f the deceased--let us
fancy we hear the sound of the GREAT BELL from the south-west tower ...
called the _Amboise Tower_ ... erected, both the bell and the tower, by the
uncle and minister AMBOISE. Know, my dear friend, that there was _once_ a
bell, (and the largest in Europe, save one) which used to send forth its
sound, for three successive centuries, from the said tower. This bell was
broken about thirty years ago, and destroyed in the ravages of the
immediately succeeding years.[48] The south-west tower remains, and the
upper part of the central tower, with the whole of the lofty wooden
spire:--the fruits of the liberality of the excellent men of whom such
honourable mention has been made. Considering that this spire is very
lofty, and composed of wood, _it is surprising that it has not been
destroyed by tempest, or by lightning_.[49] The taste of it is rather
capricious than beautiful.

I have not yet done with the monuments, or rather have only commenced the
account of them.[50] Examine yonder recumbent figure, to the left of the
altar, opposite the splendid monument upon which I have just been dilating.
It is lying upon its back, with a ghastly expression of countenance,
representing the moment when the last breath has escaped from the body. It
is the figure of the Grand SENESCHAL DE BREZE,[51]--Governor of Rouen, and
husband of the celebrated DIANE DE POICTIERS--that thus claims our
attention. This figure is quite naked, lying upon its back, with the right
hand placed on the stomach, but in an action which indicates _life_--and
therefore it is in bad taste, as far as truth is concerned; for the head
being fallen back, much shrunken, and with a ghastly expression of
countenance--indicating that some time has elapsed since it breathed its
last--the hand could not rest in this position. The cenotaph is of black
marble, disfigured by the names of idle visitors who choose to leave such
impertinent memorials behind. The famous GOUJON is supposed to be the
sculptor of the figure, which is painfully clever, but it strikes me as
being too small. At any rate, the arms and body seem to be too strong and
fleshy for the shrunken and death-stricken expression of the countenance.
Above the Seneschal, thus prostrate and lifeless, there is another and a
very clever representation of him, on a smaller scale, on horseback.

On each side of this figure (which has not escaped serious injury) are two
females in white marble; one rep