state by which many of the public buildings at Rouen are yet surrounded; and French taste has enlivened the foreground with a picture of a lover and his mistress, in a bocage, regaling themselves with a flagon of wine.  The old circular tower ("qui vit gemir cette infortunee,” says Millin) exists no longer.  The second plate represents the fountain which was built in the market-place upon the very spot where the Maid suffered, and which spot was at first designated by the erection of a cross.  From the style of the embellishments it appears to have been of the time of Francis I.

Goube has re-engraved this fountain.  It was taken down or demolished in 1755; upon the site of which was built the present tasteless production—­resembling, as the author of the Itineraire de Rouen (p. 69) well observes, “rather a Pallas than the heroine of Orleans.”  The name of the author was STODTS.  Millin’s third plate—­of this present existing fountain, is desirable; in as much as it shews the front of the house, in the interior of which are the basso-rilievos of the Champ de drap d’Or:  for an account of which see afterwards.

Millin allows that all PORTRAITS of her—­whether in sculpture, or painting, or engraving—­are purely IDEAL.  Perhaps the nearest, in point of fidelity, was that which was seen in a painted glass window of the church of the Minimes at Chaillot:  although the building was not erected till the time of Charles VIII.  Yet it might have been a copy of some coeval production.  In regard to oil paintings, I take it that the portrait of JUDITH, with a sword in one hand, and the head of Holofernes in the other, has been usually copied (with the omission of the latter accompaniment) as that of JEANNE D’ARC.  I hardly know a more interesting collection of books than that which may be acquired respecting the fate of this equally brave and unfortunate heroine.

[63] Far be it from me to depreciate the labours of Montfaucon.  But those
    who have not the means of getting at that learned antiquarian’s
    Monarchie Francoise may possibly have an opportunity of examining
    precisely the same representations, of the procession above alluded
    to, in Ducarel’s Anglo-Norman Antiquities, Plate XII.  Till the year
    1726 this extraordinary series of ornament was supposed to represent
    the Council of Trent; but the Abbe Noel, happening to find a
    salamander marked upon the back of one of the figures, supposed, with
    greater truth, that it was a representation of the abovementioned
    procession; and accordingly sent Montfaucon an account of the whole. 
    The Abbe might have found more than one, two, or three salamanders, if
    he had looked closely into this extraordinary exterior; and possibly,
    in his time, the surfaces of the more delicate parts, especially of
    the human features, might not have sustained the injuries which time
    and accident now seem to have inflicted on them. [A beautiful effort
    in the graphic way representing the entire interior front of this
    interesting mansion, is said to be published at Rouen.]