On gazing at this splendid monument of ancient piety and liberality—­and with one’s mind deeply intent upon the characters of 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 representing the VIRGIN, and the other DIANE DE POICTIERS:[52] they are little more than half the size of life.  The whole is in the very best style of the sculpture of the time of Francis I. These precious specimens of art, as well as several other similar remains, were carried away during the revolution, to a place of safety.  The choir is spacious, and well adapted