thern peltry." In the Chapel of the Virgin in the north
transept, the left hand window of the three over the altar depicts the
life of St. Fiacre and St. Firmin, and was put up in 1540 in the days
when Pierre Deforestier was in office, and Francois Baudoin was
prevot. Of the three you see when looking due north, the farthest to
the right in the transept was placed there in 1583, "a l'honneur du
grand roy des roys de St. Louis roy de France;" the middle window
shows St. Eustace suffering martyrdom in the brazen bull which is
being heated red hot, while above St. Hubert meets his miraculous
stag. The farthest window to the left is dated 1538; it is the best,
and Jean Cousin has been suggested as its designer. The donor prays in
the right hand corner, and his wife with a daughter behind her is in
the left. A well-drawn figure of an angel announces his message to the
Blessed Virgin who is reading, and in the middle of the composition,
near the bottom, lies a corpse in a winding-sheet.

The large window at the extreme end of the north aisle is also very
fine. At the top is a woman in a car triumphing. Below, on the left,
are Adam and Eve. Next to them is the Devil, and Death, whose swarthy
skin is wrapped in a winding-sheet that seems to belly in the blasts
of Hell. The story of Job that is painted in the first window on the
left in the north aisle, also came from old St. Godard. And all this
wealth of stained glass is shown off wonderfully well in a church
that is not too large to lose its full effect, and is planned with
only a few light columns in the interior to impede the view of all of
them from the centre of the nave.

To three other of the many ecclesiastical buildings of Rouen can I
direct you before closing this Chapter of Churches with the Cathedral
that is mother of them all: St. Eloi, St. Vivien, and the Abbaye de
St. Amand. As you walk northwards from the river into the town up the
Rue St. Eloi, the church from which it takes its name shows a fine
south door that closes the perspective of the street. The design of
the west entrance is bold and good, but the queerly mathematical plan
of the Rose window above it, with its three triangles crossing in the
circle, has not a very happy effect. The church now is little but the
ruins of what was once a magnificent building and is used as the
"Protestant Temple." The whole of the Place St. Eloi is worthy of a
closer inspection than can be gained by merely walking throu