^{page 64 note 1} R. de Fleury, La Messe.

^{page 64 note 2} Mitt. d. Antiq. Ges, in Zürich, Band 24, pl. iv, fig. 28. Here also is reproduced the plate of another buckle of which there is a cast in the Zürich Museum, with a chalice between two birds as its central ornament. It likewise is inscribed.

^{page 64 note 3} See R de Fleury, La Messe, vol. vii, pl. 522, p. 28j and references there given.

^{page 65 note 1} Bull. Soc. d. Antiq. de France, 1877, p. 196 ; Mém. Soc. Antiq. du Centre, vii, p. 243 ; and R. de Fleury, La Messe, vii, pl. 522.

^{page 65 note 2} See Professor Baldwin Brown in Burlington Magazine, 1913, p. 99.

^{page 65 note 3} Cattaneo (fig. 26) ascribes it to the seventh century ; R. de Fleury La Messe, i, p. 128, pl. 50) to the sixth ; De Rossi to the fifth. Cattaneo is probably correct.

^{page 65 note 4} Photograph in Baldwin Brown's Arts of our Teutonic Forefathers.

^{page 66 note 1} Hawara, etc., pl. 21 and p. 21.

^{page 67 note 1} R. de Fleury, La Messe, vi, p. 208, pl. 514.

^{page 67 note 2} The gesture is of pagan origin. ‘In adorando dexteram ad osculum referimus’ (Pliny, Hist. Nat. xviii. 5). It is the ‘geste d' acclamation’ of Cabrol (Dict. i, col. 253).

^{page 68 note 1} Numerous examples of this type are reproduced in De Baye's Industrie langobarde. They are widely scattered from Normandy to North Italy, but are commonest in the Burgundian regions.

^{page 70 note 1} A. Haupt; Baukunst der Germanen, pp. 207 and 247.

^{page 70 note 2} St. Germain Museum, Lausanne Museum from Lavigny. Daniel buckles are commonest in the Canton de Vaud. Examples are known from Daillens (2), Cossonay, Mongiti, Crissier, Ferreyres, and Villars Sainte-Croix. One in Dijon Museum was found in a stone sarcophagus. According to the report of a meeting of the Commission du Vieux Paris (Feb. 8, 1912 or 1913) a Daniel buckle was found in the Quartier St. Marcel and is in the Musée Carnavalet. See also Cabrol's Dictiounaire, iv, col. 235 ff.

^{page 72 note 1} Also a limestone relief in Berlin K.F.M. (no. 1638) of fifth-sixth century ; a bucket from a Merovingian cemetery at Miaunay near Abbeville. (Mém. Soc. Antiq. de France, t. 35, p. 68) ; a lamp (loc. cit., p. 73) ; a sarcophagus at Aries (Le Blant, pl. 27, fig. 2) ; another at Brescia (Oderici, Mon. inst. de B., pl. 12, fig. 3).

^{page 72 note 2} 2 For a list see Cabrol's Dictionnaire, iv, col. 224; R. de Fleury, La Messe, vi, p. 12, pl. 437.

^{page 73 note 1} There is a fresco of Daniel and the Lions attributed to the second century in the Cappella Greca. See Studi Romani, i, pl. 16.

^{page 73 note 2} The attempt to bring this ivory down to the eleventh century cannot be regarded as successful.

^{page 74 note 1} St. Menas was a popular saint in the south of France. There was an oratory dedicated to him at Arles.

^{page 75 note 1} Revue de l' Art chrét., 1893, p. 38.

^{page 75 note 2} Another North African lamp, probably from the same workshop, shows the Ascension treated in rather a similar way. Two angels support Christ's feet and two disciples stand below looking up. It was one of a find of 191 lamps, at Syracuse. See Notiz. degli Scavi, 1915, p. 208 ; Venturi, i, p. 472 ; Amer. Journ. of Archaeol., 1915, p. 277.

^{page 76 note 1} See Strzygowski, Hell. u. kopt. Kunst, figs. 21, 22. See also Cabrol's Dict. i, col. 1138 ; ii, cols. 511–14; iii, col. 2102. There is a painting of Christ on two beasts in the catacomb of Karmuz, Alexandria. Reprod by Cabrol, i, fig. 286.

^{page 77 note 1} Other examples from the Canton de Vaud come from Grancy, Cossonay, Attalens, and Ecoublons.

^{page 77 note 2} Boulanger, mobilier funéraire, pl. 45, fig. 2.

^{page 78 note 1} There is a cast of this curious buckle in the Zürich Museum. I believe the original is in the museum at Berne.

^{page 78 note 2} See Mém. Soc. Hist, et Arch, de Genève, t. ix, pl. 1 ; t. xi, p. 81.

^{page 79 note 1} Rev. archéol. 1879, p. 234 ff.

^{page 80 note 1} Berlin K.F.M., no. 759 ; Cairo Mus., no. 7015 ; the Cochrane Sale; etc. A single laden camel as a pendant (Berlin K.F.M., no. 740) may have had a like purpose.

^{page 80 note 2} M.M. Besson of Lausanne, in the Revue Charlemagne and in L'Art barbare (with admirable plates), 1909, noted the Coptic affinities of certain Burgundian designs.

^{page 80 note 3} Akerman, Pagan Saxondom, pl. 13 ; Baldwin Brown, The Arts in Early England, pl. 114, p. 467.

^{page 82 note 1} Arts in Early England, pl. 9, p. 103.

^{page 83 note 1} Baldwin Brown, pl. 16.

^{page 83 note 2} Berlin, Mus. f. Völkerkunde.

^{page 83 note 3} Compare Berlin K.F.M., no. 1027 ; Cairo Mus., nos. 7171 and 9102.

^{page 85 note 1} Bibl. Nat. Paris, lat. 1. Michel, Hist. de l'Art, i. 1, p. 356.

^{page 88 note 1} Proceedings, xxiii, 489, fig. 6.

^{page 88 note 2} Antiquary, xlvi (1910), p. 269.