95].--How I wished that you, who so delight
in these remains, and to whom we are indebted for the elucidation of
those of Norfolk, had been with me, while I was trying to trace the
resemblance; and particularly while I pored over the stone in the chapel
of Saint Agnes, that commemorates Alexander Berneval, the master-mason
of the building!

[Illustration: Head of Christ, in the Church of St. Ouen, at Rouen, seen in profile]
[Illustration: Head of Christ, in the Church of St. Ouen, at Rouen, seen in front]

According to tradition, it was this same Alexander Berneval who executed
the beautiful circular window in the southern transept. But being
rivalled by his apprentice, who produced a more exquisite specimen of
masonry in the northern transept, he murdered his luckless pupil. The
crime he expiated with his own life; but the monks of the abbey,
grateful for his labors, requested that his body might be entombed in
their church; and on the stone that covers his remains, they caused him
to be represented at full length, holding the window in his hand.

These large circular windows, sometimes known by the name of rose
windows, and sometimes of marigold windows, are a strong characteristic
feature of French ecclesiastical architecture. Few among the cathedrals
or the great conventual churches, in this country, are without them. In
our own they are seldom found: in no one of our cathedrals, excepting
Exeter only, are they in the western front; and, though occasionally in
the transepts, as at Canterbury, Chichester, Litchfield, Westminster,
Lincoln and York, they are comparatively of small size with little
variety of pattern. In St. Ouen, they are more than commonly beautiful.
The northern one, the cause of death to the poor apprentice, exhibits in
its centre the produced pentagon, or combination of triangles sometimes
called the pentalpha.--The painted glass which fills the rose windows is
gorgeous in its coloring, and gives the most splendid effect. The church
preserves the whole of its original glazing. Each inter-mullion contains
one whole-length figure, standing upon a diapered ground, good in
design, though the artist seems to have avoided the employment of
brilliant hues. The sober light harmonizes with the grey unsullied
stone-work, and gives a most pleasing unity of tint to the receding
arches.

Among the pictures, the-best are, the _Cardinal of Bologna opening the
Holy Gate, instead of the Pope_, in the nave; and _