In this sketch we will chiefly turn our attention to the church of St.
Ouen, although we will also take a peep into the Cathedral and into St.
Maclou. We will defer until our sixteenth century tours a fuller comment
upon this city (see page 249), because any one who has studied the
subject, even in the most cursory way, knows that he must go to Rouen
for Renaissance glass. Although the splendid windows of its numerous
churches bear witness to what that later period did for our art, it is
nevertheless entirely proper that we should come here at this time, if
only for a preliminary visit, because the study of fourteenth century
glass cannot be satisfactorily concluded without viewing the splendidly
complete exhibition of it in the church of St. Ouen. Here we shall see
for ourselves why Rouen glass was then so highly esteemed, not only in
France, but also across the Channel. We referred before to the fact that
after Exeter Cathedral had in 1302-4 purchased glass for its windows and
it became necessary in 1317 to procure another large quantity, it was to
Rouen that they sent for it, a significant tribute to the skill and
repute of the Rouen craftsmen. Ample witness to the causes for the
Englishmen's admiration is afforded by the justly famous fourteenth
century glazing of St. Ouen. It is best to approach and enter it by the
south portal, for, although a very graceful and symmetrical Gothic
edifice, the west front is unfortunately of a much later period than the
rest of the structure, and is noticeably lacking in lightness and
beauty. Notwithstanding nearly all the windows are glazed in colour, the
brilliancy of the lighting strikes us as soon as we step inside and is
especially noticeable if we have but freshly come from the inspection of
interiors whose light has been dimmed by thirteenth century glass. It is
evident that the St. Ouen windows were glazed at a moment when the
reaction from the sombre beauties of the thirteenth century was at its
height. Undoubtedly strict injunctions were laid upon the designer of
the glass that he should so complete his task as to leave the church
well lighted. In complying with his instructions he not only has used a
great deal of white glass, but also has availed himself of the lighter
tones of such colours as his pictures required. Nowhere else will we
find so complete a series of patriarchs, saints, apostles, bishops and
abbots. They are strung out around us on every side and provide a wealth
of material for investigation. Perhaps one might wish that they had been
depicted in stronger hues, especially as they range about the clerestory
on a white background, with white glass in the triforium windows below
them. On the other hand there is a possibility that if the colours had
been stronger, the contrast between them and the background might have
proved disagreeable. In passing it is interesting to note that all the
abbots are arrayed in blue robes, but in accordance with the scheme of
colour just mentioned, the blue is very light in tint. Below, in the
choir, and around the transepts, we find canopy windows, but there, too,
their effectiveness is lessened by too many panels of white. In the nave
the large figures in the windows of the upper range have much more
colour than those in the lower, and the inscription below each is in
such bold lettering as to permit of each letter being separately leaded
in. The north transept contains a fine rose window, but, unfortunately,
in accordance with the conventions of that epoch, the figures radiate
from the centre like slices in a pie. The result is a wheel effect and
not that of a great blossoming rose. The glass, not only in this rose
but also in the one of the south transept, is sixteenth century and will
be described later. The regularity and completeness of the architecture
of this church is accentuated by the long series of personages that
decorate its windows. It is but natural that there results the
symmetrical beauty which always follows the consistent carrying into
effect of a well-thought-out plan. The desire of the architect for a
well-lighted interior has also been everywhere carefully observed.
As a whole, the effect of the windows must undoubtedly be admired, but
on the other hand, if we were to be denied the warmth that a little
additional colour would have given, we ought at least to have found as a
compensation that soft silvery light which the best glass of this period
affords, but which is here rendered impossible by the excessive use of
white panes.
The Cathedral's fourteenth century glass, while not presenting the
splendid ensemble that one sees at St. Ouen, is nevertheless not only
instructive in its variety, but is also so placed as to exhibit itself
to the greatest advantage. It is to be found in the Lady Chapel, the
choir clerestory, the north transept, and the north nave aisle. The two
large windows on each side of the Lady Chapel are so wide as to permit
of four lancets in each. The treatment is the same throughout: a broad
coloured border encloses a grisaille field, across the middle third of
which is a coloured figure under a canopy, which of course has not yet
acquired a pedestal. Evidence of careful attention to detail is seen in
the borders, which are not only very elaborate, but are also enlivened
in one case by a number of little green birds, in another by brown
squirrels, and in a third by white angels playing musical instruments.
This feature is but rarely met. The modern glass in the three easterly
windows is rendered harmless by the height of the altar rising in front
of them. Broad coloured borders are also found around the clerestory,
but there each enclosed surface of grisaille has to rely for its
adornment upon five round blue bosses surcharged with golden sunbursts.
The three easternmost panels, however, bear large coloured figures, the
central one being Christ on the Cross. The rose in the north transept is
of the wheel type, and is too pale, because of the excessive use of
colourless glass, especially in the radiating arms. At the end of each
arm and also at other points are introduced medallions of mosaic
pattern. The light is admitted in accordance with the conventions, but
the contrast is too great between the plain and the mosaic panes. This
same contrast is even more unpleasant in the chapel just at the junction
of this transept and the choir ambulatory where a few mosaic medallions
are frankly placed on a light field, without even the plausible excuse
therefor which is afforded in the rose above by certain round apertures
especially suited for medallions. The artist is evidently still groping
for a satisfactory adjustment of his design and colour to the demand for
light. This period is also exemplified, although in a different way, in
the second, fifth, sixth and eighth windows in the north nave aisle.
There, across the lower part of the light quarries in each of the four
lancets, is placed a coloured figure behind whom hangs a curtain of
contrasting colour, but entirely lacking canopy framing; each lancet is
surrounded by a gay border. This treatment is not so pleasing as that
just observed in the Lady Chapel, for the nave figures lack the finished
appearance there lent by the canopy framing. The small curtain is better
than no background at all, but we are still evidently in transition.
Of the fifteenth century glass in the cathedral, but little can be said;
that in the south transept rose is good, while the chapel leading from
that transept to the choir ambulatory contains two lofty-pinnacled
canopy windows that would be excellent if they were not marred by their
upper panes being filled in with disjointed fragments of thirteenth
century medallions.
At St. Maclou (see page 251) ten out of the twelve windows in the
semi-circle of four chapels at the east end of the choir contain a
softly lovely set of fifteenth century canopies whose lofty and
intricate pinnacles are delicately outlined against backgrounds of
lilac, blue, green, etc., always in the lighter shades. The lower parts
of these windows have not fared so well as the upper portions, but they
have not been damaged enough to detract from the general effect. So
light are most of the tones used, that one fears the ensemble will
appear too pale when viewed from the proper distance; but such is not
the case, thanks to the admirable harmony between the soft colours and
the dainty canopies.
An occasional fifteenth century panel is to be met with elsewhere in
Rouen (_i.e._, the westernmost in the north wall at St. Vincent), but
they are neither sufficiently numerous nor noteworthy to be cited here.
We shall carry away as our chief souvenirs of this preliminary visit to
Rouen, memories of the complete glazing of St. Ouen, the varied
exhibition of contemporary transitional types found at the Cathedral,
and St. Maclou's delicately tinted half-circle of eastern chapels.