^{page 249 note *} I have to thank the Rev. Canon Watson, the Librarian, for giving me every facility for examining the stone, and Dr. G. A. Auden and Mr. R. C. Green for their kind assistance in this examination. I am specially indebted to Dr. Auden for his help in elucidating several difficult details of the sculpture. Mr. W. H. St. John Hope and Mr. E. S. Prior have also examined the stone with me, and have kindly given me the benefit of their observations.

page 249 note † Throughout this description the terms “right ” and “left ” refer to the right and left of the spectator, except where “right ” and “left ” are used to describe the limbs of figures.

^{page 251 note *} Cf. “Da ogni bocca dirompea coi denti un peccatore. ” Dante, Inferno, canto xxxiv. 55, 56.

page 251 note † What I have called “lizards ” are reptiles represented with four legs and a long tail.

^{page 252 note *} Luxury, the vice opposed to Chastity in the, series of virtues and vices (Notre-Dame, Paris, Chartres, and Amiens). See Mâle, Émile, L'art religieux du XIIIe. siècle en France (Paris, 1902), 146Google Scholar.

page 252 note + Cf. E, Màle, op. cit. fig. 50, p. 146.

^{page 253 note *} Avarice is represented by a figure with a purse suspended from its neck in the porch of Moissac (Tarn-et-Garonne), and in the portals of Autun cathedral (see post), Sainte-Croix, Bordeaux, and Mas d'Agenais (Lot-et-Garonne), all of the twelfth century; in a tympanum from Saint-Yved, Braisne (Aisne), now in the museum at Soissons (beginning of thirteenth century) ; and in a tympanum at Saint-Urbain, Troyes (end of thirteenth century). In a wall-painting in Chaldon church, Surrey, where the cauldron motive also occurs, a figure tormented by devils is seated amid flames ; around its neck hangs a money bag, and three money-bags hang around its waist ; it holds a coin in its right hand, and pieces of coin are falling from its mouth (see Mr. J. G. Waller's paper in Surrey Archæological Collections, v. 275–306). Cf. the usurers with pouches in Dante's Inferno, canto xvii. 55.

^{page 254 note *} The tympanum of the south doorway of the abbey church of Conques (Aveyron), which represents the Doom, has on one side of the lower part a representation of a hell-mouth, and Satan crowned, standing in the midst of devils and tortured souls, and above this group is the legend :

FVRES, MENDACES, FALSI CVPIDIQVE RAPACES SIC SVNT DAMPNATI CVNCTI SIMVL ET SCELERATI.

G. Fleury, Études sur les portails imagés du XIIe. siècle (1904), 117, and fig. 26. This tympanum probably dates from about 1160. Compare also the inscriptions on the tympanum of the central doorway of the west front of Autun cathedral (G. Fleury, op. cit. 204).

page 254 note † Cf. the tympanum at Bourges, post.

page 254 note ‡ That mentioned in the preceding paragraph as possibly suckiug the breast of the figure above.

^{page 255 note *} Trollope, E., The Norman Sculpture of Lincoln Cathedral, in Archæological Journal, xxv. (1868), 14, and fig. 12Google Scholar. See also the paper by Dr. James cited below.

page 255 note † Middle of twelfth century (unfinished in 1146). Harold de Fontenay and Anatole de Charmasse, Autun et ses monuments, Autun, 1899.

^{page 256 note *} Two of the blessed in this resurrection scene bear pilgrims' wallets, one ornamented with a cross, the other with a shell. For illustration of this tympanum, see du Sommerard, A., Les Arts an moyen âge (Paris, 1838–1846), pl. 21 of 3rd SeriesGoogle Scholar.

page 256 note † This scene is illustrated by fig. 124 in M. Mâle's work, L'art religieux du XIIIe. siècle en France, 424.

page 256 note ‡ Op. cit. 422.

page 256 note § Job, xli. 20, 31.

page 256 note ‖ E, Mâle, op. cit. 423. The whole subject of the representations of the Doom is admirably discussed in his chapter vi. pp. 400–432.

page 256 note ¶ Cf. Dante, Inferno, canto xxxiv. 38.

^{page 257 note *} Compare, for example, a representation of Hell in au illuminated psalter, said to have been executed for Henry of Blois, Bishop of Winchester, before 1161 (Cott. MS. Nero C. IV.), illustrated in Histoire de l'Art, edited by André Michel, ii. 314. M. Arthur Haseloff, speaking of this psalter, says: “Le goût du fantastique sombre et sauvage, qui a sûrement son origine dans le caractère du peuple saxon, s'exprime avec une force géniale dans le thème, naturellement préféré, du Jugement dernier, qui ne remplit pas moins de neuf miniatures. Dans la représentation des tourments infernaux, l'art anglais ne peut être surpassé. Sa création la plus originale est celle de l'Enfer conçu comme une gueule énorme et grimaçante. Nulle part cette conception n'a pris une forme aussi effrayante que dans ce psautier. ” (Ibid. ii. 315.)

page 257 note † In the Society's catalogue the stone is described as “A sculpture, representing the torments inflicted on a dying person by evil spirits. It was found reversed in the dungeon of a building near the north-west tower of the Minster. Deposited by the Dean and Chapter in 1862. ”

page 257 note ‡ W. Hargrove, History and Description of the ancient City of York, ii. 126, and pl. 9. John Browne, The History of the Metropolitan Church of St. Peter York, 319.

page 257 note § Thomas Stubbs's Chronicle, in The Historians of the Church of York and its Archbishops (Rolls Series 71), ii. 398. The chapel was immediately north of the western bays of the present nave (sec plan in Browne, p. 181).

^{page 258 note *} This pearl ornament occurs on several carved stones of the latter part of the twelfth century, preserved in the Museum.

^{page 259 note *} E. Trollope, op. cit. 12, and fig. 10. E. S. Prior and Gardner, A., Mediæval Figure-Sculpture in England, in the Architectural Review, xii. (October, 1902), fig. 46, p. 150Google Scholar.

page 259 note † Cambridge Antiquarian Society's Proceedings, x. (1901), 150Google Scholar.

page 259 note ‡ Cf. the sculptures illustrating this parable on the west jamb of the porch of Moissac.

page 259 note § Hargrove's suggestion (on his illustration) that the tympanum belonged to a doorway of the crypt seems to me to be extremely improbable.

^{page 260 note *} The width of the tympanum, on its lower edge, measured within the flat of the edge moulding, is 3 feet 3½ inches, and from this must be deducted the width of the slight chamfer on the inside of the moulding.

page 260 note † Compare the façades of contemporary churches in Poiton, Saintonge, and the Angoumois.