" ed. Dupont, Societe de l'histoire de France, 1840 ff.,
vol. ii. p. 142, _sub anno_, 1477.

[423] Unpublished letter to M. de Lionne, from London, July 6, 1665,
Archives of the Affaires Etrangeres, vol. lxxxvi.

[424] "Esprit des Lois," vol. xx. chap. vii., "Esprit de l'Angleterre
sur le Commerce."

[425] A. Sorel, "l'Europe et la Revolution Francaise," vol. i. p. 337.

[426] Parliament reverts at different times to these mines in the
fourteenth century: "Come en diverses parties deinz le Roialme
d'Engleterre sont diverses miners des carbons, dont les Communes du dit
partie ont lour sustenantz en grande partie...." 51 Ed. III., "Rotuli
Parliamentorum."

[427] 46 Ed. III., "Rotuli Parliamentorum," vol. ii. p. 311. The king
returns a vague answer. See below, pp. 515, 517.

[428] "They travaile in every londe," says Gower of them, in his
"Confessio Amantis," ed. Pauli, vol. iii. p. 109.

[429] "Joannes Acutus, eques Britannicus (John Hawkwood) ... rei
militaris peritissimus ... Pauli Vccelli opus," inscription on the
"grisaille," painted by Uccello, in the fifteenth century, in memory of
Hawkwood, who died in the pay of Florence, in 1394. He was the son of a
tanner, and was born in Essex; the Corporation of Tailors claimed that
he had started in life among them; popular tales were written about him:
"The honour of the Taylors, or the famous and renowned history of Sir
John Hawkwood, knight, containing his ... adventures ... relating to
love and arms," London, 1687, 4to. The painting by Uccello has been
removed from the choir, transferred on canvas and placed against the
wall at the entrance of the cathedral at Florence.

[430] "Polychronicon," ed. Babington, Rolls, vol. ii. pp. 166, 168.

[431] The most brilliant specimens of the paintings of the time were, in
England, those to be seen in St. Stephen's chapel in the palace of
Westminster. It was finished about 1348, and painted afterwards. The
chief architect was Thomas of Canterbury, master mason; the principal
painters (judging by the highest salaries) were Hugh of St. Albans and
John Cotton ("Foedera," 1705, vol. v. p. 670; vi. 417). This chapel
was burnt in our century with the rest of the Houses of Parliament;
nothing remains but the crypt; fragments of the paintings have been
saved, and are preserved in the British Museum. They represent the story
of Job. The smiling aspect of the personages should be noted, especially
that of the women; there is a look of