off.—I suspect it to be the old mandore
whence the more modern mandolin
. The rotundity
of the sounding-board may warrant this conjecture.—No.
6 was called the psalterion
, and is of very
great antiquity, (I mean as to the middle ages).—Its
form was very diversified, and frequently triangular.
It was played with a plectrum
, which the performer
holds in his right hand.—No. 7 is the dulcimer
which is very common in sculpture. This instrument
appears, as in the present case, to have been sometimes
played with the fingers only, and sometimes with a
.—No. 8 is the real vielle
, of very common occurrence, and very
ancient.—No. 9 is a female tumbler, or tomllesterre
as Chaucer calls them. This profession, so far
as we can depend on ancient representation, appears
to have exclusively belonged to women.—No.
10. A harp
played with a plectrum
and, perhaps, also with the left hand occasionally.—No.
11. The figure before the suspended bells
has had a hammer in each hand with which to strike
them, and the opposite, and last, person, who plays
in concert with him, has probably had a harp, as is
the case in an ancient manuscript psalter illumination
that I have, prefixed to the psalm Exaltate Deo
have seen these bells suspended (in illumination to
the above psalm) to a very elegant Gothic frame, ascending
like the upper part of a modern harp.”]
[Footnote 9: Gallia Christiana, XI. p.
[Illustration: Distant View of the Abbey of St.
ABBEY OF JUMIEGES—ITS HISTORY—ARCHITECTURAL DETAILS—TOMBS OF AGNES
SOREL AND OF THE ENERVEZ.
(Ducler, July, 1818)
The country between Ducler and Jumieges is of much
the same character with that through which we had
already travelled from Rouen; the road sometimes coasting
the Seine, and sometimes passing through a well-wooded
country, pleasantly intermingled with corn-fields.
In its general appearance, this district bears a near
resemblance to an English landscape; more so, indeed,
than in any other part of Normandy, where the features
of the scenery are upon a larger scale.
The lofty towers of the abbey of Jumieges are conspicuous
from afar: the stone of which they are built
is peculiarly white; and at a distance scarcely any
signs of decay or dilapidation are visible. On
a nearer approach, however, the Vandalism of the modern
French appears in full activity. For the pitiful
value of the materials, this noble edifice is doomed
to destruction. The arched roof is beaten in;
and the choir is nearly levelled with the ground.
Two cart-loads of wrought stones were carried away,
while we were there; and the workmen were busily employed
in its demolition. The greater part, too, of the
mischief, appears recent: the fractures of the