exhibits a row of three semi-circular arches, with an ornament on the
archivolt altogether different from what I recollect to have seen
elsewhere[5]. The inside corresponds in profuse decoration with this
entrance; but the arches in it are all pointed. An entablature of
beautiful workmanship is carried round the whole building, which is now
used as a mill: it was crowded with dirty children belonging to the
manufactory; and the confusion which prevailed, was far from being
favorable to the quiet lucubrations of an antiquary. In no part of the
church is the sculpture equally curious; and it is very interesting to
observe the progress which this branch of the art had made in so short a
time. Two or three of the capitals to the arches in front, seem to
include one continued action, taken apparently from the history of
Joshua. Another capital, of which I send you a sketch from the pencil of
M. Le Prevost, is a great curiosity. The group which it contains, is
nearly a duplicate of the supposed statue of William the Conqueror at
Caen. In all probability it represents some legendary story, though the
subject is not satisfactorily ascertained. Against the pillars that
support these arches, were affixed whole-length figures, or cariatides,
in alto-relievo. Three of them still remain, though much mutilated; two
women and a man. They hold in their hands labels, with inscriptions that
fall down to their feet in front. One of the females has her hair
disposed in long braided tresses, which reach on either side to her
girdle. In this respect, as well as in the style of the sculpture and
costume, there is a resemblance between these statues and those on the
portals at St. Denys and at Chartres, as well as those formerly on that
of St. Germain des Prés, at Paris, all which are figured by Montfaucon
in his _Monumens de la Monarchie Française_, and are supposed by him to
be of the times of the Merovingian or Carlovingian dynasty; but
subsequent writers have referred them to the eleventh or twelfth
century.