In another tale the Virgin takes the shape of a nun, who had eloped from the convent where she was professed, and performs her duties for ten years. At last, tired of a libertine life, the nun returned unsuspected. This signal service was performed in consideration of the nun's having never omitted to say an _Ave_ as she passed the Virgin's image.[1] [1] _These stories are perfectly fair examples of monastic teachings in the Twelfth Century. Roughly speaking, any one might do anything if he or she said an occasional_ Ave. _Indeed, Dom Mathew Paris, the most pious and trustworthy monkish historian, and in his way a scourge to the laxity of his own order, has more than one story of this kind in which he evidently believes._ It may be therefore said, without exciting any undue surprise, that Geoffroi de la Bourne had a resident chaplain in the castle, one Dom Anselm, and that religious ceremonies were more or less regularly observed. In the outer courtyard of the castle a doorway led into the chapel. This was a long room, with a roof of vaulted stone lit by windows on the courtyard side, full of some very presentable stained glass. The glass, which had far more lead in it than ours, was in fact a kind of mosaic, and the continual lattice work of metal much obscured the pattern. What could be seen of it, however, represented Saint Peter armed, and riding out to go hawking, with a falcon on his wrist. Strips of cloth bandaged cross-wise from the ankle to the knee, and fastened over red stockings, were part of the saint's costume, and he wore black-pointed shoes split along the instep almost to the toes, fastened with two thongs. In fact, the artists of that day were under the influence of a realistic movement, in much the same way as the exhibitors in the modern French salon, and what superficial students of Twelfth-Century manners put down as unimaginative ignorance was really the outcome of a widely understood artistic pose. On a shrine by the chapel door stood an image of the Blessed Virgin, a trifle gaudy. The head was bound round with a linen veil, and a loose gown of the same material was laced over a tight-fitting bodice. Round the arms were wound gold snake bracelets, imitations, made by Lewin in the forge, of some old Danish ornaments in the possession of the Lady Alice de la Bourne. The foldings of the robe were looped up here and there with jewelled butterflies, differing not at all from a Palais Royal toy of to-day. In front of the shrine hung two lamps, or "light vats" as they were called, of distinctly Roman type--luxuries which were rare then, and of which Dom Anselm was exceedingly proud. They dated from the time of King Alfred, that inventive monarch, who had adapted the idea of lamps from old Roman relics found in excavations. Except that the altar furniture was in exceedingly good taste, it differed hardly at all from anything that may be seen in twenty London churches to-day.