^{page 117 note 1} Proceedings, xxviii, 63 ; xxix, 74 ; xxxi, 57.

^{page 118 note 1} Nos. 53, 54, 58, 59.

^{page 118 note 2} For figures, and a brief discussion, of these and of other marks on the panels I am describing, see E. Maclagan's note (appended to his ‘An English Alabaster Altarpiece in the Victoria and Albert Museum’, Burlington Magazine, vol. xxxvi, February, 1920), dealing in a preliminary manner with the marks on the backs of English alabasters.

^{page 118 note 3} On a panel in the Ashmolean Museum, and on the back of the Betrayal belonging to the Society. Cf. Maclagan, loc. cit., marks 8 and 10.

^{page 118 note 4} Cf. Maclagen, op. cit., p. 64.

^{page 119 note 1} Catalogue, Alabaster Exhibition, no. 20.

^{page 120 note 1} F. Witte, Die Skulpturen der Sammlung Schnütgen in Cön, Berlin, 1912, pl. 56 ; the man here, kneeling, holds a lantern, while a cresset occupies the space above the heads of Christ and Judas.

^{page 120 note 2} E. Male, in ‘Le Renouvellement de l'Art par les “Mysteres”’, Gazette des Beaux-Arts, 1904, p. 383, says that in the early fourteenth century the overturned lantern was not placed by the side of Malchus, but in the latter part of that century it sometimes was.

^{page 120 note 3} Cf. Mrs. Jameson, Hist, of our Lord, London, 1805, vol. ii., pp. 36 seqq.

^{page 120 note 4} Ibid., p. 35.

^{page 121 note 1} But cf. the Betrayal in Gabriel Millet's Iconographie, pp. 326–44.

^{page 121 note 2} E. Mâle, Religious Art in France of the Thirteenth Century, p. 371. For representations of the Resurrection of the Dead’, see p. 373.

^{page 121 note 3} Ibid., p. 371, footnote 2.

^{page 121 note 4} Cf. also Biver, Arch. J., lxxii, p. 78.

^{page 121 note 5} Nelson, in Trans. Hist. Soc. Lanes, and Ches., 1917, pl. vi.

^{page 124 note 1} Catalogue, Alabaster Exhibition, fig. 8, plate iv.

^{page 125 note 1} See Veillet's, R. Recherches sur la Ville et sur l'Église de Bayonne, vol. i. (Bayonne, 1910), map on p. 176Google Scholar.

^{page 126 note 1} Arch. Journ., vol. lxxi, 161.

^{page 126 note 2} The image, which was no. 35 at the ‘Exposición Diocesana del Centenario de Constantino’, at Madrid, 1913, is figured on the thirteenth plate of the small illustrated Catalogue of that exhibition.

^{page 128 note 1} F. de Mély, in ‘L'Image du Christ du Sancta Sanctorum, dt les Reliques chrétiennes apportées par les Flots’, in Mém. Soc. des Antiquaires de France, vol. lxiii, Paris; 1904, p. 117, quoting G. Bonnamour, in Le Gaudois, May 23, 1904. The small book on El Santo Cristo de Lezo (printed by J. Baroja, San Sebastian, 1908) in referring (pp. 17, 18, 19) to the history of the Christ of Lezo, quotes three of the various legends which have arisen concerning its origin, but in none of these three is England mentioned. Although a cursory examination, at a distance and in a poor light, of such parts of the sacred image as were exposed to view at the time of my visit, did not lend itself to a confirmation of any theory as to the origin of the figure, the above quotation seems worth citing as a contribution to the history of English exportations to Spain of church furniture.

^{page 129 note 1} Pl. i ; and pl. viii, figs. 17, 18, and 19.

^{page 130 note 1} Proceedings, vol. xxii, pp. 41 seqq.

^{page 130 note 2} Ibid., vol. xxvi, pp. 1, 2.

^{page 131 note 1} ‘Itm a Crosse wth a crucifix & 3 popis & 3 knoppes to the shaft all cop⁹ and guilt,ʼ part of a gift in 1440. E.Peacock, English, Church Furniture, Loud., 1866, p. 184. ‘Itm a shaft of silu⁹ for the same crosse wt a roll gilte & iij kuottes gilte of the whiche knottes eu⁹y one hath vj roses enamelid wt asure the whiche shaft cõteyneth in lengthe ij yardis di⁹…’ Ibid., p. 191, in inventory taken in 1534.

^{page 131 note 2} Rupin, E., L'Œuvre de Limoges, Paris, 1890–92, p. 545Google Scholar.

^{page 134 note 1} The Wallace Collection contains a small folding candlestick, each of whose legs is of the same form as those of the present example; the enamelled shields are (according to the label attached) of Castile, Sicily, and Aragon.

^{page 136 note 1} For notes on this see J. J. Marquet de Vasselot,‘Les émaux limousins à fond vermiculé’ in Revue archéologique, 4^e sér., vi, 15, 231, 418.

^{page 136 note 1} Mâle, E., in his Religions Art in France of the Thirteenth Century, London, 1913Google Scholar, figs. 115 (a sculpture of a doorway), and 110 and 117 (glass windows), shows three examples ; in figs. 115 and 116 the Virgin's canopy as well is architectural. Rupin, op. cit., shows (figs. 518, 519, 520) two thirteenth-century statuettes, of copper repoussé and engraved, of the Virgin and Child, whose enamelled thrones are each decorated in front with four tiers of small arches. He also shows (pl. xlviii, fig. 636) a fourteenth-century morse, including an enthroned Virgin, somewhat resembling the present one, and, like her, holding a standing Child on the left knee, whose throne appears to be represented as made of blocks ; the surface of this morse is of champlevé enamel, and has the figures—which are of copper repoussé, engraved and gilt – in relief.

^{page 137 note 2} Figs. 222, 223 show, for example, a small enamelled figure of this kind, with a hinged door in the back of the throne ; fig. 288 shows a thirteenth-century custode for the Holy Sacrament, in the form of an engraved and gilded copper figure of the same kind, with a hinged door in the Virgin's lap ; figs. 289, 290 show a similar custode in the form of the Virgin without the Child ; and there is a chapter (pp. 459) seqq.) which deals with ‘Vierges reliquaires’, and gives illustrations of several and a list of others.

^{page 137 note 1} Cf. Rupin, op. cit., in various sections. A late example, but one particularly interesting to us because of its subject, has been referred to in footnote 1, p. 137.

^{page 139 note 1} Cf. A. de Rochemonteix, Les Églises romanes de la Haute Auvergne, Paris and Clermont-Ferrand, 1902 ; figs. 128, 225, 232, 284.

^{page 139 note 2} Such as those cited in footnotes 4 and 5 infra.

^{page 139 note 3} Cf. A. Gazier, Rev, de l'art chrétien, lx, 77 ; J. Hoppenot, Le Crucifiw, Lille and Paris, 1902, 191–2.

^{page 139 note 4} Witte, op. cit., plates 1–5.

^{page 139 note 5} W. Vöge, Königliche Museen zu Berlin, Deutsche Bildwerke, 1910, figs. 457–61 and 463.