The embellishment of the great pile continued right through the centuries that followed, until the influence of the Renaissance shows itself in the central porch of the west front. In the fourteenth century the Lady-chapel was built, and in the fifteenth the Tour de Beurre climbed upwards, while the money provided by the indulgences sold, giving permission to eat butter in Lent, was helping to provide the funds. This tower, therefore, together with the uppermost portion of the Tour St. Romain, the western rose-window, and a good deal of decoration on each of the porches, belong to the Flamboyant period, corresponding to the Perpendicular of English architecture. At the base of the Tour St. Romain there still stands the lodge of the porter, whose duties from very early times right up to 1700 included the care of the fierce watch-dogs who were at night let loose in the cathedral to guard its many precious treasures from robbers. How much would we give for a glimpse of one of those porters walking through the cavernous gloom of the echoing aisles, with his lamp throwing strange shadows from the great slouching dogs! The misereres of the choir-stalls were carved between 1457 and 1469, and should be seen for the vivid details they reveal of nearly every trade and employment, as well as the costumes of the period when the Flamboyant style was in vogue. The tombs in the cathedral bring one into close touch with the Dukes of Normandy and their successors on the throne of England. In the easternmost chapels on either side of the nave are the tombs of Rollo, the first Duke of Normandy, and his son, William Longsword, who was murdered in 943. The statues were made in the thirteenth or fourteenth century, and have been restored. The inscription on Rollo’s tomb says: ‘Here lies Rollo, the first Duke, founder and father of Normandy, of which he was at first the terror and the scourge, but afterwards the restorer. Baptized in 912 by Françon, Archbishop of Rouen; died in 917. His remains were at first deposited in the ancient sanctuary, at present the upper end of the nave. The altar having been removed, the remains of the Prince were placed here by the blessed Maurille, Archbishop of Rouen, in the year 1063.’ A thirteenth-century effigy of Richard Cœur de Lion, discovered in 1838, lies outside the southern railing of the choir. The heart was found in a triple casket of lead, wood, and silver. Some of the dust can be seen in the Museum of Antiquities, whither the original effigy of Henry II.’s eldest son, Henry Plantagenet, has also been taken, the one in the cathedral being modern. On the left side of the high altar is the tomb of John, Duke of Bedford, Regent under Henry VI., and on the north side of the choir is the mutilated effigy of Archbishop Maurice, who died in 1235.