^{page 371 note a} Britton, p. 63.

^{page 373 note a} Pistolesi, , II Vaticano, vol. iv., tav. LXXXII. and LXXXVGoogle Scholar.

^{page 374 note a} See p. 386.

^{page 375 note a} Ante, p. 371.

^{page 376 note a} De Caumont, Abécédaire, p. 145, note.

^{page 376 note b} Curzon's Monasteries, p. 364. Kugler, p. 84.

^{page 377 note a} Engraved in Strutt, pl. XXXVIII. See also Dibdin's Decameron, vol. i. p. lvii.

^{page 377 note b} Devoucoux. Du Sommerard, Album, Série iii. pl. 11. De Caumont, Abécédaire, p. 145.

^{page 378 note a} Raine's Durham Cathedral, p. 53.

^{page 378 note b} See Crystal Palace, Sydenham: Waring's Byzantine Court Catalogue, p. 112.

^{page 378 note c} MS. Book No. 34, p. 136. Waagen, , Art Treasures in England, vol. i. p. 149Google Scholar.

^{page 379 note a} MS. Book, No. 34, p. 122.

^{page 381 note a} Lord Lindsay's Christian Art, vol. ii.p. 57. Murray's Handbook to North Italy, p. 373.

^{page 381 note b} Gaily Knight's Churches of Italy, series 1, pl. 14.

^{page 381 note c} Eastlake's Materials, p. 560. A very interesting example is given of this subject in sculpture, over a door, of the thirteenth century, by De Caumont, Abécédaire, p. 273. The Saviour has a castle, symbolical of the inhabited world, for a foot-stool. The angels holding the Instruments of the Passion, to judge from the engraving, are especiallygrand. Unfortunately the author does not name the place where the original is tobe seen.

^{page 382 note a} See Wild's Lincoln Cathedral, plates 12 and 14. Mr. Cockerell speaks in the Appendix to his Icono-graphy of Wells Cathedral, p. 91, of this sculpture as inferior to the angel figures in the choir. In this opinion I cannot concur with the learned Professor. Unfortunately, being outside the building, and easily within reach, they have been much damaged, but their position seems to have entailed a greater degree of care and finish originally, whilst the angels in the choir were far removed from the eye, and display less minute study and refinement of surface.

^{page 382 note b} Sketch-book, No. 27, p. 102.

^{page 382 note c} MS. Travelling Note-book, p. 130.

^{page 382 note d} MS. Travelling Note-book, p. 130.

^{page 382 note e} Curzon, p. 362, et seq.

^{page 383 note a} Lord Lindsay, vol. ii. p. 121, note.

^{page 383 note b} Dante, Inferno, Canto iii.

^{page 383 note c} De Caumont, Abécédaire, p. 274, mentions especially the porches of Chartres, Bourges, Paris, La Couture au Mans, St. Seurin de Bordeaux, and Amiens, as displaying sculptures of the thirteenth century pertaining to the Last Judgment. The Tympanum over door of west frontat Vezelay contains the same subject. Du Sommerard, Album, Série iii. fol. 22.

^{page 383 note d} Lord Lindsay, vol. ii. pp. 180 and 195; anda drawing in possession of the Arundel Society.

^{page 383 note e} Ottley, , History of Engraving, vol. i. p. 373Google Scholar. The original plate has been used in the modern work by Momma, , Pisa Illustrata, vol. ii. tav. 10Google Scholar.

^{page 383 note f} Lord Lindsay, vol. iii, p. 141, note.

^{page 384 note a} Waagen, p. 165. MS. Note-book, No. 34, p. 127.

^{page 385 note a} MS. Note-book, No. 34, p. 127.

^{page 385 note b} Lord Lindsay, vol. ii. pp. 313 and 320. Vasari, Florentine edition, 1832-8, vol. i. p. 195. Bonn's translation, vol. i. p. 269.

^{page 385 note c} Sketch-Book, No. 16, pp. 64 and 68.

^{page 385 note d} Sketch-Book, No. 41, p. 121.

^{page 386 note a} See Kugler's Handbook of German Painting, edited by Sir Edmund Head, p. 72. Waagen uber Hubert und Johann van Eyck. Breslau, 1822, 8vo. p. 241.

^{page 386 note b} The date of this curious picture is traceable in the centre-piece on a grave-stone to the left of the figure of St. Michael. A woman wringing her hands is seated upon it. The following letters are all that remain: “Anno Domini … CCCLXVII. IAR.” At first the date was restored 1367, but Waagen has satisfactorily shown, by the space worn away atthe commencement, that there must have been an additional C; moreover, the elderVan Eyck was only one year old in 1367. Waagen, Van Eycks, p. 248.

^{page 386 note c} See also Conversations-Lexicon fur BildendeKunst. Leipzig, 1846, vol. ii. p. 542.

^{page 387 note a} See Dallaway's Anecdotes of the Arts in England, p. 436. Mr. Winston does not assign an earlier date than the first part of the 16th century. Hints on Glass Painting, vol. i. p. 114.

^{page 388 note a} Winston's Hints on Glass Painting, vol. i. p. 179.

^{page 388 note b} Vasari, Florentine edition, 1832-8, vol. iii. p. 995. Bonn's translation, vol. v. p.281.

^{page 388 note c} Waagen, , Art Treasures, vol. ii. p. 358Google Scholar.

^{page 388 note d} See Cunningham's Hand-book to London, edition 1850, p. 202.