have had similar ornaments; but upon one of them, at about mid-height, serving as a corbel to a truncated column, is a head of our Saviour, and, on the opposite pillar, one of the Virgin:  the former is of a remarkably fine antique character.  The capitals of the pillars in this part of the church were all gilt, and the spandrils of the arches painted with angels, now nearly effaced.  The high altar is of grey marble, relieved, by a scarlet curtain behind, the effect of which is simple, singular, and good.  Round the choir is a row of chapels, which are wholly wanting to the nave.  The walls of these chapels have also been covered with fresco paintings; some with figures, others with foliage.  The chapels contain many grave-stones displaying indented outlines of figures under canopies, and in other respects ornamented; but neglected, and greatly obliterated, and hastening fast to ruin.  It is curious to see the heads and hands, and, in one instance, the crosier of a prelate, inlaid with white or grey marble; as if the parts of most importance were purposely made of the most perishable materials.  I was much interested by observing, that many of these memorials are almost the exact counterparts of some of our richest English sepulchral brasses, and particularly of the two which are perhaps unrivalled, at Lynn[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.