These were occasional pilgrimages. Others were in favour for a much longer time owing to the reputation of the departed for sanctity, and not to political motives. For many years crowds came, as we have seen, to visit the tomb of Richard Rolle, the hermit of Hampole. Even in this, fashion ruled; some relics or tombs of hermits or of saints enjoyed for a period universal favour; then all of a sudden, through some great miracle, another saint rose to pre-eminence, and the others, by degrees, sank into obscurity. Convents, which had neither relics nor bodies of illustrious saints to attract pilgrims, nor a marvellous thorn-tree like that of Glastonbury, would have sometimes a pious artist to fabricate an image fit to draw visitors; it would be inaugurated with solemnity, work miracles, it was hoped, and enjoy a more or less wide fame. Thomas of Burton, Abbot of Meaux, near Beverley, relates in the chronicle of his rich monastery, written by himself at the end of the fourteenth century, one of the most remarkable facts of this kind. Abbot Hugh of Leven, one of his {344} predecessors, had in the first half of the century ordered a new crucifix for the choir of the chapel: “And the artist never worked at any fine and important part, except on Fridays, fasting on bread and water. And he had all the time a naked man under his eyes, and he laboured to give to his crucifix the beauty of the model. By the means of this crucifix, the Almighty worked open miracles continually. It was then thought that if access to this crucifix were allowed to women, the common devotion would be increased and great advantages would result from it for our monastery. Upon which the Abbot of Citeaux, by our request, granted us leave to let men and honest women approach the said crucifix, provided, however, that the women did not enter the cloister, the dormitory, and other parts of the monastery. . . . But profiting by this license, to our misfortune, women began to come in increasing numbers to the said crucifix, while in them devotion is cool, and all they want is to see the church, and they increase our expenses by our having to receive them.”[474] This naïve complaint is interesting from several points of view; it plainly shows what was done to bring such or such a sanctuary into favour with the pilgrims;[475] in the present case the effort did not succeed, the prodigies do not seem to have long responded to the expectation, {345} and people came only from curiosity to visit the church and the fine crucifix of the monastery. From the artistic point of view the fact is still more important, for this is the most ancient example of sculpture from the nude living model to be found in mediæval England; and this anonymous sculptor ought to be remembered, which he is not, as one of the precursors of the Renaissance in his country.