this extraordinary building which has not 
 been ornamented. The principal facade, represented in the annexed Print, 
 Plate II., is decorated with bas-reliefs, very rich in their composition and 
 execution, which extend under all the windows of the first story, and also 
 below those of the upper tier. A banquet beneath a window in the first floor 
 is in a good cinque-cento style. Others represent the labours of the field and 
 the vineyard, fishing, &c. ; all rich and fanciful in their costume. The sala- 
 mander, the emblem of Francis the First, appears several times very conspi- 
 cuously amongst the ornaments. Many of the basso-relievos are engraved 
 and minutely described by E. H. Langlois, in his " Description Historique cles 
 Maisons de Rouen." On the north side, and joining the octagonal tower, 
 extends a spacious gallery, the architecture of which is rather in Holbein's 
 manner. Foliaged and swelling pilasters, like antique candelabra, bound the 
 arched windows. Beneath is the well-known series of bas-reliefs, executed 
 on marble tablets, representing the interview between Francis the First, of 
 
32 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 France, and Henry the Eighth, of England, in the Champ du Drap d'Or, 
 between Guisnes and Ardres, whose heads are placed within two niches on 
 each side of the gate-way entering the court. They were first discovered by 
 the venerable Father Montfaucon, who had them engraved for his "Monumens 
 de la Monarchic Frangaise" These sculptures are much mutilated, and so 
 obscured by smoke and dirt, that the details cannot be easily understood. The 
 corresponding tablets, above the windows, are even in a worse condition, 
 and appear to have been almost unintelligible in the time of Montfaucon, who 
 conjectured that they were allegorical, and intended to represent the triumph 
 of religion. Each tablet contains a triumphal car, drawn by different animals, 
 and crowded with mythological figures and attributes. On the top of the 
 high-pointed roof is a bunch of leaden thistles, which has proved a puzzle 
 to antiquaries. (See Plate II. B). 
 
 The Abbey St. Amand — Rouen. 
 
 Whatever may have been the character and beauty of this building 
 originally, very little now remains, and that is of comparatively modern date. 
 The accompanying illustrations represent the style of decoration prevailing 
 in the house, which belonged to the abbess, and which, Mr. Turner says, 
 " is in a great degree in ruins. What remains, however, is very curious ; and 
 is, perhaps, the oldest specimen of domestic architecture in Rouen. It is 
 partly of wood, the front carved with arches and other sculpture in bas-relief, 
 and partly of stone."* The building surrounds a court-yard, at one angle of 
 which is a polygonal turret, with the arms of the Abbess, Marie d'Anneburel, 
 who governed here in 1532. The northern side of the court was built at the 
 end of the fifteenth century, under the abbacy of Thomasse Daniel. The facade, 
 except the ground-floor, is entirely of timber, richly adorned with panels, 
 tracery, &c. and with windows of painted glass. On the first story is a room 
 having two chimnies, with a ceiling of timber, divided into squares and 
 painted scroll-work. The whole of this apartment is decorated with carvings, 
 executed with the greatest delicacy. The mantle-piece of one of the fire- 
 places is imitative of a hurdle, and has the arms of the Daniels, much 
 mutilated. The whole is crowned by a frieze of arabesques, in the midst 
 
 * " Tour in Normandy," vol. i. p. 180. 
 
THE CATHEDRAL OF NOTRE DAME. 
 
 33 
 
 of which are the arms of Guillemette d'Assy, who was abbess in 1518. The 
 mantle-piece also, similarly charged, has columns decorated with capitals, 
 singularly composed of heads of cherubim. The gate-way to this ancient 
 Abbey, which was founded in 1030, was in the Rue St. Amand, near the 
 parish church, and opposite the Rue de la Chaine. It is of the time of 
 Louis XIV., was built in the ancient walls of the convent, and is now in the 
 same state as it was in 1792. 
 
 The Cathedral of Notre Dame 
 
 Is of uncertain foundation, but an edifice was built on this site in 
 1063, when Duke William attended at the dedication. It is said that no 
 part of that building remains ; but there are portions of the eastern side of 
 the northern tower, called St. Romains, in the real Norman style, and the 
 lateral door-ways of the western front partake of the same. The square and 
 low central tower is supposed to be of the date of 1200 : other parts are 
 obviously the workmanship of different ages, and there can be little risk in 
 asserting, that it has been progressively raised by the bounty of many patrons. 
 The southern tower was begun in 1485 and completed in 1507 ; the first 
 stone of the central portal was laid in 1509; and the lady chapel, though 
 commenced during the earliest part of the fourteenth century and finished in 
 the middle of the fifteenth, contains also work of the year 1538. At this last 
 date, Cardinal Georges d'Amboise, the great benefactor, restored the roof 
 of the choir, which had been injured in 1514 by the destruction of the spire. 
 " The interior of this cathedral," says Mrs. Stothard, " is so imposingly 
 beautiful, that on entering the ailes the mind is struck with an involuntary 
 awe ; the sombre light reflected through the painted windows, the majesti- 
 cally fretted roof, the high vaulted arches, — all combine to strike the beholder 
 with that feeling of veneration, and to inspire that disposition towards serious 
 contemplation, which does indeed so well prepare the mind for devotional 
 exercise. Every window in the cathedral is filled with painted glass."* 
 
 On the northern side of the cathedral is the cloister -court, only a few 
 arches of which now remain. This appears, on the eastern side, to have 
 consisted of a double aile or ambulatory. In the annexed Plate is engraved 
 
 * " Tour through Normandy," &c. p. 23. 
 
34 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 one of the door-ways on the north side of this cloister, and it will be found to 
 be an interesting specimen. From a series of small clustered columns rises 
 a pointed arch, richly ornamented, and decorated with crockets. The doors 
 are square headed, and separated by a pier, or cluster-column, and the upper 
 part of the arch is filled up and relieved by trefoils and a quatrefoil, in which, 
 from a sculptured bracket, rises a headless saint, holding a book. There 
 is another saint on the apex of the arch, and two female figures are placed 
 one on each side, at the springing of the arch. The northern transept is 
 approached through a gloomy court, once occupied by the shops of the 
 transcribers and calligraphists, the libraires of ancient times, and from them 
 it has derived its name. The Cour des Libraires 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 ; and is flanked 
 by buttresses decorated with niches, with canopies and pediments, and other 
 buttresses terminating in finials. One of the gate-ways is engraved in the 
 annexed Plate, where are also some sections, plans, and mouldings, in detail. 
 Another Plate preserves a representation of one half of the wooden door, 
 which is most highly adorned with panelling and tracery. (See Plate LXV1II. 
 No. 1.) The stair-case communicating with this door-way is peculiarly deli- 
 cate and beautiful (See Plate LX.)* Its date being well ascertained, we may 
 note it as an architectural standard. It was erected by the Archbishop 
 Cardinal d'Etouteville, about 1460, forty years subsequently to the build- 
 ing of the room. A representation of this singularly light stair-case is pre- 
 served in the annexed Plate, and another Engraving is devoted to its minuter 
 details.f 
 
 The Archbishop's Palace — Rouen. 
 
 Of this once noted edifice our illustration is confined to two particular 
 turrets, which are certainly curious specimens of ancient domestic archi- 
 tecture, and both are appropriated to stairs. The principal facade of this 
 palace was built by the Cardinal d'Etouteville, and consisted of several apart- 
 ments, surrounding a large square court. At one angle of this area is a spa- 
 cious gateway, of rustic work, in a sort of Tuscan style : this is connected 
 with a stair-case, which leads to a state-gallery. 
 
 * An interesting view of this staircase is inserted in Mrs. Stothard's Tour. 
 
 f Of this cathedral a Benedictine monk, of the name of Pommeraye, has published a quarto 
 volume of 700 pages, to which we are indebted for the knowledge of the dates here assigned. 
 
CHURCH OF ST. MACLOU CHURCH AT CAUDBECK. 35 
 
 The Church of St. Maclou — Rouen, 
 
 Is, according to Mr. Turner, " unquestionably superior to every other in 
 the city, except the Cathedral of St. Ouen." Within this church, near the 
 western entrance, is the unique stair-case, delineated in the annexed En- 
 graving, which represents it in elevation, section, and by plans, whereby its 
 general design and subordinate details* may be understood. It formerly 
 conducted to the organ-loft. The elegant carved doors of this church were 
 executed by Jean Goujon, " a man so eminent," says Mr. Turner, " as 
 to have been termed the Corregio of sculpture." 
 
 The Church at Caudbeck, 
 
 A town seated on the eastern bank of the river Seine, north of Rouen, is 
 an interesting specimen of the Burgundian style of architecture, and, as may 
 be inferred from the Engraving of a compartment of the sacristy, is profusely 
 adorned with tracery and sculpture. The windows and ornaments of this 
 part of the building are unlike any thing we have in England, and seem to 
 belong rather to the domestic than to the ecclesiastical architecture, as 
 may be seen by referring to the Engravings of Fontaine le Henry and the 
 Hotel de Bourtheroulde. The annexed Print shews one compartment ex- 
 ternally, also a section and details at large ; whilst another Print displays a 
 plan and section of a part of the church, called the lady chapel, which was 
 chosen for delineation on account of the singularly constructed pendantive 
 roof. Dr. Dibdin says, " the church has numerous side chapels and figures 
 of patron saints. The entombment of Christ, in white marble, at the 
 end of the Chapel of the Virgin, is rather singular, inasmuch as the figure 
 of Christ itself is ancient, and exceedingly fine in anatomical expression, but 
 the usual surrounding figures are modern, and proportionally clumsy and 
 inexpressive. "f 
 
 * Mr. Turner states, that it was constructed in 1512, and, according to common phraseology, 
 by voluntary subscriptions, although the volunteers were bribed by the assurance of forty 
 days', and one hundred days' indulgences. 
 
 f " A Bibliographical, Antiquarian, &c. Tour," vol. i. p. 210. 
 
36 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 ACCOUNT OF THE CATHEDRAL OF BAYEAUX. 
 
 Among the architectural antiquities of the famous city of Bayeaux,* its 
 Cathedral is not only a prominent but a most important object. Occupying a 
 sacred spot, which appears to have been dedicated to Christianity as early 
 as the third century, it exhibits various styles and peculiarities of the genuine 
 Norman, and of the pointed architecture. Beneath the choir is a small ancient 
 crypt, the vaulting of which is supported by eight columns, whose capitals, 
 according to Monsieur Caumont, are of truly Roman character. Whatever 
 may have been the sizes and peculiarities of the churches which occupied the 
 site of the present edifice, it is not very material to inquire. It appears that 
 King William the First of England, and his queen, were present at the dedi- 
 cation of one here in 1077. Parts of this building most likely remain; al- 
 though the troops of Henry the First nearly destroyed the church, in the 
 general conflagration of the city. The main walls and their solid architectural 
 features being incombustible, not only resisted the fire, but were most pro- 
 bably used by the subsequent architect. The ruins continued unaltered for 
 more than fifty years, when Bishop Philip of Harcourt commenced a new 
 edifice, or a restored one, in 1157. It is doubted by its historians whether 
 the oldest parts of the building be of this time, or belong to that of Odo, 
 brother to King William of England, who was bishop of this see for more than 
 fifty years, and who manifested " unbounded liberality and munificence." At 
 the time of its dedication he enriched the church with various gifts, one of 
 which was of peculiar value and splendour. This was a sort of chandelier, in 
 the shape of a crown composed of wood and copper, and covered with silver 
 plates. It measured 16 feet in height by 38 feet in diameter; — was diversified 
 with ornaments in the shape of crowns or towers, and was intended to hold 
 " an immense number of tapers," or candles, which were lighted on high 
 festivals. It was suspended from the roof in the nave, opposite the great cru- 
 
 * The history of this city is intimately connected with that of England. It was here that 
 Duke William, on being nominated by Edward the Confessor his successor to the English crown, 
 caused Harold to attend and do him homage in the name of the nation. Here also, Henry the First 
 was detained prisoner by his eldest brother; in revenge for which, on coming to the throne, he laid 
 siege to the city and burnt it. (See " Archseologia," vol. xvii. p. 911.) Again, Edward the Third 
 attacked and nearly destroyed Bayeaux in 1356. Henry the Sixth brought from this city a large 
 collection of Norman charters, which are now preserved in the Tower of London. The Bayeaux 
 Tapestry is a relict of great importance as an historical document. 
 
CATHEDRAL OF BAYEAUX. 
 
 37 
 
 cifix, and is said to have continued there till 1562, when the Huguenots com- 
 mitted havoc in the church. If, however, the building was destroyed in the 
 time of Henry the First, it is not likely that this sumptuous ornament was 
 saved. 
 
 Successive alterations and repairs, enlargements and improvements, have 
 tended to make this edifice " a medley of various ages;" to the different por- 
 tions of which it would be difficult, if not impossible, to assign accurate dates. 
 By examining and describing the Prints, we shall be able to understand these 
 characteristics. 
 
 Plate I. is a valuable ground plan of the church, with its series of 
 chapels, &c. ; the dimensions of which in French feet are thus stated by 
 Beziers : — Height of the central tower, 224 feet : of the two western ditto, 230 
 feet : length of the interior of the church, 296 feet : width of ditto, 76 feet : 
 height of ditto, 76 feet : length of the nave, 140 feet : width of the nave, 38 
 feet: ditto of side ailes, 17 feet: ditto of chapels, 15 feet; length of the 
 transepts, 113 feet: width of ditto, 33 feet: length of the choir, 118 feet: 
 width of ditto, 36 feet. Its measurements by the English scale may be 
 ascertained by the annexed plan. 
 
 The elevation of the west front shews an interesting portion of the edifice : 
 See Plates II. and III. The lower part of the front is occupied by a screen, 
 divided into five compartments, of the pointed style, all highly decorated. In 
 the centre is a large wide pointed arch, with a square-headed entrance 
 beneath ; on each side of which are other arches of the same style ; the door- 
 ways are but half the width of the arches which enclose them. These, 
 with the central arch, have their archivolts crowded with a multiplicity 
 of ornaments, and the walls above the transom of the door-ways are occu- 
 pied by historical sculptures. In the two exterior compartments the arches 
 are unpierced, and are flanked by a profusion of clustered columns : over 
 each of the four lateral arches are angular pediments, crocketed, the tym- 
 panums of which are pierced by a variety of quatrefoils, trefoils, and 
 other ornaments, within circular mouldings. Above the central arch is a 
 flat balustrade of quatrefoils, behind which rises a large pointed window, of 
 very rich tracery. Over this window is a row of statues of saints, placed in 
 niches, and arranged in pairs, the pediment terminating above each pair of 
 arches in a pyramidal canopy. The two flanking towers are bold and massy, 
 and present in the higher stories several varieties of the semi-circular arch. 
 On the northern one appears a very interesting specimen of the corbel table. 
 They are surmounted by spires of very ancient date, at the bases of which 
 
 i 
 
38 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 spring pinnacles of corresponding design. The northern tower, according to 
 tradition, was erected with the church ; the southern in 1424 : but this is 
 very improbable. 
 
 The exterior of the nave presents a specimen of the ornamented pointed 
 style, whilst the pointed architecture of the choir is elegant and simple. 
 An elevation of the exterior of one of the compartments is engraved in 
 Plates IV. and V., and will convey a clear idea of the execution of the whole 
 design: but even in this part there is a want of uniformity; some of the 
 windows are deeply imbedded in the walls, whilst others are nearly on a 
 level with the surface. The southern portal is bold and appropriate, though 
 not in the purest style. On each side of the door-way were originally three 
 statues, whose tabernacles remain, though the saints have been unniched. 
 Over the door is a bas-relief, containing numerous figures, disposed in three 
 compartments, and representing some legendary tale or events, which it is 
 not very easy to decipher. The cupola surmounting the low central tower is 
 totally at variance with every other part of the building. Mr. Dawson Turner 
 says that it was erected in 1714, at the expense of Bishop Francis de Nes- 
 mond ; and, as might be expected from a performance of that time, is rather of 
 Grecian than of Christian design, but a bad specimen of either. 
 
 The interior of the church consists of a nave, lateral ailes, and a tran- 
 sept, and a choir, with ailes and chapels. The six piers of the nave 
 are massy, and adorned with demi-pillars or shafts. The arches above 
 them are semi-circular, encircled with bands, composed chiefly of the 
 chevron moulding and diamonds ; but specimens occur of the square em- 
 battled, the lozenge, with acorns, the lotus, and leaves, occupying the tri- 
 angular interstices, and with other ornaments. On one of them is a curious 
 border of heads, with beards, and some with elongated and upright ears, 
 and some with crowns. These and other specimens of the decorative 
 mouldings may be seen in the Plate of details, marked IX. The wall 
 above the arches is adorned with a species of tessellated work cut in the 
 stone, of varied patterns, some interwoven, others reticulated : the lines 
 indented in the stones, as well as the joints which form the patterns, are 
 filled with a black cement, or mastich, so as to form, according to Mr. Turner, 
 a kind of niello. This may be seen in the Plate above referred to ; where 
 also the capitals of the pillars are shewn to be an imitation of the Grecian 
 Corinthian. In the nave there is no triforium, but a row of small arcades 
 runs immediately above the ornaments of the archivolts, bounding which 
 is a cornice of an antique pattern, which is surmounted by a light gallery 
 
CATHEDRAL OF BAYEAUX. 
 
 39 
 
 below the windows of the clerestory : the facade of this gallery consists of a 
 range of trefoil-headed arches, with trefoils in the spandrils, and immediately 
 under the corona is a range of quatrefoils, as may be seen in Plates IX., X., 
 and XI. The windows of the clerestory are, in the opinion of Mr. Turner, 
 the loftiest ever seen in a similar situation. The very tall arches that support 
 the central tower are likewise pointed ; as are those of the transept, the 
 choir, the side-ailes, and the chapels. Of the choir, an elevation of the 
 exterior and interior of one of the compartments may be seen in Plates IV. and 
 V., and a transverse section in Plates VI. and VII. The capitals of the 
 columns supporting the pointed arches, bear some resemblance to those of 
 the Norman pillars ; and the spandrils are adorned with circular ornaments, 
 possessing, according to a friend of Mr. Turner's, somewhat of the Moorish or 
 Tartarian character, being nearly in the style of those which are found in 
 the same situation in the Mogul mosques and tombs. Some are merely in 
 bas-relief: in others the central circles are deeply perforated, whilst the ribs 
 are composed of delicate tracery. The mezzanine story, or triforium, consists 
 of a series of pointed arches, each enclosing a smaller pair, under a larger 
 one occupying the whole width of the lower arch : the clustered pillars have 
 capitals, and the angles between the arches are occupied by trefoils, circles, 
 and other delicate ornaments. The spandrils of the arches are relieved by 
 circles with sculptured figures. Each of the three stories is separated from 
 one another by a cornice of foliage, of very elegant design and execution. 
 The stalls of the choir are beautifully executed in oak, and beneath them are 
 misereres, variously carved. Upon the roof of the choir are still to be seen 
 the portraits of the first twenty-one bishops of Bayeaux, each with his name. 
 The walls of the chapels of the choir were covered with large fresco paintings, 
 now nearly obliterated. Indeed, the whole of the cathedral at one time 
 displayed a profusion of works of art. It is generally stated, and with great 
 apparent truth, that the lady chapel is of a date much posterior to the rest of 
 the building, though we have no certain data of the time. The glazing of 
 the windows is of complicated patterns, a species of ornament introduced 
 about the time of Louis XIV. ; and Felibien, who has given several plates 
 of them in his Treatise on Architecture, observes, that this variety was 
 intended to supply the place of painted glass. 
 
 Beneath the choir is a subterraneous chapel, or crypt, dedicated to St. 
 Manvieu, of a similar character to that of the Holy Trinity, at Caen. The 
 sculpture of the capitals bears a resemblance to some which are seen in 
 similar situations in the Egyptian temples ; and the walls are covered with 
 
40 
 
 ARCHITECTURAL ANTIQUITIES OF NORMANDY. 
 
 paintings, probably of the fifteenth century; but those upon the springing 
 of the arches above the pillars appear considerably older. Over the only 
 window that gives light to this crypt, is preserved an inscription to the 
 memory of Bishop de Boissy. 
 
 The canons of this place once possessed the celebrated piece of needle- 
 work, now known as the Bayeaux Tapestry, but heretofore as the " Toile de 
 St. Jean." At present it is kept at the hotel of the prefecture, to whose 
 custody it was committed, after being unrolled and publicly exhibited by 
 Buonaparte. This interesting tapestry, the work of Queen Matilda, has been 
 amply illustrated in " the Archseologia," and " Vetusta Monumenta," of the 
 Society of Antiquaries. 
 
 Tower of the Church of St. Loup. 
 
 It is neither a very easy nor a pleasant task for a person to write accounts 
 of places he never saw, or of buildings to which he is a complete stranger. 
 I have felt this in a painful and mortifying manner during the composition 
 of the preceding essays. Nature has not qualified us to see with the eyes 
 of other persons, or fully enter into all their feelings, reasonings, and 
 impressions: yet the author who makes up his writings from his precursors, 
 must endeavour to ascertain and appreciate their meaning and intentions. 
 Historical works may be thus fairly and judiciously composed ; but not 
 those of a descriptive character. To elucidate the history and define the 
 architecture of the Tower at St. Loup, I sought in vain for evidence ; and 
 the only account I have been able to find is contained in the following 
 words: — "The little church of St. Loup is a perfect Gothic toy of the 
 twelfth century, — with the prettiest, best-proportioned tower that can be 
 imagined. It has a few slight clustered columns at the four angles, but its 
 height and breadth are truly pigmy. The stone is of a whitish gray. We 
 did not enter; and with difficulty could trace our way to examine the 
 exterior through the high grass of the churchyard, yet laid with the heavy 
 rain. What a gem would the pencil of Blore make of this tiny, ancient, 
 interesting edifice !"* With this extract, and the annexed Print, the reader 
 may make his own conclusions. 
 
 * " Bibliographical, Antiquarian, and Picturesque Tour," by the Rev. T. F. Dibdin, vol. i. p. 360. 
 
 FINIS. 
 
 LONDON : 
 1. MOVES, TOOK'S COURT, CHANCERY LAN E. 
 
Architectural AnttauttteS 
 
 OF 
 
 A LIST OF THE SUBJECTS AND PLATES CONTAINED IN THIS WORK, WITH THE DATES 
 OF THE BUILDINGS, ARRANGED IN NEARLY A CHRONOLOGICAL SERIES, ACCORD- 
 ING TO THE TESTIMONIES OF DIFFERENT AUTHORS. 
 
 The Figures, from 1 to 80, mark the Numerical Arrangement of the Plates, for binding, Sf-c. 
 
 1. Engraved Title — Church of Grand Maladrerie, near 
 
 Caen — Window, Details: — about 1060 
 
 CAEN — Church of the Holy Trinity — L'Abbaye aux Dames 1066 
 
 2. Elevation and Section of Entrance Gateway. 
 
 3. Nave, Interior Elevation of a Compartment. — Section 
 
 and Details. 
 
 4 Perspective View of the Interior. 
 
 5. Crypt beneath the East end of the Choir. — Plan and 
 
 Two Sections. 
 
 6. Capitals and Bases from the same Church. 
 
 Church of St. Stephen — L'Abbaye aux Hommes 1077 
 
 7. Ground Plan of the Church. 
 
 8. Perspective View of the West Front. 
 
 9. Nave, Exterior Elevation, Transverse Section, and Plan 
 
 of Compartment. 
 
 10. Ditto — Interior Elevation of Two Compartments. 
 H. Perspective View — Interior. 
 
 12. Sacristy — Longitudinal Section. "1 Upper Part, 
 
 13. Transverse Section and Plan, j about 1200. 
 
 14. Choir — Elevation, Exterior and Interior, and Section 
 
 of one Compartment, about 1180. 
 
 15. 16. Apsis — Elevation, Section, and Plans, one Compart- 
 
 ment. 
 
 17. Architectural Details, Elevations and Sections. 
 
2 
 
 CAEN — Church of St. Nicholas 1070 
 
 18. Apsis — Exterior Elevation, and Section looking to 
 
 South. 
 
 19. Section at the East — Plan and Details. 
 
 Than Church 1060 
 
 20. South Elevation, Plan and Details. 
 
 21. Elevation, East and West Ends, and Details. 
 
 22. Plan, Elevation, and Section of Tower. 
 
 Church of St. Loup, near Bayeux 1060 
 
 23. Tower of the Church, Elevation, Plans, &c. 
 
 BAYEUX— Cathedral at 1100tol300 
 
 24. Ground Plan. 
 
 25. 26. Elevation of the West Front. 
 
 27, 28. Choir, Elevation, Interior and Exterior, with Crypt. 
 
 29, 30. Transverse Section, looking West, of half of the 
 
 Choir, two Ailes, Crypt, and Plan. 
 
 31. View of the Interior from the West. 
 
 32, 33. Nave, Compartments of — Section, Elevations, &c. 
 
 34. Details of. 
 
 CAEN — Church of St. Peter 1260 
 
 35, 36. Tower and Spire — Elevation, Section, and Plans. 
 
 37. Ducal Palace at — Elevation and Section, with Plan 1260 
 
 ROUEN — Church of St. Ouen 1340 
 
 38. Ground Plan of the whole Building. 
 
 39. Nave — Interior, Perspective View, looking East. 
 
 40. One Compartment — Elevation and Transverse 
 
 Section, with Aile. 
 
 41. Doorway on the South Side — Elevation and Section. 
 
 42. Circular Window, West Front — Elevation. 
 
 43. One quarter of the same, at large. 
 
 Church of St. Vincent. 
 
 44. West Porch, Plan and Section. 
 
 45. — Elevation and Details. 
 
3 
 
 ROUEN— Nunnery of St. Clair. 
 ^46. Gateway, Elevation, Section, &c. 
 
 Fountain de la Crosse. 
 
 47. Elevation, Plan, &c. between 1422— 1461 
 
 / 48 Stone Cross and Turret — Elevations and Plans . . 1500 
 
 Palais de Justice 1500 
 
 49. Turret on the North Side — Elevation, Plan, and 
 
 Details. 
 
 50. Compartment of South Front — Elevation, Section, 
 
 and Details. 
 
 S 51. Window, North End of Hall — Elevation, Section, and 
 
 Details. 
 
 52. Ground Plan, Elevation of South Side, and Section of 
 
 Salle des Procureurs. 
 
 53. View of the Interior of Court. 
 
 54. Staircase, S. E. Angle, Salle des Procureurs and Niche 
 
 in Ditto. 
 
 Turreton the North Side — Elevation and Plans — Part of a Plate. 
 
 . Hotel de Bourgtheroulde 1500 
 
 55. Front Elevation, Section, &c. 
 
 56. Elevation, Parts at large, and Details. 
 
 L'Abbaye St. Amand 1500 
 
 57. Building on the N. side of a Court — Exterior Elevation 
 
 and Compartments at large. 
 
 s/ 58. Chimney Piece — Elevation and parts at large. 
 
 Cathedral Notre Dame 1500 
 
 59. Staircase, Elevation. 
 
 60. Plan, Section, and Details. 
 
 61. Doorway on the North Side of the Cloisters — Elevation 
 
 and Section. 
 
 62. Gateway in the Cour des Libraires — Elevation, Sec- 
 
 tion, and Details. 
 
 VAUCELLES — Church of St. Michael 1380 
 
 63. Elevation, Section, and Details of the North Porch. 
 
4 
 
 CAUDEBECK— Church of 
 
 64. Sacristy, Compartment — Elevation, Section, and 
 
 Details of. 
 
 65. Plan, Section of Roof, &c. of Lady Chapel. 
 
 ROUEN — Archbishop's Palace. 
 
 66. Two Turret Staircases — Elevations, Sections, and Plans. 
 
 Church of St. Maclou. 
 
 67. Stone Staircase to Organ Loft — Elevation, Section, 
 
 and Plans. 
 
 Two Wooden Doors. 
 
 68. 1. Cour des Libraires — 2. St. Andre Church. 
 
 69. CAEN. — Three Wooden Doors. 
 
 1. Notre Dame— 2. St. Peter's, and 3. St. Stephen's. 
 
 70. DIEPPE — Church of St. Jacques — Stone Screen — Elevation 
 
 and Section 1350 
 
 Chateau Fontaine Le Henri, near CAEN 1500 
 
 71. View of the West Front. 
 
 72. Window on the Ground Floor of Tower. 
 
 73. Upper Part of Tower. 
 
 74. Six Specimens of String Courses, from the Church of St. Ouen, Rouen — Palais de 
 
 Justice — St. Nicholas Church, &c. 
 
 75. Four Specimens of Parapets, from St. John's Church, Caen, and Cathedral, Bayeux. 
 
 76. Architectural Details — Elevations and Sections — Church of St. Ouen, Rouen, and 
 
 Chateau Fontaine Le Henri. 
 
 77. 78. Seven Specimens of Stained Glass — Church of St. Ouen, &c. Rouen. 
 79, 80. Ten do. do. do. 
 
 LONDON: 
 
 PRINTED BY JAMES MOVES, TOOK'S COURT, CHANCERY LANE* 
 
V 
 
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 CRYPT TENDER THE CHURCH OF ABBAYE ADX DAME S :_CAENV 
 Wl langitnamal Section _JI?2 Transvrrse D?_U?3 Plan of Soffits, _3TM.rian col above the Bases 
 
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ECCLESIASTICAL Aii.CHiTECTUiU5 . 
 
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Style 1. no1 ECCLESIASTICAL ARCHITECTURE. . H.fll. 
 
 N*L Elevation of a. compartment of Nave . IT 2 Transverse Section . D? N* 3 . Flan of 2 compartments of Nave & Ailes 
 CHURCH: — ABBAYE AUX H'OMMES, CAEN . 
 
 London, hdAU.rhad.Jun£. 1 JSZS by J. Britten. Burton, Strao 
 
ECCLESIASTICAL ARCHITECTURE. 
 
 PLJU. 
 
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 Church l'abbaye adx Hommes, - Caen. 
 
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ECCLESIASTICAL ARCHITECTURE. PL. III. 
 
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[StyleV] - DOMESTIC ARCHITECTURE. PI. W. 
 
 Drawn & Measured VyAPugin 1824. Engraved by J Le Kmx 
 
 NT. Elevation N°2 Section &: Details of the South front. 
 
 PALAIS DE JUSTICE- ROUEN 
 
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M«inirr4 k Brjmi br AP>M(in. 1JB24. • Kn|ivm<il bv JU.i- Km«. 
 
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( Style V) DOMESTIC ARCHITECTURE . HI 
 
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 HOTEL DE BOURGTIIEROULDE. PLACE DE IAPUCELLE. D'ORLEANS_ROUEN. 
 
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ECCLESIASTICAL ARCHITECTURE . 
 
 CHURCH OF CAUDEBECK 
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DOMESTIC ARCHITECTURE. 
 
ECCLESIASTICAL ARCHITECTURE 
 
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 CHATEAU FONTAINE LE HENRT NEAR CAEN. 
 
 Upper Part of Towvr Wert Front . 
 
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