go through the wooden door in search of better fortune. [Illustration: THE GALLERY OF THE MAISON BOURGTHEROULDE, SHOWING THE CARVINGS OF THE FIELD OF THE CLOTH OF GOLD, AND ABOVE THEM THE CARVINGS OF PETRARCH'S "TRIUMPH"] It was the town house of the family of Le Roux,[65] a name which already has artistic associations for any lover of the architecture of Rouen, though I have found no trace of relationship between the architect of the Cathedral facade, the Bureau de Finances, and the Palais de Justice, and the lawyers who built and decorated this "hotel." Indeed I cannot imagine it would be likely that a man of so much originality and power both in architecture and in sculpture would have lent himself to the methods of decoration employed here, which, as you will see, are more appropriate to the accurately historical than to the freely artistic frame of mind. The man who made the fortune of the family was the second Guillaume Le Roux, husband of Jeanne Jubert de Vely, and one of the fifteen lay councillors called to the Perpetual Echiquier created by Louis XII. in 1499. He bought the estates of Tilly, Lucy, Sainte Beuve, and Bourgtheroulde, and built the "corps de logis" in the interior courtyard exactly opposite the entrance. He also began the wings on the north and west, but left the great southern gallery to be completed by his son Guillaume, "Abbe d'Aumale et du Val Richer," who held several benefices under the great Cardinal d'Amboise, and derived his chief claim to importance from having been employed by Francois I. in the negotiation of the celebrated Concordat which that king announced with so much solemnity on his entry into Rouen in 1517. [Footnote 65: Called Le Roux d'Esneval in a genealogy of 1689, and perhaps relations of Louis de Breze's first wife, whom he married before Diane de Poitiers. See the end of Chapter X.]