What beautiful roses are cut out in the transept! On the central one, God the Father appears on his throne of gold, above the adoring kings. The other, with its more complicated outlines, shows us the Glory of Paradise. You know the tradition attached to these two architectural flowers with the resplendent lobes? Alexandre de Berneval having designed the first, became jealous of one of his disciples who traced the second, and in anger, killed him. To expiate the crime he had to die by the hands of the hangman. Who invented this story? The master lies yonder, in the second chapel down the nave to the right, by the side of one of his pupils, or, perhaps with his son Colin. Can any one believe that the monks would admit under any pretext beneath the holy vaults the body of an assassin and honour him with a superb sepulchral stone? Upon the stone the two architects live again in their long robes lined with vair, and their large hats. The older, his compass in his hand carving out a quarter-round, the younger one making a plan, the feet of both resting on a lion, and above them a Gothic daïs. The older is Berneval who died in 1440: the inscription tells us this. Of the younger we know nothing, for the inscription concerning him was never made. There is no fine carving to note in the interior of the abbey. Many of the pillars in the nave were ornamented with statues in the style of the Fourteenth Century, but placed in niches that retreat a little. Broken in 1794, when the building was used as a forge, they have never been restored. The destruction of the rood-screen dates from 1791, at the time of the departure of the monks and the erection of the parish church. This rood-screen must assuredly have spoiled the perspective of a building so frankly conceived for the effect in perspective. But if one wants to delight in sculptured scenes, it is before the _portail des Marmousets_ that he must betake himself. Beneath a finely arched porch, is a door that is condemned to-day. The statue of Saint Ouen, decapitated by the Reformers, and the pier covered with little bas-reliefs, relates in detail the life and miracles of the holy bishop. On the tympanum, three zones of perfect figures describe the death of the Virgin, her funeral, her assumption and her entrance into heaven between two angels who are playing the organ and the rebeck. A curious popular invention has found its place in the funeral scene, where an impious Jew trying to make an attempt upon the coffin has to see the Archangel Michael cut off his hands and St. Peter give them back to him, whilst converting him. This decoration is of an exceptional vivacity and delicacy of carving.