Montivilliers is a town of about four thousand inhabitants, situated in a beautiful valley upon a small stream, called the Lezarde, near the western extremity of the Pays de Caux, within the distance of six leagues from FÉcamp, and two from Havre de Grace. Its fortifications, now in ruins, were erected near the close of the fourteenth century, till which time it was altogether defenceless; but the state of France, just recovered from one English invasion and threatened with another, turned the thoughts of the government towards the securing of all vulnerable points on the northern frontier; and the trade of the place, though at present trifling, was at that period far otherwise. The cloths of Montivilliers were then considered to rival those of Flanders; and the preservation of the manufacture was regarded of so much consequence, that sundry regulations respecting it are to be found in the royal ordinances. The two circular towers of one of the gates now standing, afford a good specimen of the military architecture of the time.

Montivilliers is called in Latin, Monasterium villare; and in old French, Monstier Vieil: the present name of the town is obviously a corruption of these; and the same fact also denotes that the place derived its importance, if not its existence, from the monastery. Among the Norman historians, the foundation of Montivilliers is referred to the seventh century; during the latter half of which, St. Philibert, abbot of Jumieges, built a convent here for a community of nuns. The monastery was richly endowed; but no records are left of its history previously to the incursions of the Normans, under whose hands it at first suffered the same destruction as the other religious houses in Neustria, and afterwards rose, like them, from its ashes, with increased splendor and opulence. The immediate successors of Rollo rebuilt the abbey, but without restoring it to its original destination. Richard II. conferred it, with all its dependencies, upon the more favored monks of FÉcamp; and, in the donation, he makes use of the strong expression, “ut ex eo facerent quicquid vellent, tamquam ex proprio alodo.” The union of the two establishments was, however, but short lived: either under the same prince, or, as some authors say, under his son Robert, Montivilliers once more resumed a state of independence, and became once more the retreat of holy virgins. The duke was moved to this step by the solicitation of his aunt Beatrice, who retired hither, and took the veil, and presided over the sisterhood; and the monastery of St. Taurin at Evreux was, on this occasion, ceded to FÉcamp, in exchange for Montivilliers. A portion of the charter is preserved in the Neustria Pia; and, according to this work, the instrument was subsequently ratified by the signatures of William the Conqueror, and of Philip le Bel. At different times, various papal bulls were issued, for the purpose of placing the abbey of Montivilliers under the especial protection of the holy see, and of granting it sundry privileges and immunities. These are also recorded in the same publication. One of them, originating in a dispute between the archbishop of Rouen and the abbess of Montivilliers, is but little to the credit of either party. It represents the lady-abbess as by no means free from irregularities in the performance of her office; it charges one of her nuns with dissolute life; and it arraigns the primate himself of being the cause, if not the immediate instrument, of scandal:—“Siquidem, ex parte abbatissÆ fuit propositum et probatum, quÒd quidam, qui cum eodem archiepiscopo et suis prÆdecessoribus venerant ad monasterium memoratum, turpia quÆdam et illicita commiserunt contra honestatem observantiÆ regularis, in scandalum plurimorum: volumus et mandamus, ut, cÙm archiepiscopus Rothomagensis ad monasterium ipsum, caus visitationis, accesserit, ab ingressu claustri aliarumque domorum, in quibus habitant moniales, familiam suam talitÈr studeat coercere, quÒd de cÆtero similia non contingant. Ipse quoque archiepiscopus, ejusdem monasterii claustrum vel capitulum intraturus, non nisi cum moderat societate accedat, quÆ vit et moribus sit honesta; ut per officium visitationis ejusdem, non dissolutionis vel scandali, sed Ædificationis potiÙs materia ministretur.”—The instrument, which is of considerable length, goes on to accuse the prelate of affording protection to some refractory nuns, and enjoins him never to suffer his clergy to frequent the abbey upon any pretext, or upon any occasion.

The church of Montivilliers, represented in the present plate, is the same as before the revolution belonged to the abbey. The portion to the north is the chapter-house, and is the work of the fourteenth century. The greater part of the rest of the building, though altered in some places, may safely be referred to the eleventh; at which time it is upon record, that Elizabeth, who succeeded Beatrice as abbess, nearly, if not altogether, rebuilt the whole. At subsequent periods, the church underwent many considerable repairs and alterations. A sum of seven hundred florins was expended upon it in 1370, the proceeds of a fine imposed upon the town, for some injuries done to the nuns; and Toussaints Varrin, archbishop of Thessalonica, dedicated the edifice, in 1513, under the invocation of the Holy Virgin. Five years subsequently, the abbess, Jane Mustel, repaired the ceiling and painted windows, and made the stalls in the choir.[187]—The exterior of the Lady-Chapel affords a fine example of early pointed architecture; its lofty narrow windows are separated by slender cylindrical pillars, as in the church of the Holy Trinity, at Caen. The embattled ornament round the southern door of the western front, is far from commonly seen in such situations. In the interior of the nave, the same massive semi-circular architecture prevails as in the towers; but it is mixed with some peculiarities that will scarcely be found elsewhere, particularly a flat band in the form of a pilaster, enriched with losenges, which is attached to the front of one of the columns, and is continued over the roof, and again down the pillar on the opposite side. Mr. Turner noticed a small gallery, or pulpit, of elegant filigree stone-work, at the west end, near the roof;[188] and, upon the authority of the well-known antiquary, John Carter, he supposed it most probably intended to receive a band of singers on high festivals. But some corresponding erections in England would make it seem more likely that this gallery communicated with the apartments of the superior, and was placed here for the purpose of affording her the means of paying her devotions in private, when, either from the weather, or any other cause, she might not wish to occupy her throne in the choir.

Mr. Turner has also remarked upon the capitals of the columns at Montivilliers, which are very peculiar. Some of them are obvious imitations of the antique pattern, and of great beauty. Others are as rude and wild as any of those already figured in this work, from the churches of St. Georges or Gournay. The mysteries of Christianity, and the fables and allegories of heathenism, the latter, as well in its most refined as its most barbarous forms, occur in endless variety in almost every part of the edifice. One of the capitals contains a representation of the fabulous Sphynx, with her tail ending in a fleur-de-lys: upon another, is sculptured a figure of Christ in the act of destroying the Dragon, by thrusting the end of a crosier into its mouth. Two others, figured in the Tour in Normandy, exhibit a group of Centaurs, and the allegorical psychostasia: the remarks of the author of that publication, upon the latter of these, shall close the present article:—“In this you observe an angel weighing the good works of the deceased against his evil deeds; and, as the former are far exceeding the avoirdupois upon which Satan is to found his claim, he is endeavoring most unfairly to depress the scale with his two-pronged fork.—This allegory is of frequent occurrence in the monkish legends.—The saint, who was aware of the frauds of the fiend, resolved to hold the balance himself.—He began by throwing in a pilgrimage to a miraculous virgin.—The devil pulled out an assignation with some fair mortal Madonna, who had ceased to be immaculate.—The saint laid in the scale the sackcloth and ashes of the penitent of Lenten-time.—Satan answered the deposit by the vizard and leafy robe of the masker of the carnival. Thus did they still continue equally interchanging the sorrows of godliness with the sweets of sin; and still the saint was distressed beyond compare, by observing that the scale of the wicked thing (wise men call him the correcting principle,) always seemed the heaviest. Almost did he despair of his client's salvation, when he luckily saw eight little jetty black claws just hooking and clenching over the rim of the golden basin. The claws at once betrayed the craft of the cloven foot. Old Nick had put a little cunning young devil under the balance, who, following the dictates of his senior, kept clinging to the scale, and swaying it down with all his might and main. The saint sent the imp to his proper place in a moment; and instantly the burthen of transgression was seen to kick the beam.—Painters and sculptors also often introduced this ancient allegory of the balance of good and evil, in their representations of the last judgment: it was even employed by Lucas Kranach.”

[187] Description de la Haute Normandie, II. p. 108.