[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.
[60] For the beginning of these confrèries, see [chapter v.] [p. 85].
[61] In the words of the manuscript the man "estoit couché avec une femme mariée, autre que la sienne."
[62] Mr Gosse records in his "Modern English Literature" that it was a citizen of Rouen (Andrew Miller by name) who introduced printing into Scotland in 1507.
[63] This clearance was effected in August 1897, and Miss James took advantage of it to make her drawing from a point of view which has been invisible for centuries and may soon be lost again.
[64] This has been admirably described in Mrs Mark Pattison's volumes on the "Renaissance of Art in France," though the authoress refuses to admit that Michelet's view of Pilon's motive is correct. But in Vol. I. compare pp. 236 and 21.
[65] Called Le Roux d'Esneval in a genealogy of 1689, and perhaps relations of Louis de Brézé's first wife, whom he married before Diane de Poitiers. See the end of [Chapter X.]
[66] There were, of course, men to do the same kind office for Henry VIII. In the Hampton Court Gallery, see No. 342, and the notes in Mr Ernest Law's catalogue.
[67] It would be interesting to know whether anything can be traced of them now. It is rather extraordinary to consider the number of artistic objects which were carried off from Rouen in exactly this way. Apart from the windows of St. Herbland, which I mentioned at the beginning of [Chapter VII.], a window from Saint Nicolas le Paincteur called the "Visitation" has been recognised by a canon of Rouen in York Minster; windows from Saint Jean sur Renelle were brought to London, and exhibited, with others, about 1810, by Mr Stevenson of Norwich; and other paintings on glass from the monastery of the Chartreux du Petit Quévilly also reached our shores. All of which would seem to indicate that we saw the value of good work earlier in this century than the French did. But they have had their revenge since then; and in the carving of the Maison Bourgtheroulde we have neglected to preserve one of the best memorials of England that exists in France.
[68] In November 1774 the Society of Antiquaries published a large engraving of this picture (which is still procurable) by James Basine, after a drawing by E. Edwards from the original then in the Royal Apartments of Windsor Castle. In this you may see the Fountains of Bacchus and Cupid running wine, in front of the English Pavilion, which is full of windows. The Salamander of Francis floats in the air above. In 1781 the same engraver copied the companion picture of the embarkation of Henry VIII. from Dover in the "Great Harry," after a drawing by S.H. Grimm.