^{page 144 note *} See Didron's Manuel d'Iconographie Chrétienne, page 288.

^{page 145 note *} See Dr. E. Clarke's Travels. 4to. 1812. Part 2; p. 408.

^{page 146 note *} For the interpretation of the characters on this elaborate painting, I am indebted to the kindness of J. S. Ralston, Esq. of the British Museum.

^{page 152 note *} There is an engraving of Adolphe de Ravestein Due de Cleves, 1425–1492, very similar to this in Velly, Villaret, and Garnier's France. Paris, 1778. Tome x. page 206.

^{page 153 note *} Walpole unfortunately gives a wrong date to the Darnley portrait, and omits that of the Queen Elizabeth altogether. The four pictures which I have specified are genuine and well-preserved examples of his pencil. They also exhibit a remarkable uniformity of style and tone of colour, although extending over a period of fifteen years. When Lucas quitted England is not stated; but we find from-Van Mander that he spent the concluding years of his life in his own country, and died, at the age of fifty, in 1584. One of the pictures which Walpole has attributed to him belongs to another hand. The Queen Elizabeth standing in a garden, with the sword of justice at her feet, and belonging to the Duke of Portland at Welbeck, is in reality by Mare Geerards. I discovered the signature M. G. F. upon the background near her chair of state.— G. S.