[527] Halliwell’s edition, 1866, p. 108.
[528] See the remarkable articles by Emile Male, on “L’Art du Moyen Age et les Pélerinages,” in the “Revue de Paris,” 1920; in the number of Feb. 15, an article on “Les Routes de France et d’Espagne.”
[529] Text B, p. xii. l. 37.
[530] A. B. Caillau, “Histoire critique et religieuse de Notre Dame de Roc-Amadour,” Paris, 1834, pp. 73 ff.
[531] Berners’ Froissart, vol. i. ch. cclviii.
[532] William Wey, in the fifteenth century, notices the large number of English ships at “Grwne” (Coruña), the usual port of landing for Compostela: “In porto Grwne erant de Anglicis, Wallicis, Hibernicis, Normannis, Francis, Britonnibus et aliis LXXXta naves cum topcastellis et quatuor sine topcastellis; numerus navium Anglicarum erat XXXij.” He notes the words and music of a song sung by little Spanish boys, dancing before pilgrims and offering good wishes, in exchange for which they hoped to get some small coin. “Itineraries,” Roxburghe Club, 1857, pp. 154, 156.
[533] “Fœdera,” ed. 1704, vol. vii. p. 468, 17 Rich. II.
[534] “Fœdera,” 12 Hen. VI, 1434, vol. x. pp. 567–569.
[535] “The Stacions of Rome and the Pilgrim’s Sea Voyage,” ed. Furnivall, Early English Text Society, 1867, p. 47. This complaint on the Compostela pilgrimage is of the fifteenth century. On the Compostela sanctuary and on the propagation of certain artistic notions through the influx of pilgrims, see the before quoted article by E. Male, “Revue de Paris,” Feb. 1920.
[536] “The Paston Letters,” ed. Jas. Gairdner, vol. i. p. 48. Letter of Margaret Paston of September 28, 1443.