We are treading in the ‘footsteps of the Conqueror’ at Caen, but its busy inhabitants have little time for historic memories; they will jostle us in the market-place, and in the principal streets they will be seen rushing about as if ‘on change,’ or hurrying to ’catch the train for Paris,’ like the rest of the world.  A few only have eyes of love and admiration for the noble spire of the church of St. Pierre, which rises above the old houses and the market-place, with even a grander effect than any that the artist has been able to render in the illustration.  ‘St. Pierre, St. Pierre,’ are the first and last words we heard of Caen; the first time, when—­approaching it one summer’s morning from Dives, by the banks of the Orne—­the driver of our caleche pointed to its summit with the pride of a Savoy peasant, shewing the traveller the highest peak of Monte Rosa; and the last, when Caen was en fete, and all the world flocked to hear a great preacher from Paris, and the best singers in Calvados.

Built in the thirteenth and fourteenth centuries, in the best period of Gothic art in Normandy, its beautiful proportions and grace of line (especially when seen from the north side) have been the admiration of ages of architects and the occasion of many a special pilgrimage in our own day.  Pugin has sketched its western facade and its ‘lancet windows;’ and Prout has given us drawings of the spire, ’percee au jour’—­perforated with such mathematical accuracy that, as we approach the tower, there is always one, or more, opening in view—­as one star disappears, another shines out, as in the cathedral at Bourgos in Spain.

[Illustration:  TOWER OF ST PIERRE.  CAEN.]

In the interior, the nave is chiefly remarkable for its proportions; but the choir is richly ornamented in the style of the renaissance.[15] It has been restored at different periods, but, as usual in France, the whole interior has been coloured or whitewashed, so that it is difficult to detect the old work from the new.  The sculptured pendants and the decorations of the aisles will attract us by their boldness and originality, and the curious legends in stone on the capitals of the pillars, of ‘Alexander and his Mistress,’ of ’Launcelot crossing the Sea on his Sword,’ and of ‘St. Paul being lowered in a Basket,’ may take our attention a little too much from the carving in the chapels; but when we have examined them all, we shall probably remember St. Pierre best as Prout and Pugin have shewn it to us, and care for it most (as do the inhabitants of Caen) for its beautiful exterior.[16]

We should mention a handsome carved oak pulpit in the style of the fifteenth century, which has lately been erected; it is an ornament to the church in spite of its new and temporary appearance—­taking away from the cold effect of the interior, and relieving the monotony of its aisles.  The people of Caen are indebted to M. V. Hugot, cure of St. Pierre, for this pulpit.  ‘A mon arrivee dans la paroisse,’ he says (in a little pamphlet sold in the church), ’un des premiers objets qui durent appeler mes soins c’etait le retablissement d’une chaire a precher.’  The pulpit and staircase are elaborately carved and decorated with statuettes, bas-reliefs, &c., which the pamphlet describes at length, ending with the information that it is not yet paid for.