[526] This relic so greatly attracted the English that they had founded in the cathedral a chapel of “Notre Dame Englesque” (Sancta Maria Anglica), and the leopards of England, writes Prof. Enlart, are still to be seen in the stained glass. [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 LXXX^{ta} naves cum topcastellis et quatuor sine topcastellis; numerus navium Anglicarum erat XXX^{ij}.” 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. [537] Especially noteworthy in this respect at the present day is the Church of Santa Maria delle Grazie, near Mantua (in which the famous author of the “Cortegiano,” Baldassare Castiglione, is buried), where life-size, realistic wax figures, wearing real garments or armour, form a continuous series above the arches on both sides of the nave. Each scene commemorates a miraculous intervention of the Virgin: innocents saved at the moment of their execution, the halter breaking, the axe stopped, etc. The “custode” also directs attention to a stuffed animal, dangling from the roof, and which he describes as a “crocodilo” which used to desolate the country. [538] “The Book of the Knight of La Tour Landry,” translated from the French, ed. Thomas Wright, Early English Text Society, 1868, p. 70. The original French is of the fourteenth century. [539] “Miracles de Nostre Dame,” collected by Jean Miélot, ed. G. F. Warner, Roxburghe Club, 1885, p. 58. This version of the tale is of the fifteenth century, but the story itself is much older. [540] i.e. St. Catherine of Mount Sinai.