revolution, together with two
inscriptions. One of them, which detailed his honors, with the addition
that he died July twenty-third, 1531, has recently been recovered by the
care of M. Riaux, and is restored to its place. The other inscription
and the effigy, it is feared, are irrevocably lost. An equestrian statue
in the upper part of the monument was suffered to remain, and, as a
record of the military costume of the sixteenth century, I annex a
sketch of it. The armorial hearings upon the horse and armor are nearly
obliterated.--The pile is surmounted a figure of Temperance; the bridle
in whose mouth shews how absurd is allegory, when "submitted to the
faithful eye."

[Illustration: Equestrian Figure of the Seneschal de Breze, in Rouen Cathedral]

Lenoir, who, in his work on the _Musee des Monumens Francais_, has
treated much at large of the history of Diana of Poitiers, and has
figured her own beautiful mausoleum, which he had the merit of rescuing
from destruction, pronounces[87] this monument to be from the hand of
Jean Cousin, one of the most able sculptors of the French school.

Over the altar in the Lady-Chapel is the only good painting in the
cathedral, the _Adoration of the Shepherds_, by Philip de Champagne, a
solid, well-colored, and well-grouped picture. Two cherubs in the air
are excellently conceived and drawn: the whole is lighted from the
infant Christ in the cradle, a _concetto_, which has been almost
universally adopted, since the time when Corregio painted his celebrated
_Notte_, now at Dresden.

There is no great quantity of painted glass in the church, but much of
it is of good quality. The windows of the choir, on either side of the
Lady-Chapel, are as rich as a profusion of brilliant colors can make
them; but the figures are so small, and so crowded, that the subjects
cannot be traced. They are said to be the work of the thirteenth
century. The painted windows in St. Stephen's chapel, of the sixteenth
century, are generally considered the best in the cathedral. I own,
however, that I should give the preference to those in the chapel of
St. Romain, in the south transept. One of them is filled with
allegorical representations of the virtues of the archbishop; another
with his miracles: every part is distinct and clear, and executed with
great force and great minuteness. The vestments of the saint have all
the delicacy of miniature-painting.

The library of the cathedral, formerly one of the