rches, so conveniently and accessibly placed that the veriest tyro in
travel can but come upon them whichever way he strolls. Other monuments
of equal rank there are, too, and altogether, whether it be the mere
hurried pecking of a bird of passage, or the more leisurely attack of
the studiously inclined, Rouen offers perhaps much greater attractions
than are possessed by any other French city of equal rank.

So closely, too, have certain events of English history been interwoven
with scenes and incidents which have taken place here, that the wonder
is that it is not known even more intimately by that huge number of
persons who annually rush across France to Switzerland or Italy.

Chroniclers of the city's history, its churches, and its institutions
have not been wanting, in either French or English; and even the
guide-books enlarge (not unduly) upon its varied charms. Once possessing
thirty-two churches, sixteen yet remain; quite one-half of which may be
numbered to-day as of appealing interest. _En passant_, it may be stated
that here at Rouen, in both Notre Dame and the Abbey Church of St. Ouen,
is found that gorgeous functionary, commonly called "the Suisse," who
seeks your gold or a portion thereof, in return for which he will favour
you by opening an iron wicket into the choir, an incumbrance unnoticed
elsewhere, except at Paris and St. Denis.

The late Gothic church of St. Ouen, where the Maid of Orleans received
her fatal sentence, shows a wonderful unity of design even as to its
modern western towers; a consistency not equally the possession of the
neighbouring cathedral, or even of most great churches. Altogether, this
grand building is regarded as an unparallelled example of the
realization of much that is best of Gothic architecture at its greatest
height. In its central tower alone--which may or may not be suggestive
of a market-basket, accordingly as you will take Ruskin's opinion, or
form one of your own--is the least evidence of the developed flamboyant
found. Its interior is clean-cut and free of obstruction; the extreme
length of its straight lines, both horizontal and perpendicular,
entirely freed from chapel or choir screen, embrace and uphold its
"walls of glass" in an unequalled manner.

In strong contrast to this expressively graceful style is the
ultraflorid type of St. Maclou, the other of that trinity of
architectural splendours, which, with the Cathedral of Notre Dame, form
the chief ecclesi