How well he fulfilled his vow, there are many things in Rouen to this day to tell, and the blessing that he gave his congregation was not limited to things spiritual and unseen. His splendid public benefactions in regulating the water-supply of the town have been already noticed, and may be better realised in Lelieur's careful drawings. His Cathedral remembers him by her western facade, by the rich balustrades around the choir, now vanished, by numerous costly shrines and jewels in the Tresor, by that Tour de Beurre[59] which held "Georges d'Amboise" the greatest bell outside of Russia, that every outlying parish could hear, by the magnificent building which future archbishops justly called their palace. And the Province of which he became governor when Louis d'Orleans rose to be Louis XII., "avec le titre effrayant de reformateur-general," owed him the blessings of peace from brigandage and prosperity in commerce; owed him, better than all, the firm and permanent establishment of the Courts of Justice. By all these, and more, he worthily has won the right to be considered by far the strongest and ablest Archbishop Rouen ever had. After his election, his nephew, the second Georges d'Amboise, was the only other primate the Chapterhouse was ever permitted to elect. The tomb of both is in the Chapelle de la Vierge of the Cathedral. [Footnote 59: The name is said to have arisen from the fact that it was chiefly built by the fines paid by those of the faithful who ate butter during Lent.] I have but too short space or time wherein to tell you more of the interior of that great edifice, whose building I described when Philip Augustus made Normandy a part of France. But out of the multitude of interests that will stay your every step beneath its arches, there are a few things I must point out now, and leave the most famous of its tombs till later. [Illustration: WESTERN PORCH OF ST. VINCENT] As you enter by the western door, turn southwards into the Chapelle St. Etienne beneath the Tour de Beurre. The second monumental stone on the right is in memory of Nicole Gibouin, and it is one of the most exquisitely drawn faces that you will see in all Rouen. This face and both hands are incised in white marble, the rest of the body and dress is indicated by red lines cut lightly in the stone. At his feet lies a dog holding a bone. After this, there is scarcely a monument worth looking at that can elude your notice; but as my business is to omit the obvious and point out the beauties which might escape unwarned attention, I shall direct you straightway to the choir, and more particularly to the carved oak stalls. The seats, as is usually the case, turn up to form an additional rest for priests who had to stand through long and numerous services, and upon these under surfaces (called misericordes) is an extraordinary series of carvings which you must look at, every one.