Summary

Dawson Turner Account of a Tour in Normandy, Volume 1

The triple tiers of windows seem to have absorbed the solid wall-work of the building. Balustrades of varied quatrefoils run round the aisles 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-lys. The 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.
Source: Gutenberg

Dawson Turner Account of a Tour in Normandy, Volume 1

But, if I may borrow the pun of which old Peter Heylin is guilty when, describing Paris, Rouen is still a strong city, "for it taketh you by the nose." The filth is extreme; villainous smells overcome you in every quarter, and from every quarter. The streets are gloomy, narrow, and crooked, and the houses at once mean and lofty. Even on the quay, where all the activity of commerce is visible, and where the outward signs of opulence might be expected, there is nothing to fulfil the expectation.
Source: Gutenberg

Dawson Turner Account of a Tour in Normandy, Volume 1

On the north side of the chapel is entombed the Duke of Brezé, once Grand Seneschal of Normandy; his tomb is chaste and simple, forming a pleasing contrast to the elaborate memorial of the cardinals. The statue of the seneschal himself, represented stretched as a corpse, upon a black marble sarcophagus, is admirable for its execution. The rigid expression of death is visible, not only in the countenance, but extends through every limb. Diana of Poitiers, a beauty who enjoys more celebrity than good fame, erected the monument
Source: Gutenberg

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