Close to these eloquent ruins is a church that has had a somewhat better fate, for if St. Godard has been rather roughly treated, the beauty of its stained-glass windows has saved it from absolute destruction. In the chapel of St. Peter, due east at the end of the north aisle, is the great window that was made in 1555 to represent St. Romain, who is shown at the top, on the left hand, dragging the Gargouille of Rouen to destruction with his sacred stole (see p. 39). Lower down, on the right, you must look at the King seated in his royal chair, and the hounds at play before him on the carpet. In the south aisle the corresponding window to the east has a tree of Jesse in its upper part, and beneath is one of the finest examples of sixteenth century painting in Rouen, work that reminds you of the work of Rembrandt. Of these five figures of old men, the last two on the right are especially worthy of attentive study. They were done in 1535. To the right of this window in the same chapel, looking southwards, is another fine window of about the same date, said to be copied from a design by Raphael and his school, of the life and genealogy of the Blessed Virgin; but it is not so strong or original in treatment as the last. Beneath it are two kneeling figures carved upon the tomb of the family of Bec de Lievre. [Illustration: EGLISE ST. LAURENT] In the Rue Jeanne d'Arc is another church, St. Vincent, that must be visited. I have spoken already of the little labourer in tunic and breeches, with a sack of salt upon his back, who stands upon the outside of the buttress to the south of the choir, and looks towards the river. It commemorates the fact that, by letters patent delivered by Charles VI. in 1409, the church (which was then much nearer to the river) was allowed to take toll of every cargo of salt which came into the port, a privilege which was exchanged in 1649 for an annual payment of 140 livres. Begun in 1511--or, as some say, 1480--after the plans of Guillaume Touchet, St. Vincent certainly comes after St. Maclou in order of merit. Its choir alone is a magnificent specimen of the architectural possibilities of the smaller churches, and must have been finished before 1530, when Touchet's supervision ended. The splendid flamboyant western porch is not shown in Lelieur's plan of 1525, and was probably a later addition. The name of Ambroise Harel has also been connected with the work, but I have been unable to satisfy myself of the exact portions for which he may have been responsible.