2. Another mitre, now in the possession of his eminence cardinal Wiseman.1

3. The ruins of a chasuble; consisting of its lining with embroidery, and strips of narrow gold lace, as may be seen in two small woodcuts given by Shaw, as well as a plate representing the elegant scroll work still remaining on the back of the vestment. The silk of which the chasuble was composed is almost entirely gone.

4. An apparel for an amice, beautifully embroidered in gold, with colours alternately red, green and white, with hemispherical studs of silver.

5. Another apparel for an amice, embroidered with gold thread, having a chocolate-coloured ground, and with green and red colours round the borders. This apparel was given by the archbishop of Sens in 1842, along with the mitre before mentioned, to his eminence cardinal Wiseman; and it is now in the possession of the rev. Dan. Henry Haigh. Both of these apparels are engraved by Shaw.

6. A stole and maniple, exactly corresponding with the first mentioned apparel. They have pear-shaped drops of silver instead of fringe at their ends.

7. An alb with its apparels, two for the wrists and two for the border, corresponding with the apparel now in England. The earliest known representation of St. Thomas of Canterbury is executed in mosaics, in the church of St. Monreale, near Palermo, built by William the Good, king of Sicily, who began its erection in the very year St. Thomas was canonized. This king married princess Johanna of England, daughter of king Henry II, who arrived in Sicily in the year 1177. St. Thomas is represented standing colossal in his episcopal robes, with no emblem but his name inscribed; evidently the work of Byzantine or Greek artists. In the church of Aquani are preserved a mitre and a cope, given by pope Innocent III, about the year 1200. The cope is worked with thirty-six scenes of sacred story, among them being the martyrdom of St. Thomas of Canterbury; and on the mitre he is again represented. In the convent of the sisters of Notre Dame at Namur is a mitre which formerly belonged to the celebrated cardinal de Vitry, who died A.D. 1244. It is of white silk with

1 A mitre belonging to St. Thomas was given to the church of Rochester by bishop Haymo de Hethe, 1327. See rev. Mr. Hugo's Memoir of Gundulf, in the Journal, vol. ix, p. 239.

gold embroidery; the martyrdom of this Canterbury saint occupies the whole of one side, and that of the deacon St. Laurence the other.

1

The few paintings of St. Thomas of Canterbury that have been preserved in this country are, we believe, in every instance of late date, which of course increases the interest of this example from St. John's church, which must be assigned to about the year 1280 or 85. The scene is very truthfully depicted; for this is frequently represented at variance with, and in opposition to, historical facts. For instance, in the painting discovered in the church of the Holy Cross at Stratford-upon-Avon, the archbishop is represented celebrating mass, having his back turned to the murderers; the date of this example is not earlier than 1490. Last year, during the repairs of Stoke D'Aubernoun church, Surrey, were discovered remains of a painting which was supposed to have been intended for the martyrdom of this saint. A small painting representing this scene, painted on a panel, temp. of Henry V, is engraved in Carter's Specimens of Ancient Painting and Sculpture; it used formerly to hang over the tomb of Henry IV in Canterbury cathedral, where it is still preserved, as well as another painting of the same period, representing the penance of Henry II. Representations of the martyrdom were depicted on the archiepiscopal seals of several of the succeeding primates, and represented in various ways; on that of archbishop Boniface, 1257, no altar is given; on the seal of Robert Kilwarby, 1273, the altar is in the background, and St. Thomas has his back to it; on the seal of John Peckham, 1278, the altar is omitted. On the seal of Walter Reynolds, 1300 (given in the volume of the Transactions of the Association at Winchester Congress in 1845), the martyr has his back to the altar, and behind it is Edward Grim, holding the crozier; the four murderers are in chain. armour, with long surcoats; around the seal is inscribed "AD CHRISTUM PRO ME SIT SEMPER PASSIO THOME." On the seal of John Stratford, the archbishop kneels at the altar, with his back to his assailants; and this position is

1 In the last year's exhibition at the Royal Academy was a painting, by J. Cross, of the martyrdom, and the archbishop is therein erroneously represented in eucharistic vestments, holding a cross in his hand.

VOL. X.

10

two circumstances connected with it are invariably observed, viz., Edward Grim is never omitted, and always depicted as the cross-bearer. Whether this is correct is doubtful. Though Henry of Auxere bore it in the procession, still it is possible when these attendants fled Grim might have taken it till the time when he threw his arm around the primate's neck. The second point is, that one of the four knights always has his sword still in its scabbard. On the brass of prior Nelond, at Cowfold, Sussex, A.D. 1433, is preserved a small though well-executed figure of St. Thomas of Canterbury in full pontificals, but without any emblem except his name.

The most beautiful figure of this saint perhaps that has been preserved in any church in this country is represented in the accompanying plate (see plate 6). This we denuded of its whitewash in the year 1845, and it was then well served, and had evidently been covered up, on purpose to

pre

retained on the seals of Islip, Langton, Arundel, etc. However different this event might be seen represented,