They were made between the years of 1457 and 1469, and are in part owing to the munificence of Cardinal Guillaume d'Estouteville. The stalls as a whole are much deteriorated from their originally perfect beauty. The work at Amiens will suggest how much of the stalls of Rouen has been lost or wantonly mutilated. Without the Archbishop's throne, which has been replaced by a heavy modern structure, the whole eighty-eight, of which two have disappeared, cost 6961 livres to make, and the greater part of the figures were done by Pol Mosselmen (whose Flemish name was a terrible puzzle to mediaeval scribes) and Francois Trubert. Two other Flemish carvers, Laurens Hisbre and Gillet Duchastel, occur in the complete list of eleven sculptors who were paid by the piece as recorded in the Chapterhouse accounts. The designs were made by Philippot Viart, "maistre huchier" de Rouen, who received 5 sous 10 deniers a day for his work, and employed workmen so nearly his equals in skill that they got from 4s. 6d. to 5s. for their time. The names of the sixteen "carpenters" he had with him are all preserved with the weekly account of their payments; and though most of the work of the Flemish "sculptors" on the larger statues has entirely disappeared, the more modest position of the little carvings beneath the seats has probably saved them; and these are the work, as I believe to be most probable, of the Rouen "carpenters" whom Philippot Viart collected. Their names are very ordinary ones; such as Eustache, Baudichon, Lefevre, Fontaine, Lemarie, and the like; and their work is nearly all dedicated to perpetuating either those arts and crafts of Rouen with which they would be most familiar, or subjects similar to the medallions on the north and south portals which I have already shown to be the stock-in-trade of the mediaeval workman. Many of the misericordes indeed are no doubt taken from the stone-work outside. As you turn one seat after another to the light, the life and habits and costume of four hundred years ago stand clear before you. There are the musicians with their cymbals, drums, and stringed instruments; the wool-combers with their teasels; the sheep-shearers and cloth-makers; the cobblers and leather-sellers and patten-makers; the barbers and surgeons; the schoolmaster with his pupils; the carver at work upon a stall; the mason chiselling a Gothic arch or modelling a statue; the blacksmith, the carpenter, the shepherd, the fisherman, the gardener in his vineyard, the midwife, the chemist at work among his test-tubes and alembics, the chambermaid cleaning up her rooms.