As the sun sets slowly and the shadows gather, this aged sepulchre of the dead of Rouen gradually gives up its secrets, and the ancient city of past centuries reappears to the grating of the rebec of the "Danse Macabre." The broad boulevards of the morning sink into the soil, and in their place there gapes a mighty moat with massive buttresses above it. The Seine of yesterday grows wider, pushing the Quais back to the foot of the town walls, and above his youthful waters slope the rounded arches built by the Empress Matilda, wife of Geoffrey Plantagenet. The streets and houses shrink into a narrower limit, bounded by a line of bastions, with crenelated towers at intervals, and eight gates each with its watch-tower and drawbridge and portcullis.
Above the battlemented walls, the airy spires and mighty pyramids of the City of Churches rise from thirty-five parishes, and from four and thirty monasteries. Three donjon keeps dominate the town. Upon the St. Catherine's Mount a fortress holds the hill, and above it rise the towers of the Abbey of St. Trinité du Mont. Within every church the monuments and carvings are still fresh and unmutilated. The royal statues, long since lost, sleep peacefully in the Cathedral choir, and the pomp of death spreads its sombre magnificence in every sacred building. The old fountains are playing in the squares and streets. The fountain of St. Maclou, which had two figures like the Mannekin of Brussels; the Croix de Pierre, with statues in every niche; the St. Vincent, with its great daïs overshadowing a group of the Nativity, and water spouting from the mouths of oxen in the manger; the Lacrosse with the Virgin and her Child; the Lisieux, whereon was carved the Mount Parnassus with Apollo and the Muses, Pegasus too, and a great triple-headed matron for Philosophy, and two bronze salamanders vomiting streams of water; all the fountains that Jacques Lelieur has traced for us are perfect and are playing in the town whose streets he drew in 1525.
The sky grows darker, and the rain falls, as it fell then, even more frequently than now; but we can pass beneath the "avant-soliers," those covered galleries that line the squares and market-places to give shade or shelter to the merchant and his purchasers, and behind their heavy timbers we shall be safe from the great wains of country produce, or the lumbering chariots of the town, with their leather hangings stamped in gold, dragged by the heavy Norman horses. The streets are as narrow as they were first built in Pompeii; sixteen feet is thought enough for the principal arteries of traffic, others measure but ten feet, or even six, across. They are so crooked and the line of houses on each side is often so uneven that it seems as if the windings of some country footpath have been left in all their primitive irregularity, and decorated here and there with casual dwellings, while the gaps are filled in roughly as time goes on and space grows more precious every year. This haphazard arrangement has no doubt resulted in a certain picturesqueness of disposition and perspective, and even in a tortuous maze of buildings very difficult for any foreign enemy to assault; but it is obvious that the city's internal plan has owed nothing either to military or æsthetic considerations at the outset. For these streets that were not paved at all until the fifteenth century, are only covered with rude stones, and look more like the interior of a vast open drain than anything; pigs and other animals stroll into them from the open doorways of the commoner houses, and even the richer families seem to consider that the highway is little more than a commodious dust-bin.