^{page 233 note 1} Guide to Anglo-Saxon Antiquities, 98, pl. viii; cf. Dalton, O. M., Cat. Ivory Carvings of the Christian Era, p. 32.Google Scholar

^{page 234 note 1} Bede, , Historia Abbatum, cap. 15.Google Scholar

^{page 234 note 2} Mr. Bruce Dickins has an interesting suggestion (Anglo-Saxon Guide, p. 97) that the building is the Temple, containing the Ark of the Covenant with poles for carrying it; on either side are the Cherubim; and underneath, the oxen below the sea of brass (1 Kings, vii, 44).

^{page 234 note 3} Mitt. Antiq. Gesell. Zürich, xi (1857), 162Google Scholar, pl. viii. Sir Martin Conway, in Proceedings, xxxi, 234, 239, attributes this to the eighth century, and compares the Brunswick casket, which, however, he calls Northumbrian of the ninth century.

^{page 235 note 1} Stephens called the material walrus or morse ivory (Old Northern Monuments, i, 379), and gave several wood-blocks of the casket, one of which is here reproduced.

^{page 237 note 1} Yorks. Arch. Journ., xix, 306Google Scholar; V. C. H. Yorks., ii, 111, 115 and pl. iv; Saga Book, Viking Club, v, 118. This and other stone-carvings in Yorkshire are here reproduced by permission from our Fellow Mr. W. G. Collingwood's papers on the subject.

^{page 237 note 2} Brendsted, Nordisk og fremmed Ornamentik i Vikingetiden (Aarboger for Nordisk Oldkyndighed og Historie, 1920), p. 188 (English edition, Early English Ornament, p. 192).

^{page 239 note 1} Our Fellows Messrs. Prior and Gardner, in reviewing late Anglo-Saxon and Viking sculpture, quote this opinion (Mediaeval Figure-sculpture in England, pp. 125–6, fig. 104).

^{page 239 note 2} Much like the eagle of the Easby fragment (fig. 7) and birds on the Jedburgh, Bewcastle, and Ruthwell crosses.

^{page 239 note 3} Not unlike the design on the leather binding of St. John's Gospel taken from the tomb of St. Cuthbert (died 687), now in Stonyhurst Library. It is reproduced as the frontispiece of Sarah T. Prideaux's Historical Sketch of Bookbinding, but the date is disputed.

^{page 243 note 1} Yorks. Arch. Jonrn., xxiii, 134Google Scholar; Brendsted, op. cit., p. 179 (English edition, p. 46).

^{page 245 note 1} Reproduced in Trans. Bristol and Gloucs. Arch. Soc., xiii, 122.Google Scholar

^{page 247 note 1} Fairholt, , Rambles of an Archaeologist, p. 101Google Scholar, fig. 116; Cat. of Antiquities exhibited at Ironmongers' Hall, London, in 1861 (published 1869), p. 496; Smith, H. Clifford, Jewellery, pl. xiii.Google Scholar

^{page 248 note 1} As on the shaft from St. Peter's, York (Yorks. Arch. Journ., xx, 154), and on the right side of St. Oswald's stone at Gloucester (fig. 19).

^{page 249 note 1} Zimmermann, , op. cit., pl. 315, b, top middle, date 750–800.Google Scholar

^{page 249 note 2} Op. cit., plates 321, 324.Google ScholarPubMed

^{page 249 note 3} Brøndsted, , op. cit., 206, note 1 (English edition, p. 158).Google Scholar

^{page 249 note 4} Lehnert's, Illustrierte Geschichte des Kunstgewerbes, i, 22.Google Scholar

^{page 250 note 1} Vorkarolingische Miniaturen, Text, pp. 25, 115; also in Riegl, , Die spätrömische Kunstindustrie, ii (1923)Google Scholar.

^{page 250 note 2} Op. cit., pp. 204, 206 (early 9th century).

^{page 251 note 1} Lehnert, , Illustrierte Geschichte des Kunstgewerbes, i, 215.Google Scholar

^{page 251 note 2} Brøndsted, op. cit., pp. 205, 276 (English edition, pp. 152, 329); Zimmermann in Riegl's, Die spätrömische Kunstindustrie, ii, 57, fig. 42Google Scholar; illustrated by Müller, Sophus, Ordning (Jernalderen), 670Google Scholar, also in Urgeschichte Europas, pl. iii; by Shetelig, in Oseberg-fundet, iii, 259.Google Scholar

^{page 252 note 1} The Making of England, ii, 185.

^{page 252 note 2} Noticed also by Bernhard Salin in Fornvännen, 1922, p. 196, during the period of Style III.

^{page 253 note 1} Aarsberetningen fra Foreningeu til norske Fortidsmindesmærkers Bevaring, 1909, p. 75.

^{page 253 note 2} A good example was found under Winchester Cathedral about 1910 (Proceedings, xxiii, 398).

^{page 253 note 3} For instance, one face of a diptych panel in the Victoria and Albert Museum has pairs of animals and interlacing in the field much in the style of many Anglian cross-shafts, but is generally assigned to France (Goldschmidt, I, no. 179, pl. LXXXIII).