^{page 244 note a} Or rather canopies. See post, page 290.

^{page 245 note a} The latter, when made “to be borne,” was slit at the end. See Machyn's Diary, Camden Society, 1848, page xxviiGoogle Scholar. of Introductory Notes.

^{page 245 note b} See Collas, , Trésor de Numismatique, Sceaux d'Angleterre, Paris, 1835, Pl 13Google Scholar, fig. 2, and Sand-ford, , Genealogical History, London, 1677, page 427Google Scholar. Montfaucon, , Monumens, Pll. cxcviGoogle Scholar. ccxxi. and ccxxii.

^{page 245 note c} No. 342 of Law's, ErnestCatalogue of Pictures at Hampton Court, 1881, page 115Google Scholar. It is engraved on a large scale by Basire.

^{page 246 note a} Proceedings S. A. 29th November, 1883.

^{page 246 note b} Anecdotes, edited by Dallaway and Wornum, 1849, p. 31.

^{page 246 note c} Stow, , Annals, A.D. 1492Google Scholar.

^{page 247 note a} Beauties of England and Wales, Surrey, p. 195.

^{page 247 note b} Hall, p. 501. Thome, , Environs of London, Murray, 1876, p. 489Google Scholar.

^{page 247 note c} London, 1813, p. 179;andGoogle ScholarWalpole's, Anecdotes, 1849, p. 244Google Scholar.

^{page 247 note d} “Having been used for some time as a place of entertainment, it was in 1720 taken down. Its gallery of old pictures comprised the most ancient ever seen in this kingdom.”—See Walcot's, MackenzieMemorials of Westminster, 1851, p. 292Google Scholar.

^{page 248 note a} James West, F.S.A., the son of Richard West, Esq. of Alscott, Warwickshire, was elected a Fellow of the Royal Society in 1726, and held the office of Treasurer there from 1736 to 1768, when he became President. He was Secretary to Mr. Pelham as Chancellor of the Exchequer, and Secretary to the Treasury. He died in July, 1772.—See Walpole's, Letters, edited by Cunningham, Peter, vol. ii. p. 326Google Scholar.

^{page 248 note b} Walpole's, Letters, vol. v. p. 455Google Scholar.

^{page 250 note a} SeeCrowe, and Cavalcaselle's, Early Flemish Painters, 1872, p. 129;andGoogle ScholarGough, Richard, Account of the Missal, 4to. 1794, p. 11Google Scholar.

^{page 251 note a} SeeVillot's, Catalogue of the Louvre, 1867Google Scholar, French School, No. 651. Jean Juvenal died 1431. His son Guillaume, Chancellor of France, died 1472.— Montfaucon, , Monumens de la Monarchie Fran-qaise, 1731, vol. iii. plate lxviiGoogle Scholar.

^{page 252 note a} Mrs. Jameson's, Legends of the Madonna, 1852, p. 115Google Scholar; engraved in D'Agincourt, pl. 166, and also by Hawke, M., in (Œuvres complètes du Roi René, par M. le Comte de Quatrebarbes. Angers, 1845-1846Google Scholar

^{page 252 note b} Since the decease of Mr. Russell this diptych has been acquired by the Duke d'Aumale, and is now at Chantilly.—G. S. February, 1885.

^{page 253 note a} Crowe, and Cavalcaselle's, Early Flemish Painters, 1872, p. 365Google Scholar.

^{page 253 note b} See illustrations given in a Historical Description of the Altar Piece at Holyrood Palace, by David Laing, F.S.A. &c. Edin. 1857.

^{page 253 note c} See also an account of this picture in a Description of the Wilton House Diptych of King Richard II. published by the Arundel Society, p. 18Google Scholar.

^{page 253 note d} See a description of the picture in the Fine Arts Quarterly Review, January 1867, p. 27.

^{page 254 note a} This arrangement of long-robed angels playing musical instruments bordering1 a central composition will recall the famous tabernacle picture painted by Angelico da Fiesole in 1433 for the Flax Merchants' Guild at Florence. It is now in the gallery of the Uffizj at Florence. See The Life of Fra Angelico, published by the Arundel Society, 1850Google Scholar.

^{page 254 note b} SeeArchaeologia, vol. xxxix. p. 249Google Scholar.

^{page 255 note a} This picture is described in Crowe, and Cavalcaselle's, Early Flemish Painters, 1872, p. 289Google Scholar.

^{page 255 note b} Described in Crowe and Cavalcaselle, ibid. p. 291.

^{page 256 note a} SeeArchaeologia, vol. xxxix. p. 251Google Scholar; Beltz, , Memorials of the Order of the Garter, 1841, p. 408Google Scholar; Ashmole, , History of the Order of the Garter, pp. 193Google Scholar and 199; and Anstis, vol. ii. p. 37.

^{page 257 note a} It is well engraved by J. Bluck, from a drawing by F. Mackenzie, in Ackermann's, Westminster Abbey, 1812, vol.ii. p. 210Google Scholar.

^{page 257 note b} See Notes on the Imagery of Henry VII.'sChapel, , Archaeologia, vol. XLVIIGoogle Scholar.

^{page 257 note c} SeeWorcester, by Green, Valentine, 4to. 1796, p. 103Google Scholar.

^{page 257 note d} Litta, , Famigle Celebri, vol. i.; andGoogle ScholarMurray's, Handbook to Northern Italy, 1843, p. 274Google Scholar.

^{page 258 note a} SeeCarter's, JohnSpecimens of Sculpture and Painting, 1780, vol. i. plate xxviGoogle Scholar. See also a minute outline by H. Moses in Neale's, Westminster Abbey, vol. i. p. 56Google Scholar.

^{page 258 note b} Mrs. Jameson's, Sacred and Legendary Art, 1850, p. 442Google Scholar. Crowe, and Cavalcaselle, , Painting in North Italy, vol. i. p. 387Google Scholar.

^{page 259 note a} Engraved in Landon's, Vie et Œuvre du Corrège, 1811, plate 24Google Scholar. Antonio Allegri, by Mrs. Heaton, Charles, 1876, p. 199Google Scholar.

^{page 259 note b} Smith's, Catalogue Raisonné, p. 48Google Scholar, No. 135.

^{page 259 note c} Smith's, Catalogue Raisonné of the Works of Rubens, 1830, pages 8 and 30Google Scholar. See also The Works of Sir Joshua Reynolds, edited by Malone, Edmund, 1819, vol. ii. p. 331Google Scholar.

^{page 259 note d} See Proceedings, 2d S. vol. viii. p. 123Google Scholar.

^{page 260 note a} Cicognara, , Storia delta Scultura, 1823, vol. iv. p. 94Google Scholar, Vasari, Le Monnier edn. vol. iii. p. 250. Ottley's, Early Florentine School, 1826Google Scholar, folio, pl. 38. Perkins, C., Tuscan Sculptors, 4to. 1864, vol. i. p. 140Google Scholar.

^{page 260 note b} Archaeologia, vol. xxv. p. 574Google Scholar, a letter from Thomas Willement, Esq. to the Secretary of the Society.

^{page 260 note c} SeeCrowe, and Cavalcaselle's, Early Flemish Painters, 1872, pp. 21 and 23Google Scholar.

^{page 261 note a} See post, page 291.

^{page 261 note b} See post, page 271.

^{page 261 note c} See Kugler's, Handbook of Italian Painting, 1874, p.197Google Scholar.

^{page 261 note d} Thausing, , Albert Dürer, edited by Eaton, F., 1882, vol. i. pp. 234Google Scholar and 314. Scott, W. B., Albert Dürer, 1869, pp. 207Google Scholar, 208, and 235. Mrs. Jameson's, Sacred and Legendary Art, 1850, p. 240Google Scholar.

^{page 262 note a} In a valuable List of Painted Decorations inBuildings published by the Department of Science and Art in the South Kensington Museum, 1883, p. 361, it is stated that “Most of the wall paintings represent St. George on horseback piercing the dragon with his spear, the princess with a lamb kneeling behind him, and the king and queen viewing the encouncer from a distant tower.”

^{page 262 note b} SeeCarter's, JohnSpecimens, vol. i. pl. 12, andGoogle ScholarBoutell's, C.Monumental Brasses of England, 1849, p. 29Google Scholar.

^{page 263 note a} Neale's, Westminster Abbey, vol. ii. pp. 274 and 276Google Scholar. Scott's, GilbertGleanings from Westminster Abbey, 1863, p. 159Google Scholar.

^{page 263 note b} See a cast in the South Kensington Museum, and also Handbook to the Crystal Palace, 1854, Mediaeval Court, by M. Digby Wyatt, and J. B. Waring, p. 99. A very careful representation of this horseman showing the back of the figure is given in Planche's, Cyclopaedia of Costume, 4to. 1879 vol. ii. pl. 22, facing p. 108Google Scholar.

^{page 264 note a} Esposizione Generate Italiana, Torino, 1884.Google ScholarCatologo uffiziale della sezione Storia dell Arte Castello Feudale dell SecoloXV. p. 75.

^{page 264 note b} Gentleman's Magazine, 1823, October, p. 292Google Scholar.

^{page 264 note c} Conversazions-Lexikon, für Bildende Kunst von Faber, 1850, Leipzig, vol. iv. p. 409Google Scholar.

^{page 265 note a} Hewitt, John, Ancient Armour in Europe, 1860, vol. i. p. 137Google Scholar.

^{page 265 note b} Walks in Florence, 1873, vol. i. p. 208Google Scholar.

^{page 265 note c} An illustration is given in Mrs. Jameson's, Sacred and Legendary Art, vol. i. p. 242Google Scholar. See picture in the National Gallery from the church of the Franciscans at Matelica.

^{page 265 note d} Sketches of the History of ChristianArt, 1847, vol. i. p. 88Google Scholar.

^{page 268 note a} See Landon, Vie et Œuvres de Raphael, Paris, 1811, tome 6, pl. 333Google Scholar. Raphael par Muntz, translated by Armstrong, W., 1882, p. 111Google Scholar, and Raphael, by Crowe, J. A. and Cavalcaselle, J. B., 1882, vol. i. p. 207Google Scholar.

^{page 268 note b} Wornum's, Life of Holbein, 1867, p. 390.Google ScholarOld London. Papers read at the London Congress of the Archaeological Institute, 1867, p. 298.

^{page 268 note c} Dennistoun, J., Dukes of Urbino, 1851, vol. ii. pp. 447–8Google Scholar.

^{page 269 note a} See Landon, vol. vi. pl. 334, Passavant, Rafael von Urbino, 1839, vol. ii. p. 57, andGoogle ScholarMuntz, . Raphael, 1882, p. 223Google Scholar.

^{page 270 note a} Ruskin, J., St. Mark'sRest, The Shrine of the Slaves, 1877, p. 2Google Scholar, Crowe, and Cavalcaselle, , Painting in North Italy, 1871, vol. i. p. 206Google Scholar.

^{page 270 note b} SeeCrowe, and Cavalcaselle's, Flemish Painters, 1872, p. 290Google Scholar. The picture was sold in April, 1880, to a collector in Paris.

^{page 271 note a} Thausing, , Albert Dürer, edited by Eaton, P., 1882, vol. i. pp. 234 and 314, andGoogle ScholarScott, W. B., Albert Dürer, 1869, pp. 207, 208, and 235Google Scholar.

^{page 271 note b} Compare Collas, Achille, Trésor de Numismatique de Paris, 1855.Google ScholarSceaux des Rois d'Angleterre, pl. xiii. fig. 1.

^{page 271 note c} See Archaeologia, vol. XXII. plate ix.

^{page 272 note a} Vol. ii. p. 76.

^{page 272 note b} Ruding, vol. iii. pp. 402-4, pl. 5, Nos. 3 and 4.

^{page 273 note a} Lazari, Selvatico e, Guida de Venezia, 1852, p. 100Google Scholar.

^{page 273 note b} Engraved by Hollar in Ashmole's folio volume on the Institution, &c. of the Garter, 1672, on a plate facing page 247.

^{page 274 note a} Ut supra, 1672, pl. 19, pp. 202 and 228Google Scholar.

^{page 274 note b} SeeMedallic Illustrations, 1885, vol. 1, pp. 548 and 572Google Scholar; and Medallic History, 1802, pl. xxvi. fig. 5. Smith's, Catalogue Raisonné of the Works of Rubens, 1830, p. 162Google Scholar, No. 563. Jameson's, A.Private Galleries in London, 1844, p. 41, andGoogle ScholarWaagen, , Treasures of Art, 1854, vol. ii. p.3Google Scholar.

^{page 275 note a} Smith's, Catalogue Raisonné of the Works of Rubens, 1830, p. 162Google Scholar, No. 563. Jameson's, A.Private Galleries in London, 1844, p. 41, andGoogle ScholarWaagen, , Treasures of Art, 1854, vol. ii. p.3Google Scholar.

^{page 276 note a} No. 974 of the Hampton Court Collection. See Catalogue of Hampton Court Palace, by Law, Ernest, 1881, p. 54Google Scholar.

^{page 276 note b} Sacred and Legendary Art, 1850, p. 240Google Scholar. Jones, , National Gallery, vol. i. No. 26Google Scholar.

^{page 276 note c} Jones, , National Gallery, vol. i. No. 40Google Scholar.

^{page 276 note d} Specimens of Painting and Sculpture,folio, 1787, pl. 35, p. 37Google Scholar of the Descriptive Text.

^{page 277 note a} Sacred and Legendary Art, p. 236.

^{page 277 note b} Christian Mythology, prefixed to Christian Art, 1847, vol. i. p. 88Google Scholar.

^{page 277 note c} Litta, Famiglie Celebri, vol. i.

^{page 278 note a} Published at Liverpool, 1849, vol. i. p. 114.

^{page 278 note b} Gent. Mag. for August, 1836, p. 134Google Scholar.

^{page 279 note a} Engraved and published by Thomas Fisher at Stratford-upon-Avon, 1808, Pl. 17.

^{page 279 note b} Account of a wall painting of St. George discovered in Gawsworth Church, read before the Cheshire Archaeological Society, by the Rev. W. H. Massie. Macclesfield, Swinnerton, and Co. 1853. Cheshire and Lancashire Proceedings for 1852-1853, p. 197Google Scholar. See alsoGent. Mag. 1851, Dec. p. 628Google Scholar, for a description of these additional incidental representations.

^{page 280 note a} See also Nares's, Glossary, ed. 1822Google Scholar. Hotten, J. C., The History of Signboards, 1866, page 287Google Scholar.

^{page 280 note b} Institution of the Order of the Garter, Ashmole, 1672, page 188Google Scholar.

^{page 281 note a} Ashmole, p. 499.

^{page 281 note b} Ashmole, p. 490. See post, page 293, in the Conclusion.

^{page 281 note c} Strutt, Joseph, Manners and Customs, 1775, vol. 2, plate xli. page 125Google Scholar.

^{page 281 note d} Anstis, p. 37.

^{page 281 note e} Ashmole, p. 478.

^{page 281 note f} Anstis, vol. i. page 267.

^{page 282 note a} As the princess here appears without any indication of queenly dignity, for she was married August 8th, 1503, less than six months after her mother's decease, it is probable that this picture was commenced within that period.

^{page 283 note a} SeeLaw, Ernest, Catalogue of Hampton Court, 1881, p. 201Google Scholar, No. 601.

^{page 284 note a} Engraved by J. Cochran, in Lodge's Portraits, 4to. 1835, vol. i. pl. 12.

^{page 284 note b} See Bathoe's Reprint, 1757, p. 113, No. 29.

^{page 284 note c} Bathoe, 1757, p. 87, No. 17. Law, Ernest, Hampton Court Catalogue, 1881, p. 183Google Scholar, No. 558.

^{page 284 note d} See Archaeologia, vol. xxxix. p. 249.

^{page 285 note a} Hampton Court, by Law, Ernest, 1881, p. 187Google Scholar, No. 563; and Archaeologia, ut supra.

^{page 285 note b} Archaeologia, ut supra, p. 253.

^{page 285 note c} Sandford, p. 509.

^{page 285 note d} See Catalogue of Pictures at Woburn Abbey, by Scharf, G., 1877Google Scholar, privately printed for the Duke of Bedford, p. 2, No. 2.

^{page 286 note a} Archaeologia, vol. xxxix.

^{page 286 note b} Stow, John and Howes, Edmund, Annales of England, London, 1631, p. 483Google Scholar.

^{page 287 note a} Sandford, p. 427, and Collas, , Trésor, pl. xiiiGoogle Scholar. No. 2.

^{page 287 note b} Collas, pll. xiii. No. 2, xvi. xx. Sandford, pp. 427, 514, and 515.

^{page 287 note c} Sandford, pp. 102 and 107. Boutell, p. 222, pl. xxxv.

^{page 287 note d} Sandford, pp. 443 and 433. Kennett's, History of England, vol. i. pp. 45,46Google Scholar.

^{page 288 note a} Barrington, p. 60.

^{page 288 note b} Hall, Stow, p. 471. Sandford, p. 435.

^{page 288 note c} Stow, p. 491.

^{page 288 note d} See Law's, Catalogue of Hampton Court, 1881, p. 108, No. 331Google Scholar.

^{page 288 note e} Diary of Henry Machyn (Camden Society, 1848), pp. 39Google Scholar and 40.

^{page 288 note f} SirNicolas's, HarrisBattle of Agincourt, 2nd ed. 1832.Google ScholarFrontispiece, and pp. 153 and 248.

^{page 289 note a} Sir Nicolas's, HarrisBattle of Agincourt, 2nd ed. 1832 p. 153Google Scholar. This pageant was held 23rd November, 1415.

^{page 289 note b} Apparently a shield bearing the cross (patibulum) and instruments of the Passion. The common seal of Corpus Christi College, Cambridge, of the date 1352, exhibits a shield with the verbal emblem of the Holy Trinity placed side by side with a shield of the Patible.

^{page 289 note c} Sandford, pp. 445 and 446.

^{page 289 note d} Shaw, H., Dresses and Decorations, 1843, vol. ii. pls. 42Google Scholar and 74. Lindsay, Lord, Christian Art, 1847, vol. iii. p. 283, noteGoogle Scholar.

^{page 290 note a} Law, Ernest, Hampton Court Catalogue, pp. 112Google Scholar and 115, Nos. 517 and 520.

^{page 290 note b} Montfaucon, vol. iii. pls. 39 and 44.

^{page 291 note a} Edmund Hall. The second year of King Henry VIII. fol. ix.

^{page 291 note b} This picture was exhibited at Burlington House among the Old Masters in 1885, No. 187 of the Catalogue. It was engraved by P.W. Tomkins in Lord Braybrook's book on Audley End, facing p. 30. Collins, , Peerage, 1812, vol. i. p. 108Google Scholar.

^{page 293 note a} Wauter's, A. J.Flemish School of Painting, London, 1885, pp. 120Google Scholar and 122.

^{page 294 note a} These interesting compositions are engraved in ProfessorWauter's, A. J.Flemish School of Painting, London, 1885Google Scholar; published by Cassell and Co. See pp. 69, 73, 87, 166, and 167.

^{page 294 note b} See ante, p. 283.

^{page 294 note c} See ante, pp. 280 and 281.

^{page 294 note d} Shakespeare, , Henry the Fifth, act ii. scene 1Google Scholar.

^{page 295 note a} See ante, p. 286.