France


Rouen


Church of St Maclou






 

Summery     The Church of Saint-Maclou in Rouen is a masterpiece of Flamboyant Gothic architecture, built in the 15th century and renowned for its ornate façade, intricate stone tracery, and harmonious proportions. Dedicated to Saint Maclou (or Malo), it features a striking octagonal choir with radiating chapels, a richly carved 16th-century organ case, and a spiral staircase by Jean Goujon. Though damaged during the Wars of Religion and World War II, the church retains its historic baptismal font, elegant stained glass, and expressive woodwork, blending Gothic grandeur with Renaissance detail in one of Normandy’s most artistically significant parish churches.

Located in the historic centre of Rouen, the Church of Saint-Maclou, with its intricate stonework and ornate detailing, is one of the finest examples of Flamboyant Gothic architecture in France.

The church was named after Saint Maclou (or Malo), a 6th-century Welsh monk who fled to Brittany and established a monastic community. The settlement grew in the 8th century as locals sought refuge there from Norman invasions.

Construction on the current church began around 1436 - 1437, during the transition from the late Gothic to early Renaissance periods.   It was built to replace a Romanesque parish church built in the 11th or 12th century, whose transept roof had collapsed. The surrounding area had been burned during the Hundred Years’ War, (1337 to 1453) which prompted a complete rebuild.

During the French Revolution (1789 - 1799) many of the original statues were lost and in World War II, it survived Allied bombings with minimal damage with much of its structure remaining intact, which became a symbol of resilience for the people of Rouen. Today it is an active Roman Catholic parish church within the Archdiocese of Rouen.
 
The building provides an ideal example of this ornate style, with its elaborate stone tracery, pointed arches, and dramatic detailing. Its exterior emphasises verticality and unity, typical of late Gothic design, with a three-story elevation: arcade, triforium, and clerestory.

Above the aisles, flying buttresses rise upwards, supporting the structure while adding to its vertical dynamism.  Rising above the crossing is the Lantern Tower, which adds height and elegance to the building. The tower is an octagonal structure culminating in a spire which has a height of 83 meters (272 ft.).

 

The Western Façade presents a commanding feature with its five gabled porches each with intricate tracery and sculptural detail. Set centrally into the western wall, is the rose window, a classic Gothic element, symbolizing divine light and cosmic order.

 

Above the main portal, is the tympanum which depicts Christ with outstretched arms, flanked by souls heading to Heaven or Hell. The exterior decorations include skulls, bones, and grotesques, reflecting Rouen’s grim history during the Black Death, and blending spiritual symbolism with factors in Rouen’s history.






The interior of the Church is Gothic in style and is filled with light and intricate craftsmanship. Designed to feel lofty and unified, with uninterrupted vertical lines and no capitals on the piers. This enhances the sense of height of the nave ceiling which is in excess of 20 metres (65 feet).  The ribbed vaults and clerestory windows (high windows that flood the nave with light) are typical of late Gothic design.

 


It contains ground level arches (the Arcade) with a triforium (a narrow passage above the arcade) that leads to the non-projecting transept beneath the lantern tower that rises above the crossing.  This connects to the choir, that has the shape that is octagonal in plan and is surrounded by four radiating chapels that extend from the ambulatory. These provide for private devotions, and the altars within the chapels, have retables which are decorative panels behind the altar, these depict scenes from the life of Christ, the Virgin Mary, or patron saints.

 

The main altar is located within the octagonal choir, surrounded by four radiating chapels - a layout typical of late Gothic architecture. The altar is framed by soaring piers and stained glass, contributing to a dramatic and reverent atmosphere.

 

The church features a clerestory level (upper section of a wall that contains windows) with tall, narrow stained glass windows that flood the nave and choir with coloured light. The windows are set within elaborate Flamboyant tracery, creating a lace-like effect in stone that complements the colourful glass. The windows depict biblical scenes, saints, and symbolic motifs, though many were damaged or lost during the Wars of Religion and World War II.  Over time, restoration work was carried out, particularly in the 19th and 20th centuries which helped recover some of their original brilliance.

The baptismal font, near the entrance is crafted in marble with a wooden cover, and dates from the 17th century. Its design is in keeping with the church’s Flamboyant Gothic style.

 

The carved wood choir stalls depict biblical scenes and ornate detailing.  They are an example of late Gothic woodcarving, though they are not original to the church’s 15th-century construction. The current stalls date from the 17th century, reflecting a Baroque influence that contrasts with the Flamboyant Gothic architecture of the building itself. 

Also of timber is the organ case which is a stunning example of Renaissance-era craftsmanship, dating to 1520, and is considered a Monument Historique in France.

The organ is mounted on the west wall of the nave, just beneath the rose window, creating a dramatic visual and acoustic focal point.

Richly carved with figures including Jesus, the Twelve Apostles, Daniel, Salome, Jeroboam I, Ezekiel, Jeremiah, and angels it embodies the transition from Gothic to Renaissance, with both vertical emphasis and classical detailing.

The original organ itself was replaced in 1995 by a new instrument built by Alfred Kern, while the historic case was preserved.  The organ is a remarkable fusion of Renaissance artistry and modern musical craftsmanship. 

 

Located on the west side of the interior, leading up to the organ loft is a spiral staircase. It was designed by Jean Goujon, a renowned French sculptor and architect, around 1541, during the Renaissance period. Crafted in an extravagant Gothic style, with elegant curves and finely carved details that reflect both structural ingenuity and artistic flair.

 

The church contains a number of devotional figures which include carved figures of Jesus, the Twelve Apostles, and various Old Testament prophets like Daniel, Jeremiah, and Ezekiel, especially on the timber organ case. Figures such as Salome and Jeroboam I also appear, blending narrative and symbolic roles.  

 


A statue of a man with clasped hands, in a posture of prayer or penitence is likely Renaissance in character. With realistic facial features, flowing garments, and expressive gestures it is likely a representation of a saint, donor, or clergy, intended to inspire reflection and emulate piety.

 

Most devotional figures are carved from wood, particularly oak, and date from the 16th to 17th centuries.   Their style ranges from late Gothic to early Baroque, with expressive faces, flowing garments, and symbolic gestures.