MISERERE ON STALL SEAT. (Circa 1300.) North Side.MISERERE ON STALL SEAT. (Circa1300.)North Side.
It is curious to notice the absence of reverence on the part of the mediæval canons, according to our modern notions, thatthese quaint carvings indicate. One might have expected that inside the church the subjects would have always been of a sacred nature, rude perhaps, and grotesque from their rudeness. Such carvings are found in many places, but here at Christchurch we have satirical subjects, caricatures of contemporaries, some indeed of so objectionable a character that they have been removed of late years. A few examples of these carvings will be given. On the arm of one of the stalls a fox is represented preaching to a flock of geese, a cock acting as clerk. On one of the misereres we have a pair of devils somewhat resembling monkeys tempting an angel, a goose bringing an offering on a plate to a quaint figure, a man with a hatchet employed in carving, a man with a hole in the back of his garments fastened with a pin, besides various animals, fishes, mermaids, and monsters. On the wainscoting we have the heads of Henry VII., Henry VIII., Catharine of Aragon, Anne Boleyn, Cardinal Campeggio, the King of Scots, and the Duchess of Burgundy, who assisted Perkin Warbeck in his attempt to gain the crown of England, and two canons disputing over a cup, which is placed between their faces. This last carving probably has some reference to the granting of the cup to the laity in time of Henry VIII.
THE CHOIR.THE CHOIR.
The vaulting of the choir is of a somewhat unusual character: the pendants are especially worthy of notice. It is difficult to describe the manner in which they are placed, but the illustration shows their character and position. The short connecting ribs of the vaulting form a stellated cross over the presbytery. Some colour may still be seen on the carved work of this portion of the church, and the initials of William Eyre, prior 1502-1520, appear on the bosses.
THE REREDOS.THE REREDOS.
The east wall of the presbytery contains no window, but is occupied by a beautiful stone reredos carved with a representation of the tree of Jesse. It is divided into three tiers with five compartments in each, the central one wider than the two on either side; the space above it and beneath the vaulting is occupied by a wall, in which a doorway now blocked up may be seen. The outer compartments of the lowest tier contain doors leading to a platform behind the reredos; between them stands an oak altar, the gift of A. N. Welby Pugin in 1831. Above the altar in the central compartment Jesse lies asleep, on the left hand David plays upon his harp, on the right sitsSolomon deeply meditating. Above Jesse we have in one carving an amalgamated representation of the birth of Christ and the visit of the Wise Men. On the left hand sits the Virgin Mary with her Child, fully clothed in a long garment, not wrapped in swaddling clothes, standing in her lap; behind her stands a man, probably Joseph; and before her kneels one of the Wise Men offering his gift of gold in the form of a plain tankard; on the right behind him stand his two fellows, one carrying a pot of myrrh, the other a boat-shaped vessel, probably intended for a censer containing frankincense. On a bracket above the head of the kneeling Wise Man, the shepherds kneel in adoration; nor are the flocks that they were tending forgotten, for several sheep may be seen on a hill-top above their heads. Thirty-two small figures may be counted in niches in the buttresses dividing the compartments; crockets, finials, and pinnacles decorate the various canopies over the carvings. This reredos is apparently of late Decorated date, and therefore earlier than the fifteenth-century choir. Possibly it was an addition to the Norman choir before this was removed to make room for the existing one. Mr Ferrey was of opinion that it may have once stood across the nave between the second piers from the east, thus forming a reredos for the western part of the nave, which was used as the church of the parish. Below the presbytery is a Norman crypt, now converted into a vault for the Malmesbury family. It has already been mentioned that there are doors on either side of the altar, leading to a kind of gallery or platform behind the reredos; these were designed to allow certain ceremonial compassings of the altar, and it is possible that steps led down from the platform to the ambulatory. On the east side of these doorways there are corbel heads under the arches, and the walls of the platform are panelled. Within the altar rails is a slab bearing the name of Baldwin IV., the seventh Earl of Devon. On the south side is the monument of Lady Fitzharris, who died in 1815; it is a statue by Flaxman representing the Lady teaching her two sons from the Bible. Farther to the east is the altar tomb of the Countess of Malmesbury, who died in 1877, occupying the place of the sedilia; and on the north the exquisite chantry of Margaret, Countess of Salisbury, the last bearer of the royal name of Plantagenet, whose tragic fate and horrible executionis one of the foulest stains on the memory of Henry VIII. She was the daughter of "false, fleeting, perjured Clarence" and of the kingmaker's eldest daughter Isabella, and was mother of the celebrated Reginald Pole who, being ordained deacon at the age of sixteen, was appointed Dean of Wimborne a year later, and rose in time to the high rank of Cardinal-Archbishop of Canterbury, and played an important part in history in the reigns of Henry VIII. and Mary. She erected this lovely chantry as her last resting-place, wishing to lie after her troublous life in this quiet spot, but it was not so to be. Her son, by the publication on the Continent of a violent attack on Henry VIII., incensed the king to such an extent that he laid his hands on all the kindred of the Poles he could find in England; some were tried and executed, others attainted without trial, among them the Countess of Salisbury, who was at the time over seventy years of age. She refused to lay her head upon the block, and the headsman hacked at her neck as she stood erect; her body was not allowed to be buried in the chantry which she had erected for herself,—so far did the spite of Henry go,—but she lies among the ambitious and unfortunate, the aspiring, and unsuccessful of many a sect and party in the cemetery of St Peter's Chapel in the Tower. Hers was an ill-starred race. Her grandfather was slain at Barnet, 1471; her father murdered by his brother Edward IV., 1478; her own brother, the Earl of Warwick, imprisoned by Henry VII., and subsequently beheaded on Tower Hill, 1499; her eldest son, Lord Montagu, was executed for high treason; and Margaret herself met a like fate on May 27, 1541.
THE SALISBURY CHANTRY.THE SALISBURY CHANTRY.
Her chantry is built of Caen stone, and the decoration is of Renaissance character. It is conjectured to be the work of the Florentine sculptor Pietro Torrigiano, who died in the prison of the Inquisition in Spain in 1522. He was engaged on Henry VII.'s tomb in Westminster, and other works ordered by Henry VIII. at Westminster and Windsor, from 1509 till 1517; and if this chantry at Christchurch is his design the date must lie between these two years. Two four-light windows with battlemented transoms look out on either side; to the west of these two doorways lead, one to the presbytery the other to the north aisle; on the east wall are three canopied niches, beneath which an altar stood or was intended to stand; the ceiling is richly carved with fan traceries and bosses; theINTERIOR OF THE SALISBURY CHANTRY.INTERIOR OF THE SALISBURY CHANTRY.latter have been mutilated—by order, it is said, of Henry VIII. A letter from the King's Commissioner thus describes the work done:—"In thys churche we founde a chaple and a monumet curiosly made of cane stone prpared by the late mother of Raynolde Pole for herre buriall, which we have causyd to be defaced and all the Armis and Badgis to be delete." Onthe north side are twelve tabernacles. This chapel stands on a richly carved panelled basement, and all the walls are covered with minute carving; but here, as elsewhere, in late work we find the same forms repeated again and again, and we miss that wealth of fancy which gives each boss or capital carved by the earlier workers such a life and individuality. The side of this chapel that faces the north aisle is more elaborate than that facing the choir, and is necessarily more lofty, as its base rests on the floor of the aisle, which is lower than the floor of the presbytery. On the west face is one of several memorial tablets to members of the Rose family, who are buried in this aisle.
In the north choir aisle, at the western end, may be seen a kind of small museum of fragments from various parts of the church, collected at the time of the restoration, among them some bosses from the vaulting of the south transept, destroyed about a hundred years ago, and fragments of a Norman font. The vaulting of this and the corresponding aisle on the south side is of the same character as that of the choir, but is somewhat plainer, and is not decorated with crosses or pendants. On the south side of this aisle is a late Perpendicular chantry, built in accordance with the will of Sir William Berkeley, dated 1486, to commemorate himself and his wife. Part of the inscription ...ARMIGERI MARGARETE QUE CONSOR... can still be read on the frieze; on its flat ceiling are painted two large roses, one white, one red; it contains two brackets for cruets; over the entrance to it is placed an oval memorial tablet to one John Cook, who died in 1787. Eastward of this is the Salisbury chapel already described. On the north wall of the aisle is a monument, consisting of an altar-tomb with a front of carved quatrefoils and a purbeck slab, dating about 1550. The canopy over it is later, and the coat of arms beneath it is that of Robert White of Hadlow, Kent, who is commemorated on a board at the west end of the church as a benefactor who left £100 in land for the poor in 1619, thus fixing the date of this portion of the tomb. The scroll beneath the arms has the initials R. W., and the motto "Suffer in Tym." A chantry is formed at the eastern end of the aisle by the western end of the north wall of the Lady Chapel. It contains an altar tomb with the recumbent figures of Sir John Chidioke, a Dorset knight, slain in 1449 in the Wars of theTHE DRAPER CHANTRY.THE DRAPER CHANTRY.Roses, and his wife. This monument has occupied its present position only from 1791,—it previously stood in the north transept.
The east end of the south choir aisle is occupied by the chantry chapel of John Draper II., the last of the priors and titular bishop of Neapolis in Palestine, near the ancient Shechem in Samaria; it is dated 1529, and is formed by a screen of Caen stone stretching across the aisle. There is a central doorway with a depressed arch at the top, and canopied niches over it, and on either side are two transomed four-light unglazed windows under arches of the same character as that over the doorway; along the top of the screen runs a battlementedPiscina in the Draper Chantry.Piscina in theDraper Chantry.parapet. Within the chantry, on the south wall, is a very beautiful piscina, the finest in the church. Just outside the screen is a square-headed doorway. Along the south wall of this aisle, as along the north wall of the corresponding north aisle, a stone bench-table runs. On the north side the panelled wall on which the Countess of Malmesbury's altar tomb stands is decorated with carvings of angels; the largest of these holds a shield with a death's-head. Farther to the west, beyond the steps leading down from the choir, is a Perpendicular chantry, known as the Harys chantry; it has open tracery above cusped panels, canopied niches, and a panelled bench table. Robert Harys was rector of Shrowston, and died in 1525; his rebus, a hare under the letter R, may be seen on the panels. On the opposite side of the aisle is the doorway leading into what is known as thesacristy. This is a thirteenth-century addition to the church, and is of irregular shape, as it is wedged in, as it were, between the apsidal chapel on the east side of the transept and the south wall of the choir aisle. In the south wall are triple sedilia with Purbeck shafts and foliated heads; in the north wall is a square opening or squint.
THE SACRISTY.THE SACRISTY.
Behind the reredos is an ambulatory or processional path; from this may be seen, over the archway leading into the south aisle, the end of the "miraculous beam," lengthened, according to the legend, by Christ, when He appeared as a workman and took part in the building of the original church. How this came to be preserved, and how it came to occupy a position amidst the latest work in the church, is not recorded. The Lady Chapel is very beautiful Perpendicular work; it had its own altar and reredos under the east window. The reredos is much mutilated, but besides the part that is still attached to the wall, there are many loose fragments now set up on the altar. This is aThe Miraculous Beam.The Miraculous Beam.slab of Purbeck stone, 11 ft. in length and 3 ft. 10 ins in breadth. On the north and south sides of the altar are the tombs of Thomas, Lord West, and Lady Alice West, his mother. These tombs are of Purbeck marble and of a form by no means uncommon in the churches of Wessex. The ten shafts supporting the canopy of the tomb on the north still remain; from the other tomb such shafts as it had have disappeared. Thomas, Lord West, died in 1406, his mother in 1395: these dates fix within reasonable limits the date of the building of the Lady Chapel. Thomas West, in his will, directs that his body should be buried in the "NewChapel of Our Lady in the Mynster of Christchurch." It is noteworthy to remark that the original arcading is cut away to make room for this monument, so that the chapel had been finished before he died. Both Sir Thomas West and his mother were benefactors to the church. Besides other bequests of money towards the building fund and for perpetual masses, each of them gave about £18 for the singing of 4500 masses within six months of the day of their deaths. On the south side of the chapel is the original doorway leading into the canons' burial-ground; a corresponding door is to be seen on the north side. The splays of the arches of the windows are elaborately ornamented withTHE LADY CHAPEL.THE LADY CHAPEL.panelling. The arcading under the window, a series of ogee arches, is worthy of notice. The tattered colours of the "Loyal Christchurch Volunteers," one of the earliest regiments of volunteers, which was enrolled in 1793, hang at the entrance to the Lady Chapel. The vaulting is of the samecharacter as that of the choir, with curious pendants in the form of church lanterns.
THE TOMB OF THOMAS, LORD WEST.THE TOMB OF THOMAS, LORD WEST.
St Michael's Loftis reached by long flights of steps running up the turrets described in the last chapter. It is a plain, low room with a low-pitched tie-beam roof of oak. It was once a chapel, as the piscina in the east wall clearly shows. The site of the altar is now occupied by a disused desk of the character familiar to us in our own school days some half-a-century ago; it is a sort of pew with doors, within which the master sat enthroned and ramparted. This room was used as a public grammar school from 1662 till 1828, and subsequently as a private school, which was finally closed in 1869. The boys went to this school and returned from it by the staircase on the north side which has an entrance from the churchyard; the stairs on the south side were used when anyone had occasion to go into the church or to go from it to the room above.
ST MICHAEL'S LOFT.ST MICHAEL'S LOFT.
An upper chamber or chapel is an uncommon feature in England. Remains of staircases give rise to the conjecture that there was a similar chapel over the Lady Chapel at Chester, and somewhat similar erections are to be met with on the Continent; but Christchurch Priory is unique in possessing such a perfect specimen. The dedication of the upper storey to St Michael, the conductor of souls to Paradise, is appropriate. Churches built in elevated positions were frequently dedicated to him, and few if any mediæval churches dedicated to this archangel are to be met with on low-lying ground.
Under the western tower stands a modern font. The fragments of a Norman font, with carvings representing various incidents in the life of Christ, may be seen, preserved in the north choir aisle. The fifteenth-century successor has been removed to Bransgore Church, four miles off.
Against the north wall of the tower stands the monument of the poet Shelley, the work of the sculptor Weekes. Needless to say, it is but a cenotaph. The "heart of hearts," "Cor Cordium," and the ashes of the poet cremated on the Tuscan shore, lie far away, hard by the pyramid of Caius Cestius, in the grave where the loving hands of Trelawney laid them in 1823. Here we have an ideal representation of the finding of the drowned body—not a pleasing one, but less ghastlythan the reality; and below the inscription which tells his name and the number of his years and the manner of his death, the following stanza from his own "Adonais" may be read:—
"He hath out-soared the shadow of our night:Envy and calumny and hate and pain,And that unrest which men miscall delight,Can touch him not and torture not again;From the contagion of the world's slow stainHe is secure, and now can never mournA heart grown cold, a head grown grey in vain,Nor, when the spirit's self has ceased to burnWith sparkless ashes load an unlamented urn."
"He hath out-soared the shadow of our night:Envy and calumny and hate and pain,And that unrest which men miscall delight,Can touch him not and torture not again;From the contagion of the world's slow stainHe is secure, and now can never mournA heart grown cold, a head grown grey in vain,Nor, when the spirit's self has ceased to burnWith sparkless ashes load an unlamented urn."
"He hath out-soared the shadow of our night:
Envy and calumny and hate and pain,
And that unrest which men miscall delight,
Can touch him not and torture not again;
From the contagion of the world's slow stain
He is secure, and now can never mourn
A heart grown cold, a head grown grey in vain,
Nor, when the spirit's self has ceased to burn
With sparkless ashes load an unlamented urn."
The choice of Christchurch Priory as the site for this monument was due to the fact that the poet's son, Sir Percy Florence Shelley, who erected it, lived at Boscombe Manor, between Christchurch and Bournemouth.
The tower contains a peal of eight bells. These are all old; the fifth and sixth bells have fourteenth-century inscriptions round their crowns, the others appear to have been cast early in the fifteenth century.
THE SHELLEY MONUMENT.THE SHELLEY MONUMENT.
1. Ralf Flambard, afterwards Bishop of Durham.
2. Godric.
3. Gilbert de Dousgunels.
4. Peter de Oglander.
5. Randulphus.
6. Hilary, afterwards Bishop of Chichester.
1. Reginald, 1150.
2. Ralph.
3. Peter, 1195. He built the clerestory and carried out other Early English work.
4. Roger, 1225.
5. Richard.
6. Nicholas de Wareham.
7. Nicholas de Sturminster.
8. John de Abingdon, 1272.
9. William de Netheravon, 1278.
10. Richard Maury, 1286.
11. William Quenton, 1302.
12. Walter Tholveshide, 1317.
13. Edmund de Ramsbury, 1323. During his time Bishop Stratford's Injunctions were issued, 1325. See page 129.
14. Richard de Queteshorne, 1337.
15. Robert de Leyghe, 1340.
16. William Tyrewache, 1345.
17. Henry Eyre, 1357. He became blind in 1367 and was allowed a coadjutor.
18. John Wodenham, 1376.
19. John Borard, 1398. During his time Archbishop Arundel issued Injunctions, 1404. See page 130.
20. Thomas Talbot, 1413.
21. John Wimborne, 1420.
22. William Norton.
23. John Dorchester.
24. John Draper I., 1477. Bishop Langton's Injunctions were issued during his tenure of the priory.
25. William Eyre, 1502. During his time the choir was completed.
26. John Draper II. He surrendered the priory to Henry VIII.'s commissioners, 1539, and was allowed to retain Somerford Grange for life, and received a pension of £133, 6s. 8d. He died in 1552, and was buried in the nave near the entrance to the choir.
By the council of Arles 1261, religious orders that held parish churches were bound to supply vicars to officiate. These were appointed by the canons, and were taken from their own body.
The names of many of these are known. The 13th was Robert Harys, whose chantry stands in the south choir aisle; he died in 1325. In the time of the 15th, William Trapnell, the church was granted by Henry VIII. to the parishioners, 32nd year of Henry VIII. In the time of the 17th, Robert Newman, an inventory of the property was made by order of Edward VI.'s commissioner. John Imber, the 21st vicar, was expelled by the Parliament from 1647-1660, but was restored to his preferment in the same year as Charles II. gained the throne. The present vicar is the 32nd.
1. Every canon save the seneschal and cellarer must attend Matins, High Mass, and the Hours. The seneschal, if present in the priory for two nights together, must attend one Matins, and the cellarer must be present at service on alternate nights at least.
2. Six canons must be enrolled for celebrating Our Lady's Mass; the prior must celebrate on all great feasts at High Mass, and on Saturdays at Our Lady's Mass, and must wear a surplice not a rochet.
3. Canons in priests' orders must celebrate daily, those who are not must repeat eleven Psalms with a Litany or Psalter of Our Lady every day.
4. Four confessors must be appointed to hear the confessions of the canons.
5. Latin or French must be the languages spoken.
6. No one save the prior or officers, without special leave, must ride or leave the Priory.
7. Two-thirds of the canons must dine daily in the refectory; the door must be kept by a secular watchman whose duty it is to remove servants and idle people from the door during dinner; the almoner must prevent any canon carrying his commons to the laundry-people or people of the town.
8. All the canons must sleep in the dormitory, each in his own bed.
9. The infirmary must be visited daily by the prior or sub-prior.
10. Two canons must act as treasurers, and a yearly account must be presented.
11. The common seal must be kept under four locks, and documents sealed in full chapter, not as heretofore during Mass.
12. Canons must not play at chess or draughts, nor keep hounds or arms (save in the custody of the prior), nor have a servant (save when on a journey), nor write nor receive letters without leave. The prior may keep hounds outside the priory buildings.
No. 1. Ordered the destruction of an old hall and an adjoining chamber known as the sub-prior's hall after the departure of Sir Thomas West its then occupier, as noblemen were in the habit of occupying it to the great disturbance of the order and the keeping open of gates which ought to be closed.
No. 2. Enjoined the building of a house for the prœcentor, and a new chamber for the sick.
No. 3. Ordered the setting apart of a chamber for recreation apart from the infirmary (it may be supposed that the canons during recreation hours were noisy, thereby disturbing the sick).
No. 4. Directed the provision of separate studies for the canons. It would appear that nobles, such as the Montacutes and Wests, put the priory to such great expense by taking up their abode, together with their retainers, in the domestic part of the buildings.
Very little of the castle erected by Richard de Redvers, who died in 1137, remains; but on an artificial mound at no great distance to the north of the Priory Church stand fragments of the east and west walls of the square Norman keep, about 20 feet high and 10 feet thick. The castle belonged to the De Redvers, Earls of Devon, till they were alienated to the crown in the 9th year of Edward I. (1280), the last earl having died in 1263, though the last female descendant lived till 1293. In 1331, Edward III. granted the castle and land to William de Montacute, Earl of Salisbury; after the execution of John de Montacute in 1400 for the part he took in the plots against the new king, Henry IV., Sir Thomas West, who lies buried in the Lady Chapel, was appointed constable. He died in 1405, then Thomas, Earl of Salisbury, held the castle till 1428. After this it was held by various persons, and we find a constable of the Lordship of Christchurch as late as 1656. The manor held by the De Redvers, and then by the Montacutes, passed through various hands. Among the holders we may notice the Nevilles, hence the connection with the Priory of the ill-fated Margaret, the kingmaker's granddaughter, who was Countess of Salisbury in her own right, the Earl of Clarendon, Sir George Rose, and the present owner, the Earl of Malmesbury, who obtained it in 1862.
In early days the bailiff of the de Redvers regulated all markets, fairs, tolls, and fines, and had the right of preemption and sat as judge in the tenants' court. Edward I. relieved the burgesses of Christchurch from all arbitrary exactions, and established a fixed fee-farm rent instead. The castle was taken for the Parliament by Sir William Waller with 300 men on April 7, 1644.
A little to the north-east of the castle stand the remains of one of the few Norman houses that have come down to the present time. It is thus described in the first volume of"The Domestic Architecture of the Middle Ages" by Turner and Parker, pp. 38, 39. This volume was published in 1851. "At Christchurch, in Hampshire, is the ruin of a Norman house, rather late in the style, with good windows of two lights and a round chimney shaft.[6]The plan, as before, is a simple oblong; the principal room appears to have been on the first floor. It is situated on the bank of the river near to the church, and still more close to the mound, which is said to have been the keep of the castle; being between that and the river, it could not well have been placed in a situation of greater security. Whether it formed part of another series of buildings or not, it was a perfect house in itself, and its character is strictly domestic. It is about seventy feet long, and twenty-four broad, its walls, like those of the keep, being exceedingly thick. On the ground floor are a number of loop-holes: the ascent to the upper storey was by a stone staircase, part of which remains; the ground floor was divided by a wall, but the upper storey seems to have been a long room, lighted by three double windows on each side; near the centre of the east wall, next the river, is a large fireplace, to which the round chimney before mentioned belongs. At the north end, there appears to have been a large and handsome window of which part of the arch and shafts remain, and there is a small circular window in the south gable. From what remains of the ornamental part of this building, it appears to have been elegantly finished and cased with squared stones, most of which are, however, now taken away. There is a small projecting tower, calculated for a flank, under which the water runs; it has loopholes both on the north and east fronts, these walls are extremely thick. By the ruins of several walls, there were some ancient buildings at right angles to this hall, stretching away towards the keep. This was probably part of the residence of Baldwin de Redvers, Earl of Devon, to whom the manor of Christchurch belonged about the middle of the twelfth century."[7]
REMAINS OF THE NORMAN HOUSE.REMAINS OF THE NORMAN HOUSE.
This building is much overgrown with ivy, which by a comparison of the illustration given in the work just quoted with its present condition, as represented in the photograph here reproduced, has increased considerably during the lastfifty years. It is due to the memory of the Rev. William Jackson, who was vicar of Christchurch from 1778 to 1802, that it should be recorded that he saved this valuable relic of Norman domestic architecture from destruction. He was evidently imbued with a spirit of love for antiquity by no means common a hundred years ago, and far too rare even at the present day.
PLAN OF WIMBORNE MINSTER
PLAN OF CHRISTCHURCH PRIORY
[1]It is noteworthy that they all held some other preferment during the time that they held the office of dean.
[2]In an inventory made in the reign of Henry VIII. we find mentioned an image of St Cuthberga, with a ring of gold, and two little crosses of gold, with a book and staff in her hand. The head of the image of silver with a crown on it of silver and gilt. On her apron a St James shell with a buckle of silver and gilt.
[3]This tracery is shown in the illustration on p. 21. The original foliation seems to have been cut away, and the intermediate mullions extended to the points of the two lights. This may have been done with a view to economy in reglazing the window. The modern window is shown on page 37.
[4]Sir Gilbert Scott, however, thought that the Norman nave of the Cathedral Church at Durham was commenced before Flambard became bishop, and that the new church at Christchurch was begun after that date, so that the work at Christchurch was copied by him from what he found already commenced at Durham when he went there.
[5]She lived in the latter half of the thirteenth century.
[6]Since rebuilt.
[7]Grove's "Antiquities," vol. ii. p. 178.
Page 5: "commemerated" corrected to "commemorated."
Page 12: L s d originally printed above numbers on their own line. Combined with numbers.