But the enumeration of the kinds of _jongleurs_--those itinerant, those attached to courts and great families, &c.--would lead us too far. They were not all of one sex, and we hear of _jongleresses_ and _chanteresses_, such as Adeline who figures in the history of the Norman Conquest, Aiglantine who sang before the Duke of Burgundy, Gracieuse d'Espagne, and so forth--pretty names, as even M. Gautier, who is inclined to be suspicious of them, admits. These suspicions, it is fair to say, were felt at the time. Don Jayme of Aragon forbade noble ladies to kiss _jongleresses_ or share bed and board with them; while the Church, which never loved the _jongleur_ much, decided that the duty of a wife to follow her husband ceased if he took to jongling, which was a _vita turpis et inhonesta_. Further, the pains above referred to, bestowed by scholars of all sorts, from Percy downwards, have discovered or guessed at the clothes which the _jongleur_ and his mate wore, and the instruments with which they accompanied their songs. It is more germane to our purpose to know, as we do in one instance on positive testimony, the principles (easily to be guessed, by the way) on which the introduction of names into these poems were arranged. It appears, on the authority of the historian of Guisnes and Ardres, that Arnold the Old, Count of Ardres, would actually have had his name in the _Chanson d'Antioche_ had he not refused a pair of scarlet boots or breeches to the poet or performer thereof. Nor is it more surprising to find, on the still more indisputable authority of passages in the _chansons_ themselves, that the _jongleur_ would stop singing at an interesting point to make a collection, and would even sometimes explicitly protest against the contribution of too small coins--_poitevines_, _mailles_, and the like.