^{page 429 note a} Waring, J. B., Art Treasures of the United Kingdom (1858), 8.Google Scholar

^{page 429 note b} Storia dell' Arte Gristiana, vol. vi. plate 439, fig. 4. Garrucci erroneously describes the pyx as belonging to the cathedral church of Sens.

_{page 429 note c} La Messe, vol. v. plate 372, and p. 67b.

^{page 430 note a} Darcel, A., La Collection Basilew.slcy, plate ii.Google Scholar

^{page 430 note b} Graeven, H., in Monuments et Mémoires publiés par l'Académie des Inscriptions et Belles-Lettres (Fondation Eugène Plot), vol. vi. (1900). “Pyxide en os représentant la naissance d'Apollon et de Diane.”Google Scholar

^{page 430 note c} A number of the pyxes still in existence ai-e figured by Rohault de Fleury and Garrucci in the volumes cited above.

^{page 431 note a} Stuhlfauth, G., Die altchristliche Eilfenbeinplastik, 66. Stuhlfauth compares -with the Sneyd pyx four panels in a collection in Paris, Garrucci, plate 448,10-13. He states that the pyx originally came from Aachen.Google Scholar

^{page 431 note b} Westwood, , Fictile Ivories, 274.Google Scholar

^{page 431 note c} In Waring's, Art Treasures, cited above.Google Scholar

^{page 431 note d} For the Lorsch bookcover (Maskell, , Ivory Carvings, plate opposite page 53)Google ScholarseeGraeven, H. in Byzantinische Zeitschrift, x. 1–22Google Scholar. The Bodleian bookcover (Westwood, , Fictile Ivories, plate vi.) is especially interesting because the early Christian original of one of the plaques composing it is still in existence; seeGoogle ScholarHaseloff, A. in Jahrbuch der königlich preussischen Kunstsammlimgen, 1903, pp. 47ffGoogle Scholar . The imitation of early Christian pyxes in the West is not so frequent as that of panels or plaques; but there is an example at Reichenau executed at an even later date than that suggested for the Sneyd pyx. For this information I am indebted to Dr. Hans Graeven, Director of the Trier Museum.

^{page 431 note e} Rahn, J. R., Das Psalterium Aureum von Sanct Gallen, 36, “auswarts geschweifte Finger.”Google Scholar

^{page 433 note a} See for example the Eusebian Canons in the Godex aureus, Harley MS. 2788 in the British Museum; and a Byzantine ivory plaque of the tenth and eleventh century at Berlin, , ElfenbeinbildwerkeGoogle Scholar, Album, plate iv. No. 9A.

^{page 433 note b} Westwood, , The Bible of the Monastery of St. Paul near Rome, photographs 3,108 and 3,112, and Palaeographia sacra pictoria; plate reproduced from the Bible of Charles the Bald.Google Scholar

^{page 433 note c} ComteBastard, A. de, Peintures et ornements des MSS. … pour servir à l'histoire des arts et du dessin depuis le 4^mesiècle jusqu' a la Jin du 16^me, livraison iii.Google Scholar

^{page 434 note a} Hefner-Alteneck, J. H. von, Trachten Kunstwerke und Geräthnchaften vom frühen Mittelalter bis Ende des 18^tnJahrhundert, vol. i. (Frankfurt, 1879), plates xxii. and xxvi.Google Scholar

^{page 434 note b} Elfenbeinbildwerke, Berlin, 1902, No. 38, plate 12.Google Scholar

^{page 434 note c} Strzygowski, J., Byzantinische Denkmaler, i. 33.Google Scholar

^{page 435 note a} Garrucci, , Storia dell 'arte Cristiana, vol. vi., interprets these three figures as three apostles.Google Scholar

^{page 435 note b} Strzygowski, J., as above, p. 37.Google Scholar

^{page 435 note c} On Syrian influence in the West, seeScheffer-Boichorst, P. in Mittheilungen des Institute für Oesterreichische Oeschichtsforschung, (1884), v. 521 ff, “Die Syrer im Abendlande”Google Scholar ; Janitschek, H., in Festgruss an Anton Springer (Berlin and Stuttgart, 1885), Zwei Studien zur Geschichte der Garolingischen MalereiGoogle Scholar; Leitschuh, F., Der Bilderkreis der Oarolingischen Malerei (Bamberg, 1889), 7, etcGoogle Scholar.