the
blessings of peace from brigandage and prosperity in commerce; owed
him, better than all, the firm and permanent establishment of the
Courts of Justice. By all these, and more, he worthily has won the
right to be considered by far the strongest and ablest Archbishop
Rouen ever had. After his election, his nephew, the second Georges
d'Amboise, was the only other primate the Chapterhouse was ever
permitted to elect. The tomb of both is in the Chapelle de la Vierge
of the Cathedral.

[Footnote 59: The name is said to have arisen from the fact that it
was chiefly built by the fines paid by those of the faithful who ate
butter during Lent.]

I have but too short space or time wherein to tell you more of the
interior of that great edifice, whose building I described when Philip
Augustus made Normandy a part of France. But out of the multitude of
interests that will stay your every step beneath its arches, there are
a few things I must point out now, and leave the most famous of its
tombs till later.

[Illustration: WESTERN PORCH OF ST. VINCENT]

As you enter by the western door, turn southwards into the Chapelle
St. Etienne beneath the Tour de Beurre. The second monumental stone
on the right is in memory of Nicole Gibouin, and it is one of the most
exquisitely drawn faces that you will see in all Rouen. This face and
both hands are incised in white marble, the rest of the body and dress
is indicated by red lines cut lightly in the stone. At his feet lies a
dog holding a bone. After this, there is scarcely a monument worth
looking at that can elude your notice; but as my business is to omit
the obvious and point out the beauties which might escape unwarned
attention, I shall direct you straightway to the choir, and more
particularly to the carved oak stalls. The seats, as is usually the
case, turn up to form an additional rest for priests who had to stand
through long and numerous services, and upon these under surfaces
(called misericordes) is an extraordinary series of carvings which you
must look at, every one.

They were made between the years of 1457 and 1469, and are in part
owing to the munificence of Cardinal Guillaume d'Estouteville. The
stalls as a whole are much deteriorated from their originally perfect
beauty. The work at Amiens will suggest how much of the stalls of
Rouen has been lost or wantonly mutilated. Without the Archbishop's
throne, which has been replaced by a heavy modern structure, the whole