Account of a Tour in Normandy, Volume 1Turner, Dawson
History
Account of a Tour in Normandy, Volume 1
Turner, Dawson
Architecture -- France -- Normandy; Normandy (France) -- Antiquities; Normandy (France) -- Description and travel
Adjoining the bell-tower is a fountain, ornamented with statues of
Alpheus and Arethusa, united by Cupid; a specimen of the taste of the
far-famed _siècles de Louis XIV et de Louis XV_, and a worthy companion
of the water-works at Versailles. There are in Rouen more than thirty
public fountains, all supplied by five different springs, among which,
those of Yonville and of Darnétal are accounted to afford the purest
water.--The Robec and the Aubette also flow through Rouen in artificial
channels. St. Louis granted them both to the city in 1262; but it was
the great benefactor of the place, the Cardinal d'Amboise, who brought
them within the walls, by means of a canal, which he caused to be dug
at his own expence. For a space of two leagues their banks are
uninterruptedly lined with mills and manufactories of various
descriptions; and it is this circumstance which has given rise to the
saying, that Rouen is a wonderful place, for "that it has a river with
three hundred bridges, and whose waters change their color ten times a
day."
As a building, the fountain of Lisieux, decorated with a bas-relief
representing Parnassus, with Apollo, the Muses, and Pegasus, is most
frequently pointed out to strangers; a wretched specimen of wretched
taste. Infinitely more interesting to us are the Gothic fountains or
conduits, which are now wholly wanting in England. Such is the fountain
_de la Croix de Pierre_, which, in shape, style, and ornaments,
resembles the monumental crosses erected by; our King Edward Ist, for
his Queen Eleanor. The water flows from pipes in the basement. The stone
statues, which filled the tabernacles, were destroyed during the
revolution: they have been replaced by others in wood.--The fountain _de
la Crosse_ is of inferior size, and more recent date. It is a polygon,
with sides of pannelled work, each compartment occupied by a pointed
arch, with tracery in the spandrils. It ends in a short truncated
pyramid, which, in Millin's time, was surmounted by a royal crown[114].
Its name is taken from a house, at whose corner it stands, and on whose
roof was originally a crozier.
Public-domain text, read in full here on John Shaqi.
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