^{page 438 note a} The manufactory at Mortlake in Surrey was erected under James L by Sir Francis Crane. Francis Cleyn of Rostock, a painter who had studied in Rome, was appointed by Charles I. to superintend the manufacture of hangings from Raphael's Cartoons, of which he had become possessed.—Passavant's Life of Raphael, vol. ii. pp. 252 and 275.

^{page 443 note a} Mr. Blaauw has kindly called my attention to an instance of portraiture in hangings in the Will of Sir David Owen, published in the Sussex Collections, where mention is made of five pieces of hanging with imagery of Henry V., Henry VI., and his brothers:—

Extract from the Will of Sir David Owen. (From Sussex Archæological Collections, vol. vii.)

“A counterpoynte of verder with a great lyone in the middes of golde and silke; a trussyng bedde of black velvet and russett satin imbrawdered with wolfes and swaloes, wyth O and N of golde, with diverse other flowers inbrowdered, with a tester and curtens to the same; an other tressyng bedde of blak damaske and russett satin with a tester, curtens, and valaunce to the same; fyve peceys of arrays made with imagery of Henry King, Henry Vth, the Duke of Clarence, the Duke of Bedford, the Duke of Gloucester, with diverse other great men; a great tester of a bedde with a selar to the same of arrays; with haffe the stuffeof householde, that is to say, pottes, pannes, disshes, spetes, cawdeyernes, cofers, and of all other thynges; a dossene of kyne, tenne great oxene for her wayne; alle which parselles afforlymyted I geve and bequethe to my wiffe to be lovyng unto my children and hers, and upon that condicon that she lyff soole without mariage, and if she doe marye all my forsaid goodes to her before bequethed to be and remayne to my children betwixt her and me begoten. Item, I geve to my sonne Jasper Owen and to theires males of his body lawfully begoten all my landes and tenementes in the cytie of Coventrie, and in Watford, Frethyngstone, and Shotlanger, in the countie of Northampton, to the said Jasper and to theires males of his body lawfully begotten; and for lake,” &c. &c.

Note.—Thomas Duke of Clarence, who was killed at Baugy in 1421; John Duke of Bedford, the Regent, who died in 1435; and Humphrey the good Duke of Gloucester, who died in 1446, were the second, third, and fourth sons of HenryIV., and the arras may probably have been the property of the Queen, widow of Henry V. and so passed to her second husband, the testator's father. The curious arras now in the Guild Hall of Coventry, apparently of the later date of 1493, represents Henry VI. and the Duke of Gloucester. The bequests here remind us of Gremio's boast of his wealth in Taming the Shrew, II. 1.

“Thy hangings all of Tyrian tapestry,

In Cypress chests my arras counterpoint,

Valance of Venice gold in nedle-work.”

^{page 445 note a} For the identification of this saint I am indebted to the friendly aid of Mrs. Jameson, who has also told me of an instancewhere the saint is represented in a MS. illumination with the three mice runningplayfully up her crozier.

^{page 446 note a} See Mrs. Jameson's Sacred andLegendary Art, p. 105.

^{page 447 note a} This I made an especial point of verifying since the reading of my paper, when Mr. Ashpitel laid much importance on this question of the fabric. I had before only judged by the appearance of theborder at the edges. A hole worn in the stuff nearer the centre, has since enabled me more to determine the question.

^{page 449 note a} December, 1855, p. 417.

^{page 452 note a} D'Agincourt, Peinture, pl. 166. (Euvres du Roi René, avec une biographie, par le Comte de Quatre-barbes, &c. Paris, 4to. 1849.

^{page 452 note b} Formerly in Kensington Palace. J. D. Passavant, Kunstreise durch England. Frankfurt, 1833, p. 49, where the picture is attributed to Hugo van der Goes. Waagen, Treasures of Art, Lond. 1854, vol. ii. p. 366, assigns it to Mabuse. The wings have been engraved in Shaw's Dresses and Decorations, and in John Pinkerton's Iconographia Scotica. 8vo. 1797. Compare also Mrs. Jameson's Public Galleries, vol. ii. p. 411; and Kugler's Handbook of German Painting, English edition, 1846, p. 80, note.

^{page 452 note c} Jubinal, Anciennes Tapisseries, oblong folio. Paris, 1838. A superb coloured copy is in the Library of the British Museum.