It is chiefly admired, and wrongly so to my mind, for the treasures of its interior. These consist not merely in the wonderful series of sixteenth century tapestries, of which M. Paul Lafond has published a detailed description, but in the stained-glass windows, of which the most celebrated represents the ass of St. Anthony of Padua kneeling before the Holy Sacrament. The design is taken, it is said, from a drawing of Duerer, to whom also is ascribed the original suggestion for the window at the west end of the first aisle, of the Virgin and Apostles. North of the choir is an interesting glass-painting of the buildings of Rouen. But slightly west of the northern end of the same street you will find windows in the Church of St. Patrice which I think infinitely preferable, of their kind, to those which are the especial pride of St. Vincent. They are very justly placed in the first class of the "monuments historiques" de France. As you enter the transept, turn due south, and the first window on your right is the "Woman taken in Adultery," which was moved here from the old church of St. Godard. The inscription on it is "Honorable homme maitre Nicole Leroux licentie es loix advocant et Marie Bunel sa feme ont donne ceste vitreau moys de may lan de grace 1549 priez dieu pour eulx." In the right hand corner you may see the good William praying with his son behind him, and his wife in black is further off to the left with her six daughters behind her, two of them in "cramoisy taffetas, trimmed with northern peltry." In the Chapel of the Virgin in the north transept, the left hand window of the three over the altar depicts the life of St. Fiacre and St. Firmin, and was put up in 1540 in the days when Pierre Deforestier was in office, and Francois Baudoin was prevot. Of the three you see when looking due north, the farthest to the right in the transept was placed there in 1583, "a l'honneur du grand roy des roys de St. Louis roy de France;" the middle window shows St. Eustace suffering martyrdom in the brazen bull which is being heated red hot, while above St. Hubert meets his miraculous stag. The farthest window to the left is dated 1538; it is the best, and Jean Cousin has been suggested as its designer. The donor prays in the right hand corner, and his wife with a daughter behind her is in the left. A well-drawn figure of an angel announces his message to the Blessed Virgin who is reading, and in the middle of the composition, near the bottom, lies a corpse in a winding-sheet.