^{page 2 note 1} A very interesting account of his life was communicated by Edward Conder, junr., F.S.A., to the Lodge Quatuor Coronati, and is published in their Transactions for 1903, vol. xvi, pp. 94-104. G. H. Moberley in his work on the life of William of Wykeham gives in full the passage from the New College Register and two early manuscripts which both claim his birth for Wickham, Hampshire.

^{page 4 note 1} In Prior and Gardner's Mediaeval Figure Sculpture in England, we find the following reference to our subject, ‘monsters, hunters, and fighters are stretched out in long lines along the eaves as at Hanwell and Adderbury’ (fig. 438 opposite). This is an illustration of the two dragons at the west end on the south side. There is also an illustration of one of the capitals with musician above (fig. 441) at Hanwell. In both instances a date circ. 1340 is assigned.

^{page 4 note 2} See , Mackey, Encyclopaedia of Masonry, p. 569Google Scholar; , Kenning's, Cyclopaedia of Masonry, p. 555Google Scholar; Waite, A. E., The book of Black Magic, p. 191. In a paper by the Rev. F. de P. Castells contributed to the Author's Masonic Lodge, and published in vol. i, p. 305, of their Transactions, on the Geometry of Freemasonry, special mention is made of the pentalpha, and it is there asserted that where, as in the instance at Adderbury, the main triangle is pointing downwards, it was then symbolical of the ‘Head of the Evil Goat’, ‘the Witch's Foot, which are regarded as emblematic of the wicked one and as having a malignant influence’. The very forbidding human-headed monsters guarding on either side the Adderbury example, may possibly support this contention.Google Scholar

^{page 5 note 1} At the church of St. Denis, York, is a representation in the fourteenth-century glass of an angel holding and playing the symphony, very richly coloured and ornamented.