The School of Chartres had, we know, long been famous. When, at the end of the fifteenth century, the new movement in literature, philosophy and art began to be felt through France, the successors of Fulbert were not unaffected by it. They welcomed the new learning. The discussions of the schoolmen yielded place to the new appreciation of Greek and Latin, art and literature. Nor were the Chartrains slow to apply the new discovery of the art of printing. Twelve years after the introduction of Gutenberg’s invention into France, Pierre Plume, a learned canon of Notre-Dame, caused to be printed, at his own expense, in his house in the cloister, and by the printer Jean Dupré, a magnificent folio missal for the use of the diocese (1482). A fine copy of this missal (_Missale Secundum usum ecclesiæ Carnotensis_) is in the town library. In the architecture of this period the same tendency towards the adoption or imitation of classical models, as interpreted by the Italian artists, is evident. Jean de Beauce abandoned the Flamboyant style in which he had hitherto so triumphantly wrought, and built the Renaissance clock tower of the Cathedral; and a certain doctor, Claude Huvé by name (1501-1559), in his enthusiasm for the revival of the old classical style, erected the house in the Rue du Grand Cerf (number [Illustration: Courtyard Maison du Medecin] 8), which still goes by the name of the _Maison du Médecin_. The Renaissance façade and court of this house contrast strikingly with the narrow, mediæval streets and Gothic style of the old town. They speak with strange distinctness of the intellectual and artistic awakening of the world after the slumber of the Dark Ages. And, as you read the inscription on the front of the house-- SIC CONSTRUXIT CLAUDI HW’ IAT ΡΟΣ DECORI URBIS AC POSTERITATI CONSULENS,[94] --you sympathise at once in the pride and delight which this child of the new era must have taken in the new birth of old things revealed to him by the Italian artists of the Renaissance. The front of this house may be compared with the entrance of the Château d’Anet, built by Philip Delorme at the same period (1548), and now preserved in L’École des Beaux Arts at Paris.