^{page 45 note 1} The thanks of the Society are due to Mr. Reginald Hooley, Honorary Curator of the Winchester Museum, for allowing a cast to be made. The length of the panel is 3 inches, the breadth at the wider end 1 ⅞ inches. The carving is in high relief, undercut in places; the raised border of one side is broken, and a hole has been bored between the two figures.

^{page 45 note 2} Prior and Gardner, Mediaeval Figure Sculpture in England, fig. 114, p. 135.

^{page 46 note 1} For these see J. A. Herbert, Illuminated Manuscripts, ch. vi, and SirWarner, George, The Benedictional of St. Aethelwold (Roxburghe Club, 1910)Google Scholar, Introduction.

^{page 47 note 1} F. M. Drake in Palestine Exploration Fund, Quarterly Statement, July 1918, p. 122 ; Burlington Magazine, January 1919, p. 3 (vol. xxxiv)Google Scholar.

^{page 47 note 2} Briggs, M. in Burlington Magazine, May 1918, p. 185 (vol. xxxii)Google Scholar.

^{page 48 note 1} For the phoenix in history and art, see W. H. Roscher, Lexikon der griechischen und römischen Mythologie, iii, sect, ii, column 3450, s.v. Phoinix. See also E. von Dobschütz, Christusbilder, chapter i, in O. von Gebhardt and A. Harnack's Texte und Untersuchungen zur Geschichte der altchristlichen Literatur, new series, vol. iii, 1890.

^{page 49 note 1} The Bennu.

^{page 49 note 2} Ch. xxix. 18.

^{page 49 note 3} Roscher, as above, col. 3466.

^{page 50 note 1} J. Strzygowski, Der Bilderkreis des griechischen Physiologus, in Byzantinisches Archiv, Heft 2, 1899, pi. iv.

^{page 51 note 1} Burlington Magazine, xxxiv, Jan. 1919, p. 4; Palestine Exploration Fund, Quarterly Statement, July 1918, p. 122.

^{page 51 note 2} Palestine Exploration Fund, Quarterly Statement, 1895, p. 126; Zeitschrift des deutschen Palüstinavereins, xviii, p. 88 and pi. 1; Mittheilungen of the same Society, 1895, p. 51.

^{page 52 note 1} Dalton, Byzantine Art and Archaeology, fig. 115 and p. 195, where the necessary references are given; Strzygowski, Das Etschmiudsin Evangeliar, pi. iv.

^{page 52 note 2} Strzygowski, Bilderkreis, etc. p. 94. The Capture of the Unicorn occurs in the Vatican Cosmas. Strzygowski notes the analogy between the Physiologus beasts, and those of the Psalters with marginal illustration, which also are of monastic origin.

^{page 52 note 3} A similar case was that of the Byzantine Psalter. The oldest illustrated psalter dates from the ninth century, but is clearly based on an earlier redaction. But until the discovery of the sixth-century frescoes with the story of David at Bawît, and the silver dishes in Cyprus with similar scenes, it seemed as if we should never get near to the actual prototypes.

^{page 53 note 1} MS. 10074 in the Bibliothèque Royale at Brussels, dated in the second half of the tenth century ; for information with regard to this book I am indebted to Mr. G. C. Druce, F.S.A. Perhaps the fact that the first western illustrations of the bestiary do not appear to copy a pre-existing cycle but to have begun de novo, justifies us in fearing the worst as regards early East-Christian MS. prototypes. It almost looks as if no illuminated example had reached the West, which would suggest that the pictured book was very rare even in the tenth century. Unless, therefore, some unsearched eastern monastery contains such a treasure in its library, we must look to less perishable monuments than books.

^{page 54 note 1} Schultz and Barnsley, The Church of St. Luke of Stiris in Phocis, p. 25, and pi. xl.

^{page 54 note 2} Christianity was established in Amida from the fourth century. The town was, at a later period, in the area conquered by the Crusaders. We read of attacks made by Moslems upon churches at the close ot the thirteenth century (Baumstark, , Oriens Christianas, iv, 1904, p. 409)Google Scholar.

^{page 54 note 3} Van Berchem and Strzygowski, Amida, p. 366.

^{page 56 note 1} Schultz and Barnsley, The Church of St. Luke of Stiris in Phocis, pi. xii. It may be specially noted that the ape seems also to be represented on the tympanum.

^{page 56 note 2} B. Filow, Early Bulgarian Art, pi. ii and p. 5. I omit the duplications of birds' heads in early textiles because they can be explained by the operation of technical causes. Examples may be seen in O. von Falke's Kunstgeschichte der Seidenweberei; see especially figs. 200, 202, 249, 254, 293, 296.

^{page 56 note 3} Van Berchem and Strzygowski, as above, pp. 88 ff.

^{page 57 note 1} Anthropology and folk-lore afford sufficient examples of the primitive logic by which such conclusions are reached ; the head has always been regarded as specially important.

^{page 57 note 2} Strzygowski, Die Baukunst der Armenier und Europa, 1918, pp. 284 and 287, with fig. 323.

^{page 57 note 3} A. Grünwedel, Altbuddhistische Kultstütten in Chinetisch-Turkistan, 1912, especially fig. 107, p. 54.

^{page 57 note 4} Sir John Marshall, Guide to Taxila, Calcutta, 1918, pi. xii.

^{page 58 note 1} F. X. Kraus, Real-Encyklopädie, s.v. Adler.

^{page 58 note 2} For the subject generally, see J. Strzygowski, Der Pinienzapfen als Wasserspeier, in Mitteilungen des K. Deutschen Arch. Instituts, Römische Abteilung, xviii, 1903, pp. 185 ff.

^{page 58 note 3} Dalton, Byzantine Art and Archaeology, fig. 213, p. 356, where other references are given. It is possible that the expansion at the summit may only indicate a third jet of water, but the resemblance to the next example, where there can be no mistake, makes the representation of the cone probable.

^{page 59 note 1} O. Wulff, Altchristliche Bildwerke, 1909, no. 33 (Cat. of the Kaiser Friedrich Museum); Strzygowski, as above, p. 193.

^{page 59 note 2} Venturi, Storia dell' Arte Italiana, ii, fig. on p. 573 ; Dalton, as above, fig. 452 ; Strzygowski, as above, p. 194 ; the relief is in St. Mark's, outside the Treasury.

^{page 59 note 3} Best reproduced by Rivoira, Lomhardic Architecture, i, p. 147.

^{page 60 note 1} G. Millet, Le Monastère de Daphni, pi. xix, i.

^{page 60 note 2} Examples are figured by Strzygowski. Birds with long ears are seen in a miniature in a Lesser Armenian MS. of A. D. 1198 reproduced by the same author in his Altai und Iran, p. 283; the creature opposite the ape upon the slab may therefore be intended for a bird.

^{page 60 note 3} Ibid., p. 191 ; H. W. Schultz, Denkmüler der Kunst des Mittelalters in Unteritalien, ii, pi. lxxxv ; de Beylié, L'Habitation by zantine, p. 132.

^{page 60 note 4} Strzygowski, as above, p. 202.

^{page 60 note 5} Peterseu, Catalogue of Sculpture in the Vatican, i, p. 901 ; Hülsen, Mittheilungen, as above, p. 203; Leclercq in Cabrol's Dictionnaire d'Archéologie Chrétienne, s.v. Canthare.

^{page 60 note 6} Strzygowski, as above, p. 203 ff., and Der Dom zu Aachen, p. 17.

^{page 60 note 7} Fol. 106 : Strzygowski, p. 198.

^{page 61 note 1} Cod. Pal. S, Parma, fol. 10

^{page 61 note 2} Strzygowski, p. 205. The translation is in the Barbarus of Scaliger. See A. Schoene, Eusebii Chronicorum Libri Duo, p. 190.

^{page 61 note 3} Continuator of Theophanes, III, p. 141 (Bonn edition); J. Ebersolt, Le Grand Palais de Constantinople, p. 111; Strzygowski, Der Dom zu Aachen, p. 19. M. Ebersolt would explain the use of the word mystic by the neighbourhood of a kind of whispering gallery known as ‘the mystery ’, but it seems as natural, in default of direct evidence that this was so, to connect the meaning with the mystery of the Tree of Life. Or the whispering gallery may have received its name from an earlier fountain on the same spot.

^{page 61 note 4} The sacred trees of Assyria, Transactions of the Ninth International Congress of Orientalists, ii, 1893, pp. 248, 257.

^{page 61 note 5} F. Cumont, Textes et monuments figureés, p. 216. The cone was also associated with the cult of Attis.

^{page 62 note 1} Some consider this object a palm-spathe, and the form is connected with phallic ideas. The resemblance to actual botanical species matters little. In ornament, natural species are allowed to pass over into each other in a manner which has no relation to scientific fact, and at any stage in development new modifications may be introduced. Where for any reason the origin has been forgotten, the process of transformation is quickened. Thus the palmette and acanthus are compelled by decorative arts into forms impossible in nature. In this way a palm-spathe might easily in course of time assume the character of a cone, especially if the subject passed out of a country of palms into one of coniferous trees.

^{page 62 note 2} J. von Schlosser, Jahrbuch der kunsthistorischen Sammlungen des aller-höchsten Kaiserhauses, xviii, 1897 : Die ältesten Medaillen mid die Antike.

^{page 63 note 1} I hope to publish this casket at an early date.

^{page 63 note 2} J. Anderson, Scotland in Early Christian Times, fig. 20.

^{page 64 note 1} Archaeologia, vol. lxv, p. 223.