^{page 181 note 1} Sent me by Miss Stefanie Deichmann; reproduced by courtesy of the Dutch State Office for the Care of Monuments, to which the negative belongs.

^{page 182 note 1} Reproduced, from his negatives, by courtesy of the Duke of Rutland.

^{page 182 note 2} This scene seems to have been represented comparatively rarely on English alabaster retables; cf. Antiq. Journ. iv (1924), 377seqq.Google Scholar and pl. LII.

^{page 182 note 3} Cf. Biver, , ‘Some Examples of English Alabaster Tables in France’, in Archaeol. Journ. lxvii (1910), pls. xiii–xviiGoogle Scholar; Prior, and Gardner, , Medieval Figure-Sculpture in England, Cambridge, 1912, fig. 538Google Scholar; Ill. Cat. Exhibition English Medieval Alabaster Work (Soc. Antiquaries, 1910), London, 1913, pl. VIIIGoogle Scholar; Nelson, P., ‘The Woodwork of English Alabaster Retables’, in Trans. Hist. Soc. Lancs. and Ches. 1920, pl. facing p. 57Google Scholar.

^{page 182 note 4} Cf. Exposition d'art religieux ancien (100 pls., with descriptions of objects thereon), Rouen, 1932, pl. xii; Biver, op. cit., pl. iii; Nelson, op. cit., pl. facing p. 50.

^{page 182 note 5} Cf. Antiq Journ. iv (1924), 379.

^{page 183 note 1} Ibid. 378 seq. (note).

^{page 183 note 2} Cf. Antiq. Journ. viii (1928), 56Google Scholar.

^{page 182 note 3} Cf. W. L. Hildburgh, ‘An Alabaster Table of the Annunciation with the Crucifix’, pl. XLV.

^{page 184 note 1} Rouen (Imprimerie Lecerf), 1931.

^{page 184 note 2} Text by F. Guey and J. Lafond, with Preface by P. Vitry, Rouen (Imprimerie Lecerf), 1932.

^{page 184 note 3} Cf. p. 182, n. 4.

^{page 184 note 4} It is interesting to observe that in this, as in many ‘Entombment’ tables, Mary Magdalene holds her hair, as well as her ointment-pot, as one of her symbols; cf. Hildburgh, , ‘Iconographical Peculiarities in English Medieval Alabaster Carvings’, in Folk-Lore, xliv (1933), 41seq.Google Scholar

^{page 185 note 1} Reproduced in catalogue of the sale of that collection.

^{page 185 note 2} Cf. Nelson, , ‘Earliest Type of English Alabaster Panel Carvings’, in Archaeol. Journ. lxvii (1919), pl. viiGoogle Scholar.

^{page 185 note 3} Cf. note on a similar figure of St. John, p. 189 infra; also, Antiq. Journ. x (1930), 41Google Scholar and pl. x, on a table of ‘St. John Preaching’.

^{page 185 note 4} Cf. ‘Iconographical Peculiarities …’, 43.

^{page 185 note 5} Cf. Proc. Soc. Ant. xxv (1913), 80.

^{page 185 note 6} Cf. Gardner, A., ‘Alabaster Tombs of the Gothic Period’, in Archaeol. Journ. lxxx (1923), pl. ix and p. 10Google Scholar. Compare, also, the group on the large alabaster panel, from Marshfield, Gloucestershire, formerly the property of Mr. F. Leverton Harris and now of the Victoria and Albert Museum; cf. Proc. Soc. Ant. xxix (1917), 92Google Scholar and pl. facing 91.

^{page 186 note 1} Cf. text accompanying set of plates.

^{page 186 note 2} Ibid.; the three parallel images are reproduced in Vitry and Brière's Documents (Paris, 1906), pl. xcv.

^{page 186 note 3} I hope to take up the question more fully in a paper concerned especially with English alabaster images of the Virgin and Child.

^{page 187 note 1} Cf. ‘Iconographical Peculiarities …’, 48 seqq.; Archaeol. Journ. lxxxviii (1931), 234Google Scholarseqq.; Antiq. Journ. x. (1930), 34Google Scholarseqq. and pl. vi.

^{page 187 note 2} No. 61 of the catalogue of the sale; reproduced in pl. vii of that catalogue. Cf. pp. 188, 189 infra, on other alabasters of the Roquigny Collection.

^{page 187 note 3} The same subject, very similar in arrangement, appears painted on one of the shutters of the reredos at La Celle; cf. Biver, op. cit., pl. xii and pp. 77 seq., or Nelson, ‘The Woodwork of English Alabaster Retables’, pl. facing p. 55.

^{page 187 note 4} Cf. Nelson, ‘A Doom Reredos’, in Trans. Hist. Soc. Lancs. and Ches. 1918, 67 seqq.; cf. also Archaeol. Journ. lxxxviii, 238 and pl. vii.

^{page 187 note 5} Cf. Antiq. Journ. x, 35 and pl. vi.

^{page 187 note 6} Cf. Proc. Soc. Ant. xxxii (1920), 121Google Scholarseq. (with fig. 3).

^{page 187 note 7} Cf. Antiq. Journ. viii (1928), 61 seq. and pl. xvi.

^{page 188 note 1} No. 60, and reproduced in pl. vii of the Paris catalogue.

^{page 188 note 2} Cf. Bouillet, A., in Bull. monumental, 1901, pp. 59Google Scholarseq. A more recent paper concerned with the collection is L. de Vesly's ‘Les Albâtres du Musée de Rouen’, in Bull. Soc. libre d'Émulation, Rouen, 1928.

^{page 189 note 1} For a detailed discussion of such groups, often miscalled ‘Trinities’, see ‘Iconographical Peculiarities …’, 50–6.

^{page 189 note 2} Cf. Nelson, ‘Earliest Type …’, pl. viii and p. 93.

^{page 189 note 3} Cf. ‘Iconographical Peculiarities …’, 55 seq.

^{page 189 note 4} Ibid. 52.

^{page 189 note 5} An English alabaster so-called (although lacking the Dove) ‘Trinity’ with five souls was presented to the Victoria and Albert Museum in 1935; cf. Victoria and Albert Museum: Annual Review, 1935, 3.

^{page 189 note 6} Cf. Congrès archéologique de France, lxxxi (Meeting at Quimper, 1914), 248 (with photographic reproduction).

^{page 189 note 7} No. 62 in the catalogue, with picture on pl. vii.

^{page 189 note 8} No. 63 in the catalogue, with picture on pl. vii.

^{page 189 note 9} Cf. ‘Iconographical Peculiarities …’, 37–41, and Hildburgh, ‘Note on Medieval English Representations of “The Resurrection of our Lord”’, in Folk-Lore, xlviii (March, 1937).

^{page 189 note 10} Reproduced in catalogue of sale.

^{page 189 note 11} Gf. Nelson, , in Archaeol. Journ. lxxxiii (1929), pl. viii and pp. 43Google Scholarseq.; reproduced in catalogue of sale.

^{page 190 note 1} Reproduced in catalogue of sale.

^{page 190 note 2} Reproduced by courtesy of Mr. Lionel Harris.

^{page 190 note 3} Cf. p. 185, supra.

^{page 190 note 4} For description, and note on this, see Antiq. Journ. viii (1928), 64Google Scholar.

^{page 190 note 5} Cf. Archaeol. Journ. lxxiv (1917), 144Google Scholarseqq. with pls. x–xii.

^{page 191 note 1} Cf. Fryer, A. C., ‘On Fonts with Representations of the Seven Sacraments’, in Archaeol. Journ. lix (1902), 31Google Scholarseqq. and pls. xiv–xvi.