,
the sword of Saint Catherine, the restoration of a child to life.
There was also a report of a rash letter concerning the Pope and there
were many other indications of witchcraft, heresy, and religious
error.[2180] Such information was not to be included among the
documents of the trial.[2181] It was the custom of the Holy Inquisition
to keep secret the evidence and even the names of the witnesses.[2182]
In this case the Bishop of Beauvais might have pleaded as an excuse
for so doing the safety of the deponents, who might have suffered had
he published information gathered in provinces subject to the Dauphin
Charles. Even if their names were concealed, they would be identified
by their evidence. For the purposes of the trial, Jeanne's own
conversation in prison was the best source of information: she spoke
much and without any of the reserve which prudence might have
dictated.

[Footnote 2179: J. Quicherat, _Apercus nouveaux_, p. 117.]

[Footnote 2180: _Trial_, vol. i, pp. 245, 246.]

[Footnote 2181: _Ibid._, vol. ii, p. 200.]

[Footnote 2182: De Beaurepaire, _Recherches_, _loc. cit._ J. Quicherat,
_Apercus nouveaux_, pp. 122-124. L. Tanon, _Histoire des tribunaux de
l'inquisition_, pp. 389-395.]

A painter, whose name is unknown, came to see her in her tower. He
asked her aloud and before her guards what arms she bore, as if he
wished to represent her with her escutcheon. In those days portraits
were very seldom painted from life, except of persons of very high
rank, and they were generally represented kneeling and with clasped
hands in an attitude of prayer. Though in Flanders and in Burgundy
there may have been a few portraits bearing no signs of devotion, they
were very rare. A portrait naturally suggested a person praying to
God, to the Holy Virgin, or to some saint. Wherefore the idea of
painting the Maid's picture doubtless must have met with the stern
disapproval of her ecclesiastical judges. All the more so because they
must have feared that the painter would represent this excommunicated
woman in the guise of a saint, canonised by the Church, as the
Armagnacs were wont to do.

A careful consideration of this incident inclines us to think that
this man was no painter but a spy. Jeanne told him of the arms which
the King had granted to her brothers: an azure shield bearing a sword
between two golden _fleurs de lis_. And our suspicion is confirmed
when at the trial she is reproached with pomp and vanity