^{page 163 note a} Figured in Blight's Ancient Crosses, &c. East Cornwall, p. 32, and in Maclean's, J. B.History of the Deanery of Trigg Minor, pi. xxxiv. vol. ii. p. 281Google Scholar.

^{page 163 note b} Britten, , English Cathedrals, Winchester, pi. xxx. Vetusta Monumtnta, vol. ii. pis. xxxix. xlGoogle Scholar.

^{page 164 note a} De Caumont, Abecéduire ou Rudiment d'Archéologie, Architecture Religieuse, 5th ed. p. 313.

^{page 164 note b} Ibid. p. 307.

^{page 164 note c} Architectural Association Sketch Book, vol. iv. pl. 43Google Scholar.

^{page 164 note d} At Patcham church, Sussex, a mural painting of late twelfth century date, representing the Day of Judgment, was discovered in November 1879 over the chancel arch, close to the left side of Our Saviour, and within the space intended to represent heaven is a small figure of a bishop rising from a tomb, or from behind an altar. He is accompanied by two smaller figures, probably introduced to exemplify the legend of St. Nicholas bringing the two children to life, and thus to indicate that St. Nicholas is the bishop there portrayed. See Archœological Journal, vol. xxxviii. p. 80Google Scholar.

^{page 164 note e} See British Archœological Association Journal, vol. xiv. p. 176Google Scholar.

^{page 165 note a} The painting has been whitewashed over. A coloured drawing of it is in the Society of Antiquaries' library.

^{page 165 note b} For full account of the ceremony, see Archœologia, vol. XXV. p. 235Google Scholar.

^{page 165 note c} See Abécédaire, &c. Architecture Religieuse, 5th ed. p. 301.

^{page 165 note d} Associated Architectural Societies' Reports, vol. xiii. p. 168Google Scholar.

^{page 165 note e} Reliquary, vol. iii. p. 191Google Scholar.

^{page 165 note f} Cotman, , Architectural Etchings, vol. i. 2nd series, pi. xliiiGoogle Scholar. Gent. Mag. 1850, vol. xxxiv. New Series, p. 595Google Scholar. At the ruined church at Mintlyn, Norfolk, is a tympanum identical with that at Tottenhill, except that the cross, which was doubtless enclosed by the cable band still remaining, no longer exists. See Cotman, , Architectural Etchings, vol. ii. 3rd series, pl. xxixGoogle Scholar.

^{page 165 note g} The form of this cross is unusual, each of the arms diminishing by graduated steps. Within the centre of the cross is enclosed a rose.

^{page 166 note a} Drawing in the Society of Antiquaries' library.

^{page 166 note b} Associated Architectural Societies' Reports, vol. vii. p. 233Google Scholar.

^{page 166 note c} Somerset Archœological and Natural History Society's Proceedings, vol. i. part ii. p. 8Google Scholar.

^{page 166 note d} Journal of the Royal Institute of Cornwall, April 1870, p. 172. Archœological Journal, vol. x. p. 318Google Scholar.

^{page 166 note e} Associated Architectural Societies' Reports, vol. x. p. 168Google Scholar.

^{page 166 note f} British Archoelig;ological Association Journal, vol. x. p. 288Google Scholar.

^{page 167 note a} Archæological Journal, vol. iii. p. 289Google Scholar. Rickman's Gothic Architecture, 5th ed. appendix, p. xxxviii. Anderson, Shropshire, its Early History and Antiquities, p. 320.

^{page 167 note b} See illustration, fig. 2.

^{page 167 note c} Ecclesiologist, vol. xxvi. (xxiii. New Series), p. 313Google Scholar.

^{page 167 note d} Churches of Derbyshire, vol. i. p. 242Google Scholar.

^{page 168 note a} Associated Architectural Societies' Reports, vol. xii. p. 162Google Scholar. See also Gent. Mag. 1799, pt. i. p. 499. At the old church of Heath, Derbyshire, is a portion of a very curious grave slab (Cox, J. C., Churches of Derbyshire, vol. i. p. 256Google Scholar). On either side of the stem of a central cross are two six-leaved roses within circles below these are two wheel-crosses exactly similar to those at South Ferriby, and below again on the dexter side a crowned figure holding a cross, on the sinister a wheel cross on a stem, on either side of which is a quaint human figure. The last pair of figures seem to be worshipping the cross.

^{page 168 note b} Figured in the Reliquary, vol. ii. p. 1Google Scholar.

^{page 168 note c} British Archœological Association Journal, vol. vi. p. 319Google Scholar. Cox, J. C., Churches of Derbyshire, vol. i. p. 100Google Scholar.

^{page 168 note d} Glossary of Gothic Architecture, 4th ed. plate 56.

^{page 168 note e} Cox, , Churches of Derbyshire, vol. i. p. 256Google Scholar.

^{page 168 note f} Illustrations of Baptismal Fonts, Van Voorst, 1844.

^{page 168 note g} The example at Croxdale is very curious and probably is intended to portray Our Saviour crucified on the Tree of Life. In the Calendar of the Anglican Church is a small engraving (see Annunciation) from painted glass in St. Michael's church, Oxford, where is a combination of the Crucifixion and the lily branched. The doorway at Croxdale has been most carefully traced and drawn by Rev. J. T. Fowler, F.S. A.

^{page 169 note a} Church Builder, 1873, p. 44.

^{page 169 note b} Scott's Antiquarian Gleanings, pls. vii. and viii. and coloured drawings in the Society of Antiquaries' library.

^{page 169 note c} Archœologia Adelensis, p. 287.

^{page 169 note d} Sussex Archeological Collections vol. xvi. p. 1Google Scholar.

^{page 169 note e} Cox, , Churches of Derbyshire, vol. iii. p. 553Google Scholar.

^{page 169 note f} Cox, , Churches of Derbyshire, vol. ii. p. 490Google Scholar, and drawing in the Society of Antiquaries' library.

^{page 169 note g} Cox, , Churches of Derbyshire, vol. ii. pp. 410, 490Google Scholar. Reliquary, vol. xxi. p. 201, pi. xxiiGoogle Scholar. The opinion here expressed (pp. 203–4), that Our Saviour was never represented under the form of the “Aguus Dei” after the seventh century, will be sufficiently refuted by many of the examples above cited, which are certainly not earlier than the twelfth century.

^{page 169 note h} Archœologia, vol. XXXV. pl. xx. p. 487Google Scholar; drawing in the Society of Antiquaries' library; Gent. Mag. vol. lx. p. 17Google Scholar, vol. Ixiii. p. 719; and King, , Munimenta Antiqua, vol. iv. pp. 94, 95Google Scholar.

^{page 170 note a} Associated Architectural Societies' Reports, vol. vi. p. 233Google Scholar, and vol. xv. p. xcvi.

^{page 170 note b} Lysons' Collection of Gloucestershire Antiquities, pi. viii. Bristol and Gloucestershire Archæological Society Transactions, 1879–80, vol. iv. p. 39Google Scholar.

^{page 170 note c} Wright, History of Ludlow, p. 101.

^{page 170 note d} Somerset Archæological and Natural History Society's Proceedings, vol. xvii. pt. i. p. 56Google Scholar.

^{page 170 note e} Hutchins, , History of Dorset, 3rd ed. vol. iii. p. 464Google Scholar.

^{page 170 note f} Phelps, , History of Somerset, vol. ii. p. 192Google Scholar. Antiquarian Cabinet, vol. ix.

^{page 170 note g} Archæologia Adelensis, p. 221.

^{page 170 note h} Sheehan, History and Topography of the County cf Buckingham, p. 301.

^{page 170 note i} J. H. Hill, History of Market Harborough, &c. pp. 25, 120.

^{page 170 note j} Associated Architectural Societies' Reports, vol. xii. p. 164Google Scholar.

^{page 170 note k} British Archæological Association Journal, vol. xxvii. p. 489Google Scholar.

^{page 170 note l} British Archæological Association Journal, vol. vii. p. 38Google Scholar. Associated Architectural Societies' Reports, vol. iii. p. 232Google Scholar.

^{page 170 note m} Ibid. vol. xiii. p. 21.

^{page 170 note n} British Archæological Association Journal, vol. xxiv. p. 201Google Scholar.

^{page 170 note o} Surrey Archæologia, vol. vii. p. 233Google Scholar. On this font is also sculptured “a star of six points and a cross.”

^{page 170 note P} Sussex Archæological Collections, vol. ii. p. 281Google Scholar. British Archæological Association Journal, vol. v. p. 395Google Scholar.

^{page 170 note q} Sussex Archæological Collections, vol. xvi. p. 1Google Scholar.

^{page 170 note r} Strickland's lithographic drawing of the ancient painted ceiling in the nave of Peterborough Cathedral.

^{page 170 note s} Nichols's, History of Leicestershire, vol. iv. p. 971Google Scholar.

^{page 170 note t} A drawing in the Society of Antiquaries' library.

^{page 170 note u} On the the vestments discovered at Worcester cathedral, to which reference has already been made, was a representation of the “Agnus Dei.”

^{page 171 note a} On a capital at the abbey church of St. George, Boscherville, is a figure very simply clad and holding a pastoral staff, and the “Agnus Dei.”

^{page 172 note a} i. e. the abode of the soul after death. The doctrine of purgatory, as commonly portrayed in later times, seems very rarely, if ever, to have been represented in England before the thirteenth century, either in sculpture or painting.

^{page 172 note b} Figured in Archæologia, vol. X. p. 129, pl. viiiGoogle Scholar.

^{page 172 note c} Pryce, Notes on the Ecclesiastical and Monumental Architecture and Sculpture of the Middle Ages in Bristol, p. 12.

^{page 172 note d} A sotuewliat similar, though much later, example may be seen in the north transept of Westminster abbey.

^{page 173 note a} Archæological Journal, vol. xxxv. p. 285Google Scholar.

^{page 173 note b} Within a medallion at the apex of the outer arch of the south porch of Malmsbury abbey church.

^{page 173 note c} Figured in Brash's Ecclesiastical Architecture of Ireland, pi. xix. p. 54.

^{page 173 note d} At Egleton, Rutlandshire, the bowl of a large square font was found in the north wall of the nave of the church. It is at present deposited beneath the tower, which is now used as a coal hole. On one side is carved a plain cross on a calvary, on another a Maltese cross within a circle, and on the third an early floriated cross on a calvary, with an eight-rayed wheel or star on either side, similar to those at South Ferriby.

^{page 174 note a} A rather quaint account of this doorway is to be found in vol. xiii. of the Associated Architectural Societies' Reports.

^{page 174 note b} Figured in The Sculptured Stones of Scotland, vol. i. pls. 93. and 95; and Wilson's Prehistoric Remains, vol. ii. pls. 13 and 15.

^{page 174 note c} Vol. ii. pl. 52.

^{page 174 note d} Vol. ii. pl. 33.

^{page 175 note a} On the tympanum of the chancel doorway of Kirton in Lindsey church, Lincolnshire, is some interlaced work of Runic character, surrounded by transitional Norman foliage. The whole evidently was executed during the latter part of the twelfth century, and it is probable that the interlaced pattern was a copy of some much earlier sculpture.

^{page 175 note b} This doorway is now walled up. It has a massive lintel, but no tympanum.

^{page 175 note c} Figured in Whitaker's, History of Richmondshire, vol. i. p. 255Google Scholar.

^{page 176 note a} Vol. iv. p. 971.

^{page 176 note b} British Archæological Association Journal, vol. iv. p. 84Google Scholar. Hoare, , History of South Wilts, vol. ii. pl. iii. p. 19Google Scholar.

^{page 177 note a} Glossary of Gothic Architecture.

^{page 177 note b} Figured in Carter's Ancient Painting and Sculpture in England, p. 144, pl. cxi.

^{page 177 note c} Archæologia Adelensis, p. 270.

^{page 177 note d} Figured in Surtees' History and Antiquities of Durham, vol. i.

^{page 178 note a} There can be no doubt that in some cases the tympana are earlier than the arch mouldings by which they are. enclosed. For instance, a very curious tympanum is incorporated within the very fine late Norman south doorway of Leckhampstead church, Buckinghamshire. The tympanum is not large enough to fill the arch, but is put in on one side, and some additional masonry has been introduced to complete the head of the arch, of a different material to the early tympanum, and rudely decorated with blotches of red colouring. The many examples where tympana alone have been preserved, as at South Ferriby, as the sole relics of earlier buildings, tend to prove that the sculptures represented on them were regarded with special reverence.

^{page 178 note b} Fully illustrated in the Archæological Journal, vol. xxv. p. 1Google Scholar; and Associated Architectural Societies' Reports, vol. viii.