ARCHITECTURAL ANTIQUITIES OF NORMANDY, BY JOHN SELL COTMAN; ACCOMPANIED BY HISTORICAL AND DESCRIPTIVE NOTICES BY DAWSON TURNER, ESQ. F.R. AND A.S. VOLUME THE FIRST. [Illustration: Coat of arms of the Duchy of Normandy. Emblems of the towns of Rouen and Caen.] LONDON: PRINTED FOR JOHN AND ARTHUR ARCH, CORNHILL; AND J. S. COTMAN, YARMOUTH. MDCCCXXII. [Illustration] PREFACE. An artist, engaged in the illustration of the Architectural Antiquities of England, could scarcely do otherwise than often cast a wistful look towards the opposite shores of Normandy; and such would particularly be the case, if, like Mr. Cotman, to a strong attachment to his profession and the subject, he should chance to add a residence in Norfolk. This portion of the kingdom of the East-Angles, in its language and in its customs, but especially in the remains of its ancient ecclesiastical architecture, abounds in vestiges of its Teutonic colonists. The richly ornamented door-ways of its village churches have, in particular, long been the theme of admiration among antiquaries. Bred up in the midst of these, and warmly partaking in the admiration of them, Mr. Cotman devoted his pencil and his graver to the diffusion of their fame. Common report, aided by the suffrages of the learned, and in some degree by locality, designated them as Saxon: at the same time, when they were compared with what is left in Britain, of workmanship avowedly Norman, the points of dissimilarity appeared trifling or altogether vanished. Was it then to be inferred that, between Norman and Saxon architecture, there was really no difference; and, carrying the inference one step farther, that the hordes of barbarians denominated by these different appellations, although they might not have embarked at the same port, were only cognate tribes of one common origin, if not in reality the same? The solution of the first of these questions, the only one immediately in view, seemed best to be sought in that province of France, where the Norman power had been most permanently established, and where it was therefore reasonably to be expected, that genuine productions of Norman art might, if any where, be found. With this view, Mr. Cotman crossed the channel; and the result of three successive journies, in the years 1817, 1818, and 1820, is here submitted to the public.