^{page 309 note a} See Plate XXVI.

^{page 309 note b} Plate XXVII

^{page 309 note c} Hoveden, An. p. 299.

^{page 310 note d} “Qui jam rebus humanis exemptus, sicut sperandum, ab altissimo in super ccelesti Catalogo jam positus est.” Epistolæ et Vitæ divi Thomae, &c.

^{page 310 note e} “Castello illo in Anglia quod dicitur Cauthebruge oriundus.” Eptstol. et Vitæ, lib. iii. ch. xviii.

^{page 310 note f} “Casu sic ad Archi-prsesulem, nuper tune reversum ab exilio, visendum venerat. “Epist. et Vitae in Catalogo Eruditorum.

^{page 310 note g} “In quatuor gradus ascenderat.” Fitzsteph.

^{page 311 note h} “Magister Edwardus Grim qui et primum a Willielmo de Tracy in caput ejus vibratutn gladii, ictum, brachio objecto excepit, eodemque ictu et Archiepiscopus in capite inclinato, et ipse in brachio graviter est vulneratus.” Fitzsteph.

^{page 311 note i} “Accelerans igitur ursides de primo ictu referre trophaeum et de festina proditione suä, lucrum prosiliit,” &c. Epist. et Vitæ, lib. iii. ch. xviii.

^{page 311 note k} “Tertius autern plurimam testae portionem amputando vulnus precedens horribiliter ampliavit.” Idem.

^{page 311 note l} “Quartus ab uno eorum quod se (non ?) tardaret correptus, in idem vulnus, in manu gladium vibravit, gladioque in pavimento marmoreo confracto, tarn cuspidem quam gladii sui capulum reliquit,” Idem.

^{page 311 note m} “Ricardus Brito percussit tanta vi ut et gladius ad caput ejus et ad Ecclesiae pavi-mentum frangeretur.” Idem. This fragment of Brito's sword was preserved upon the altar tomb at Canterbury, and large offerings were made “ad punctum ensis.” See Pegge's Beauchief Abbey. Erasmus Colloq. Peregrination. Religionis ergo. In Dugdale, Monast. vol. i. is an engraving of the shrine and reliques.

^{page 312 note n} Engraving by Fowler, published 1808.

^{page 312 note o} Pegge's Hist, in Appendix.

^{page 312 note p} Fisher's Series of allegorical and legendary Paintings at Stratford, folio, 1807.

^{page 312 note q} Carter's Ancient Sculpture and Painting.

^{page 312 note i} To Tracy are given the arms (I suppose) of Brito: to Morviile those of Tracy: and to Brito those of Morviile. The arms designating Tracy, are “Or, two bars Gules;” the present family bear “Or, in dexter chief an escallop between two bendlets Gule:.” Vide Irish Peerage, before 1797, when their title of Viscount became extinct.

^{page 313 note s} Plate XXVII.

^{page 313 note t} Burnet's Reformation, in Appendix.

^{page 313 note u} Archæologia, Vol. IX. on glass at Brereton, where the Archbishop (a mistake not very inappropriate) is in armour. His Biographers often style him “invictissimus Dei Athleta.” See also Archseologia, vols. X. XI. and XVII.; Pegge's Hist, of Beauchief Abbey, and his references.

^{page 313 note x} In this class we may place the enamelled paintings on the little shrines of Croyland and Hereford; which in no specific points concur with the history, and in most contradict it. See Gough's Sep. Monuments, Introduct to vol. II. p. 195, and his references.

^{page 314 note y} The person of Maximin was of a gigantic structure, being eight feet in height, with strength of form proportionate. We must, I suppose, believe it to be his moral prostration and littleness that is here impersonated.

^{page 314 note z} Plate XXVII.

^{page 314 note a} Callot's fig.

^{page 314 note b} See clear and numerous authorities in Gough, Introduction to Sep.'Mon. vol.JI. p. ccxxxiv.

^{page 315 note c} Callot's Figures of the Saints.

^{page 315 note d} “Cum anima ascendit ad portas Hierosolymse coelestis Michael Dux Magnus cum ipsâ ascendit, earaque salute excipit.” Pirke, Eleizer, c. 42. “Cum David mortuus est angeli superni noluerunt ipsi transitum per portas Hierosolymæ celestis concedere. Michaeli vero precepit Deus ut Davidem unctum introduceret per portas.” Schemoth Rabba.

^{page 315 note e} “Michael et Sammael (Satanas) stant ante thronum Schekinae, et Satanas accusat; Michael vero merita Israelitarum proponit.” Julkut Rubini, fol. 72, 3. See the interesting and learned Notes to the fourth Discourse of Reginald Heber's Bampton Lectures., where the character and office of Michael is treated of, and from whence the above quotations are copied.

^{page 315 note f} As in Job, xxi. ver. 6, and Daniel, v. ver. 27.

^{page 315 note g} Iliad, viii. ver. 69, xxii. ver. 209; see Heyne's observations.

^{page 315 note h} Æneid, xii. ver. 72; Heyne's Annot.

^{page 316 note i} Paradis e Lost, iv. ver. 995. In Homer, Virgil, and Æschylus, the scale ascending to Heaven is the token of good; in the prophet Daniel, Milton, and in this painting, the metaphor is changed, and the ascending scale is made the sign of lightness and insufficiency.

^{page 316 note k} De Audiendis Poetis.

^{page 316 note l} Lanzi, Saggio de lingua Etrusca, vol. ii. p. 224.

^{page 316 note m} Heyne describes them, “duæ umbra seu animae ad formam humanam efficta?.” In one part of the paintings in the Campo Santo at Pisa, we see the souls of deceased men escaping from their mouths in the forms of thin youthful figures, for the possession of whom much contention is represented between the good and the evil angels.