the delight and the glory of liberty when they most seek their Father's precepts.
200. The two lines I have just quoted are, as you probably remember, from Chaucer's translation of the French Romance of the Rose, out of which I before quoted to you the description of the virtue of Debonnaireté. Now that Debonnaireté of the Painted Chamber of Westminster is the typical figure used by the French sculptors and painters for 'franchise,' frankness, or Frenchness; but in the Painted Chamber, Debonnaireté, high breeding, 'out of goodnestedness,' or gentleness, is used, as an English king's English, of the Norman franchise. Here, then, is our own royalty,—let us call it Englishness, the grace of our proper kinghood;—and here is French royalty, the grace of French kinghood—Frenchness, rudely but sufficiently drawn by M. Didron from the porch of Chartres. She has the crown of fleur-de-lys, and William the Norman's shield.
201. Now this grace of high birth, the grace of his or her Most Gracious Majesty, has her name at Chartres written beside her, in Latin. Had it been in Greek, it would have been ἐλευθερία. Being in Latin, what do you think
