Rouen, Its History and Monuments | Page 8

end of the recumbent figure, are two statues of women in alabaster. Diana of Poitiers in the dress of a widow, with her arms crossed, is kneeling at the head. At the feet, is that of the virgin holding the infant Jesus: it was according to general opinion, of the time of Pommeraye, who speaks of paintings, figures, tapers and chaplets suspended round the latter statue. There were two inscriptions, one in prose, the other in verse. Both were erased at the revolution, but they have been replaced since; the following is a copy of the prose one:
Loys de Bresz��, en son vivant cheualier de l'ordre, premier Chambellan du Roy, grand Seneschal, Lieutenant-g��n��ral et gouverneur pour le dict Sieur, en ses pays et duch�� de Normendie, Capitaine de cent gentile hommes de la maison du dict sieur et de cent hommes d'armes de ses ordonnances, Capitaine de Rouen et de Caen, Comte de Maul��urier, Baron de Mauny et du Bec-Crespin, Seigneur Chastellain de Nugent-le-Roy, Ennet, Br��val et Monchauvet. Apr��s avoir vescu par le cours de nature en ce monde en vertu, jusques �� l'��ge de LXXII ans, la mort l'a faiet mettre en ce tombeau pour retourner viure perp��luellement. Lequel d��c��da le dymence XXIIIe jour de juillet de mil vre trente ung. 1531.
A third inscription, which probably had not been perceived in 1793, is seen at the upper corner of the left side:
Hoc Lodoice tibi posuit Brezoee sepulchrum, Pictonis amisso moesta Diana viro. Indivulsa libi quondam et fidissima conjux, Ut fuit in thalamo, sie erit in tumulo[7].
Some witty people have remarked that the duchess of Valentinois spoke truly, and that she was as faithful in one case as in the other.
Above the entablature, the equestrian statue, of the senechal, in white marble is placed. On each side of the arcade, which contains this statue, are four cariatides crowned with flowers, and representing: the two to the right, prudence and glory; those to the left, victory and faith. On the frieze, under some figures bearing festoons, we find this motto: tant grate chevre que mal giste. The coping is an attic forming a niche, in which is placed an alabaster statue; it holds a sword and represents power, according to some, justice and prudence, according to others.
In the frieze above the figure is the following inscription: In virtute tabernaculum ejus. The cornice is terminated by two goats supporting the armorials of the senechal. The whole of the frieze is of alabaster, while the architrave and cornice are of black marble. This mausoleum, which is one of the most remarkable productions of the arts, under Francis Ist, is attributed to Jean Cousin, or to a sculptor not less celebrated, Jean Goujon.
The monument of the cardinals of Amboise, which is more splendid, but not of so pure a style, decorates the right side of the chapel: it is placed in the thickness of the wall. After working for seven years without interruption, it was at last completely finished in 1525, under the archbishop d'Amboise, the second of the name: we say archbishop, because at that time the prelate had not been invested with the roman purple. The bodies of these two cardinals are not deposited in this monument; they are interred in a vault at the foot of it and which is only large enough to contain the two leaden coffins, which are supported on iron bars. The sepulchre was violated during the revolution, and the coffins carried off. On the lower part of the monument, are six beautiful little statues, in niches separated by pilasters, representing faith, charity, prudence, power, justice and temperance. All these statues are of white marble. On the tomb, which is of black marble, the two cardinals George d'Amboise uncle and nephew are placed. They are kneeling on cushions; their heads uncovered and their hands joined. The expression of prayer and piety is perfect in the two figures, especially in that of George d'Amboise Ist. At their feet and on the front of the cenotaph, we find the following inscription, in a single line, which only concerns the cardinal-minister:
Pastor eram cleri, populi pater, avrea sese Lilia subdebant quercus[8] et ipsa michi. Mortoos en iaceo, morte extingovinior honores; At virtus, morte nescia, morte viret.
On the ground of the monument is a bas-relief representing the patron of the two prelates (saint George) overcoming the dragon; On the sides, are eight different figures, amongst which we discover the virgin, several saints and more particularly Saint-Romain, archbishop of Rouen during the first half of the VIIth century. A voussure ornamented with sculptures, as remarkable for their good taste as for the richness of their ornaments, supports an attic, where we find the statues of the twelve apostles, two and two, in elegant niches separated by pilasters.
These two monuments are not only remarkable