for the art student. Another interesting example of English art is a MS. known as the "Dictyes and Sayings of the Philosophers," and in this illumination the author is represented as introducing a tonsured personage, who presents a copy of the work to King Edward IV., accompanied by his queen and their son, afterwards Edward V. Walpole, in his this miniature, and it has also been engraved by Strutt. The representation of an author presenting his book to his patron is a favourite subject in illuminated MSS., and highly interesting as giving portraits of kings and princes, as well as literary men, of whom we should have had no memorials but for these drawings.

A work on Ireland, under the title of "Ireland Appeased, or a History of the late Wars under Sir G. Carew," gives illustrations, coloured by hand, of the old castles, cities and fortifications that withstood the Irish wars of Elizabeth's reign. Under the title "Webb," we have a vindication of Stonehenge restored, in which the orders and rules of architecture observed by the Romans are discussed." Royal and Noble Authors," has given an engraving of In the fine work, edited by Chandler, on the "Oxford Marbles," we have a series of engravings of those rare monuments; in Spence's 'Polymetis," many illustrations which settle the arguments between the works of the Roman poets and the remains of the ancient artists; and in Gronovius "Thesaurus Græcarum Antiquitatum" (12 vols.), we have an excellent series of antiquities. This description of the illustrated printed books at Lambeth, slight as it had been, might be fittingly closed by drawing attention to the fine volume of Boydell's plates to Shakespeare, a work so well known to all lovers of art that it needed no comment on the excellence and beauty of the engravings. The plates were accompanied by nine volumes of text, printed in a very clear type.

Passing to the illuminated MSS., Mr. Kershaw observed that there are about thirty examples of the various styles of art in this library. The Anglo-Irish, Saxon, English, French, Flemish, Italian, and Persian styles of illumination are to be found; and it is a matter of much interest to know that in such a small collection, so many schools are represented, as they cannot fail to be instructive to the student seeking a chronological series of examples. Of the AngloIrish School, Lambeth possesses a most rare example in the little MS. known as the " Gospels of MacDurnan," written about A.D. 900, and presented by King Athelstan to the City of Canterbury. The text of the four Gospels in Latin, is written in a very clear hand, and there are one or two grants in Saxon interspersed in the volume. But it is to the painter's hand that this volume will possess most interest for the members of the Society now assembled. The chief illuminated scenes are at the commencement of each Gospel, which are preceded by seated figures of an evangelist, holding in one hand a book, in the other a pastoral staff. Each figure is set within an exquisite framework of interlaced ornament. Four illustrations of the Life of Christ-the Betrayal, Scourging, Crucifixion, and Entombment-painted by a French artist, towards the end of the thirteenth century, form the remaining embellishment of this exquisite little volume. The examples of the Irish style of art are comparatively unique, the Lambeth "MacDurnan" ranks with the rare Book of Kells in Dublin, the Durham MS. at the British Museum, and the Book of Deer in Cambridge University Library, all of which are prized for their exceeding rarity. The Lambeth Library possesses but few examples of the early school of AngloSaxon art. The illumination of this period best known is that contained in a volume of miscellaneous treatises, of the ninth century. The painting is in outline, and represents an abbess and her eight attendants, receiving at the hands of Aldhelm, Bishop of Sherborne, a copy of his treatise. The drawing is delicate, and valuable for the costume of that period. It has been engraved by Strutt, in his "Dress and Habits of the People of England."

The school of English art is represented most notably in the copy of the New Testament, printed on vellum, known as the "Mazarine," from the fact of the first copy having been discovered in the library of that cardinal. This Mazarine Bible, when complete, is of great rarity and value, and perfect vellum copies are said to be only in the libraries of Paris, Berlin, and the British Museum, and one which will no doubt fetch a large sum at the approaching sale of books belonging to the late Mr. Algernon Perkins. The Lambeth Mazarine Testament is in a perfect state of preservation, and the foliage which is made to grow out of the larger initials, is bold and elegant. The profusion and variety of the illuminated capitals form an inexhaustible field of study

Of French art, the Lambeth Library possesses ten examples. One of these is the "Apocalypse," painted about the end of the thirteenth century. It contains seventyeight coloured drawings, remarkable for the spirited form of the drawing and brilliancy of the colouring, which is heightened by backgrounds of burnished gold or dark blue. Several accessories, depicting armour, architectural details, and minor subjects, are introduced. The paintings are all so finely executed that it would be impossible to single out more than a few for immediate notice, viz.: (1) St. John visited by an angel in Patmos; (2) the several horses of the Vision, and their riders; (3) the song of the great multitude in worship; (4) the angels sounding the trumpets; (5) the worship of the four-and-twenty elders; (6) the worship of the beast; (7) the seven angels pouring out the vials on the earth; (8) the vision of Heaven opened; (9) the New Jerusalem. At the end of the Apocalypse are twenty-eight drawings representing lives of saints, allegorical scenes, and passages from Scripture. The Apocalypse formed a theme for illumination from early times, a few instances being on record of the subject being painted by the Saxon School in England; but the eleventh, twelfth, and thirteenth centuries are those in which the vision is of most frequent representation in illuminated art.

The fifteenth century MS., known as the St. Alban's Chronicle, came next under notice. This consists of nineteen large and fifty small illuminations of scenes in English history, from the time of King Arthur to the Treaty of Arras. The scenes are distinguished for great boldness of grouping gold has been much used in heightening the effect of costume and ornament, and a delicate finish is discernible throughout nearly every painting. The border patterns are rich, being designed of an intertwining of the wild strawberry, grape-vine, and forget-me-not. Among the large-sized illuminations are some very important paintings, and interesting to the artist, viz., "The Martyrdom of St. Ursula;" "Coronation of Arthur, King of Great Britain;" 66 Murder of Thomas à-Becket; "the Citizens of Calais surrendering themselves to King Edward;" "A Royal Tournament before Richard II. ;" and the Signing of the Treaty of Arras." The small illuminations display scenes and incidents of an interesting character; costume, architecture, and landscape scenery being freely introduced. The last example of French art brought under notice was the "Limoges Missal." This, said Mr. Kershaw, is a splendid example of the fifteenth century, written in a large character, with finely illuminated letters, some with rich tessellated backgrounds, others with burnished gold, beautifully fresh and brilliant. The arms, both on the outside cover and in many parts of the volume, are those of John de Laubespine, Bishop of Limoges, to whom the MS. probably belonged, There are but two large illuminations in this MS.,-the “Crucifixion" and the " Majesty.' The representation of the Crucifixion is remarkably fine, both for the number of figures introduced and the varied and brilliant colouring. The painting of the Majesty has at each of the four corners a figure of an Evangelist, accompanied by his distinctive symbols, whilst in the margin below, are figures of two kneeling angels, supporting a shield of arms of the Bishop of Limoges. Both these paintings are fine illustrations of

French pictorial art towards the close of the sixteenth the purpose of securing the unfortunate heretics confined in century, and are surrounded by a border of daisies, and the wild strawberry gracefully interwoven among conventional foliage and scroll work.

Of Italian art, of the seventeenth century, there are two examples. One is known as a MS. called "Jura et Privilegia clero Anglicano adjudicata," compiled and written at the express command of Archbishop Laud, by William Reyley, Blewmantle, in the year 1637. It consists of transcripts of various records, relating to the rights and privileges of the English clergy, extracted from the Rolls of Parliament, between 20 Edward I. and 14 Edward IV. (inclusive). Of this work, Archbishop Laud thus writes, in his diary (1637): -"A book in vellum, fair written, containing the records which are in the Tower, I got done at my own charge, and have left it in my study at Lambeth for posterity.' The frontispiece contains the only artistic embellishment, and represents an architectural elevation, supported on four pillars. There are figures represented, and subscribed, "Antiquity," "Truth," Religion," and "Piety." At the base are five coloured shields of arms, namely: Oxford, Cambridge, and those of Archbishop Laud, as Bishop successively of Bath and Wells, London, and St. David's. This painting is a beautiful example of Renaissance art, and probably by the hand of an Italian artist. The draperies and position of the figures are remarkably good, and the colouring soft and

harmonious.

Of Persian art, there are two fine copies of the Koran, illuminated with paintings and oriental enamel. It is said to have been written by the pen of the Sultan Allavudeen Siljuky, about 400 years ago, and descended to these times in the line of Emperors. It was found in the library of Tippoo Saib, at Seringapatam, on the capture of that place by the British armies. Its presentation by the college of Fort William, Bengal, by permission of Marquis Wellesley, Governor-General of India, to Archbishop Manners-Sutton, in 1805, offers interesting data. The text, written in Arabic, is enclosed by decorative borders. Blue, white, and gold are the prevailing colours, and the commencement has several pages of illumination only, of dazzling brightness. The copy, which is in the original Oriental binding, is unusually fine, and in excellent preservation.

With an apology for the necessarily brief character of his notes of the interesting collection of books and manuscripts brought under the notice of the visitors, Mr. Kershaw concluded his very able address.

the room above, while undergoing the degrading punish-
ment of the lash. Having viewed the interior of the chapel,
the visitors ascended the Lollard's Tower, immediately
adjoining, for the purpose of inspecting the dismal chamber
which served as the prison for the unfortunate heretics who
suffered here in the times of Arundel and Chicheley. This
tower was built in 1435. The staircase is 88 feet high, and
from the battlements some very fine views are obtained.
We have only space to add, in conclusion, that the
library of Lambeth Palace is open to the public on Mon-
days, Wednesdays, and Fridays, from 10 a.m. to 3 p.m.,
and that the project of the Society for the Encouragement
of the Fine Arts holding occasional meetings at some one
building famous in art or history, cannot fail to be of great
value to the members.

RAGLAN CASTLE.-With reference to the descent of the

That ac

estate of Raglan noticed in our account of Raglan Castle (see p. 133, ante), Mr. C. Octavius Morgan writes :—“The is usually met with in descent of the Castle is given as most books, but which is altogether erroneous. count is found in 'Dugdale,' and seems to have been copied into all subsequent works, but it is incorrect. In order, therefore, to set the matter right, I beg to send you an extract from the MSS. of the late Thomas Wakeman, Esq., a very learned and painstaking antiquary of the county of Monmouth, who had most carefully investigated the matter, and examined all documents connected with it :-'The often repeated assertion that the Herberts acquired the estate of Raglan by the marriage of the father of Sir William ap Thomas with the heiress of Sir John Morley is totally erroneous. No such person as Sir John Morley ever possessed this manor, nor any other in the county of Monmouth, that I can find. Who Sir John Morley was, whence he came, or whom he married, appears to be totally unwho were then lords of Abergavenny; and either by grant known. He was probably some retainer of the Beauchamps, from them or by marriage may have obtained some little estate. The marriage of his daughter Maud with Thomas ap-Gwilym, father of Sir William ap Thomas, has always Thomas ap-Gwilym was been prominently put forward. not a knight; and Maud could hardly have been heir or coheiress to her father, who had a son Gwilym, and was father to a Philip.' The descent of Raglan was as follows:The family of Bluet were lords of Raglan through seven Mr. Kershaw afterwards conducted the company over the generations in the direct male line from Sir Walter Bluet, most interesting portion of the palace. The hall in which the first subinfeuor under Strongbow, in the reign of the company were assembled is a lofty structure of brick, Henry II. John Bluet, the seventh in descent from Sir with stone quoins and dressings. It is 93 feet in length, Walter, left an only daughter, Elizabeth, the wife of Bar38 in width, and 50 in height. The roof is composed prin- tholomew Pychard or Pycat, who in right of his wife had cipally of oak, elaborately carved, and has in the centre a Raglan. Both were living in 1369, and had only one son, lofty and elegant lantern. The interior is lighted, in addi- John Pychard, who died without issue, and the estate detion to the lantern, by ranges of high windows on either scended to Elizabeth, the only daughter of Sir John Bluet of side, in some of which are heraldic devices in stained glass. Daglinworth, in Gloucestershire, as second cousin and heirFrom the hall, or library, the company passed upstairs to at-law. This lady was then wife of Sir James Berkeley, to the Guard-room. The walls of this room are hung with half-whom Henry IV. confirmed the manor by patent. Sir James length portraits of many of the Archbishops, the most inte- Berkeley died in 1405, and his widow afterwards married Sir resting of which, perhaps, are Laud, Cardinal Pole, William ap Thomas, the ancestor of the Herberts. He did Chicheley, Warham, and Arundel. The gallery leading to not, however, take Raglan in her right, but purchased it of the chapel, which was next visited, contains numerous por- her eldest son James, Lord Berkeley; and the original contraits of ecclesiastical dignitaries, a small portrait of Martin Luther on panel, and also a splendid engraving of Old veyance deed is still among the muniments of the Duke of Beaufort, at Badminton."" London. Descending the stairs at the end of this gallery, the vestibule of the chapel is entered. This is sometimes called the post room, probably from the fact of the ceiling being supported in the centre by a stout pillar. It is on record that the builder of this tower, Archbishop Chicheley, "found during his time the impossibility of punishing all heretics with death, therefore whipping and other severe and degrading punishments were consequently resorted to." This so-called post room has been by some considered as expressly set apart for that purpose; the pillar serving for

HISTORICAL IMPOSITIONS UNMASKED.-The following paragraph appears in the Mirror:-" The story of Canute commanding the waves to roll back rests on the authority of Henry of Huntingdon, who wrote about a hundred years after the death of the Danish monarch. Hume treats the popular legend of Fair Rosamond as fabulous. According to Lingard, instead of being poisoned by Queen Eleanor, she retired to the convent of Godstow, and, dying in the odour of sanctity, was buried with such marks of veneration

by the nuns as to provoke a rebuke from their diocesan,
who reminded them that religion makes no distinction
between the mistress of a king and the mistress of any
other man.' Blondel, harp in hand, discovering his
master's place of confinement, is clearly a fancy picture;
for the seizure and imprisonment of Richard were matters
of European notoriety. What is alleged to have befallen
him on his way home has found its appropriate place in
Ivanhoe;' and the adventures of monarchs in disguise,
from Haroun Alraschid, downwards, so frequently resemble
each other, that we are compelled to suspect a common
origin for the majority. The statement of a Welsh writer,
of the 16th century, that Edward I. gathered together all
the Welsh bards, and had them put to death, is implicitly
adopted by Hume, and made familiar by Gray :-

Ruin seize thee, ruthless king;
Confusion on thy banners wait.'

It is glaringly improbable, and rests on no valid testimony
of any sort. Miss Aikin was, we believe, the first to de-
molish the credibility of the celebrated story that Cromwell,
Hampden, and Arthur Hazelrig, despairing of the liberties
of their country, had actually embarked for New England in
1638, when they were stopped by an Order in Council.
The incident is not mentioned by the best authorities, in-
cluding Clarendon; and there is no direct proof that either
of the three belonged to the expedition, which, after a brief
delay, was permitted to proceed with the entire freight of
pilgrims.
Froissart relates in touching detail the
patriotic self-devotion of Eustache de St. Pierre and his five
companions, who, he says, delivered up the keys of Calais
to Edward III., bareheaded, with halters round their necks,
and would have been hanged forthwith but for the inter-
vention of the queen. The story had been already doubted
by Hume on the strength of another contemporary narrative,
in which the king's generosity and humanity to the inhab.
itants are extolled; when, in 1835, it was named as the
subject of a prize essay by an antiquarian society in the
north of France, and the prize was decreed to M. Clovis
Bolard, a Calais man, who took part against St. Pierre.
The controversy was revived in 1854, in the Siècle, by a
writer who referred to documents in the Tower as establish-

cidedly to the effect that the principal and earlier portion of it was written by Hugo Caudidus, an eminent monk, and that Swapham wrote only the continuation. Mr. Gunton and others think that if Hugo did write a book it is lost. Several writers who make honourable mention of Hugo are are at issue as to when he lived, and as to whether his history exists. But their doubts and ignorance on this subject Dean Patrick attributes to their not having read " "Swapham" with due care and observation. The same charge, however, cannot be made against Gunton, who was as industrious as Dean Patrick himself, and as competent an historian.

May there not have been two monks bearing the name of Caudidus? Two supposed strong proofs of his own view given by Dean Patrick are that Leland had read Hugo's work; and that Leland's collections concerning this monastory (Peterborough) "are word for word the same with the account of it in 'Swapham.' I do not see how these facts, if they be facts, prove that Hugo Caudidus is the author of 'Swapham.'

Mr. Se den asserts that the history alluded to was written Dean Patrick, in the reign of Henry III., or thereabouts. on the other hand, contends that he who wrote the greatest and best part of it lived in the reign of Henry I., King Vossius again says that Hugo Stephen, and his successor. flourished in the latter end of the reign of King John. Mr. Paley, in his remarks on the Architecture of the Peterborough Cathedral, not only has no faith in Swapham, but is most illogical. He observes, "Mr. Gunton's elaborate history seems the basis of them all; and this, in great measure, taken from a document of rather a questionable authority, the Book of Swapham,' which is still preserved in the archives of the cathedral, and the writing of which is not of earlier date than the latter end of the fourteenth century, though the compilers of it lived in the twelfth and thirteenth." How could the compilers of a book, not written earlier than the latter end of the fourteenth century, have lived in the Swaptwelfth and thirteenth? He refers to this book of " ham" when he uses the expression," the compilers of it." I should like to see the matter discussed by some of your able correspondents.

I have seen the' MS. volume, and it is certainly worth remains to the cathedral, and the manner of its preservation looking at. It is the only one of any consequence that from the fury of Cromwell's soldiers is thus related by Dean Patrick: It was happily redeemed from the fire by the then chaunter of the church, Mr. Humfry Austin, who, under a seat in the quire; and when it was found by a soulknowing the great value of it, first hid it (in February, 1642) dier on the 22 April, 1643 (when all the seats there were pulled down) rescued it again, by the offer of ten shillings for that old Latine Bible, as he called it; after which he pretended to enquire. The name of the Bible, by the help of the whither it was going: as Mr. Austin hath left upon record ten shillings, preserved this pretious treasure from the flames, in the beginning of the book, with a copy of the souldier's

ing that St. Pierre had been in connivance with the besiegers, and was actually rewarded with a pension by Edward. The adoption of the garter for the name and symbol of the most distinguished order of knighthood now existing is still involved in doubt. The incident to which it is popularly attributed was first mentioned by Polydore Virgil, who wrote nearly two hundred years after its alleged occurrence."-Hayward's Biographical and Critical Essays. From the same source is this extract :-" Rabelais has cooperated with Shakespeare in extending the belief that Clarence was drowned in a butt of malmsey at his own special instance and request; and, in a deservedly popular compilation, the precise manner of immersion is brought vividly before the mind's eye of the rising generation by a clever woodcut. Mr. Bayley, in his History of the acknowledgment, that he had given him satisfaction for it, Tower,' can suggest no better foundation for the story than he hath paid me for it, and therefore I would desire you to in these words, I pray let this Scripture Book alone, for the well-known fondness of Clarence for malmsey. Whoever,' says Walpole, in his 'Historic Doubts,' can believe let it alone. By me Henry Towclyffe Souldier under Captain that a butt of wine was the engine of his death, may believe Cromwell Colonel Cromwell's Son; therefore I pray let it that Richard III. helped him into it, and kept him down till he was suffocated.""

Queries.

SWAPHAM.

By whom was the book entitled " Swapham " written? If not by Swapham himself, why was it named after him. Dean Patrick, in his Preface to Gunton's "History of the Church of Peterborough," published 1686, expresses himself de

alone.'

H. S.

PETERBOROUGH CATHEDRAL.-I shall be obliged for any authentic information respecting the painted ceiling which covers the middle of the building of Peterborough Cathedral. Gunton, certainly a great authority, is of opinion that it was the workmanship of Abbot Benedict, appointed in 1177; but Gunton gives no reason for entertaining the opinion, and I am not aware that his view is supported by Britton, another great authority. A friend of mine, who has devoted some time to ecclesiology, gives it as his decided opinion that the west front of Peterborough Cathedral was erected

MEDIEVAL MIRACLES (Vol. iii. 155.)—"Dear nature is the kindest mother still," and some of her beneficent acts, ere science has analyzed them, may well seem to the uneducated or uninquiring, to be specially-appointed miracles. I have been told that spring water, when used for bathing weak eyes, will greatly strengthen them. At Hayes, near Bromley, in Kent, is a spring by the roadside, a stone slab at the back, and one at each side, with another atop, enclosing it somewhat in the fashion of a small cromlech, with the clear water trickling into the circular basin in their midst, and the grass and weeds growing around, make a very pretty sight. I was asking an innkeeper if it had any name or celebrity, and he told me that it was called Julius Cæsar's Basin, and that the water of it was very good for sore eyes: he had applied to his own when weak, with great benefit to them. A youth who was present corroborated the landlord's statement, and said that at one time his own eyes had been so weak that he had feared he would lose his sight, but that by bathing them with the water from Julius Cæsar's Basin, in two or three days his sight had regained its usual strength. J. P. EMSLIE.

WITH reference to the human head, which J. H. S. states that he has seen in Trinity Church, Minories, I beg to say that the only mention I have found of it in the books to which I have referred, occurs in the " History of the Parish of Holy Trinity, Minories," by the Rev. Thomas Hill, in which the author states "By the pious care of Mr. Paterson, one of the parishioners, some bones taken from the slain of Culloden, are deposited in the churchyard, bearing date 1745, and also in the church is placed a head taken from a body which had evidently suffered decapitation, although it is impossible to discover now the name of its possessor." Had there been any historical or traditionary ground for asserting this head to be that of the duke, I have no doubt Mr. Hill would have alluded to it. Possibly the connection between this head and that of the duke originated in the fact that Henry Grey, first Duke of Suffolk, did receive as a grant the lands of the Abbey of St. Clare, a Convent of Minoresses, which occupied the site of the present Trinity Church, who was father to the Lady Jane Grey, and was beheaded on Tower-letter in the frame alluded to is only a photograph, and the hill, February 23rd, 1554.

T. H. L.

I think it is very probable that the head in question is none other than that of the unfortunate Henry Grey, Duke of Suffolk, and for these reasons: In the first place, the head has all the appearance of its having been severed from the body, a mode of execution reserved entirely for the nobility and persons of distinction. Secondly, King Edward VI., when he created Henry Grey Duke of Suffolk in 1551, gave him the land, on which was subsequently built the parish church of the Holy Trinity; and I think it is a fair inference that, after the execution on Tower-hill, the relatives and friends of the deceased would, as has frequently happened in the case of persons executed for high treason, have obtained permission to bury the body in a place of their own selecting; and, granting this, what place is more likely than the church of the Holy Trinity, as being contiguous to the scene of execution, and erected on ground the property of the family.

T. L. F. INSCRIPTION QUOTED BY TAYLOR (Vol. ii. 205).-A somewhat different version is given by Mr. Dibdin in his Typographical Antiquities," vol. ii. p. 331. Speaking of Wynkyn de Worde's "THE SHEDYNGE OF THE BLOOD of our Lorde JHESU CRYSTE at seuen tymes, emprynted at Westmynster, etc., quarto," he says:-Mr. Heber has a copy of this tract, which has nine leaves. The following rhymes annexed, in an ancient handwriting, are subjoined by Herbert :-

MARY QUEEN OF SCOTS (Vol. iii. 164.)—I find it stated in a 66 the Dean and Chapter of Peterborough Cathedral, requesGuide Book" that the original letter of James I. to ting them to allow of the removal of the remains of Mary Queen of Scots to Westminster Abbey, has been placed in a frame by the entrance from the south aisle. Such a statement is calculated to mislead the public. The

original itself, which is in the Cathedral library, is not, except the signature, in the handwriting of that monarch. This is another proof of the little dependence there is to be placed in "Guide Books."

C. BICKERSTETH.

The following is a copy of the letter of James I. to the Dean and Chapter of the Cathedral at Peterborough, requiring them to allow the removal of the body of Mary Queen of Scots to Westminster :

"James R.

66

Trusty and well beloved, we greet you well: for that we think it appertains to the duty we owe to our dearest Mother that like honour should be done to her Body, and like Monument be extant of Her, as to others, Hers, and our Progenitors, have been used to be done, and our selves have already performed to our dear Sister the late Queen Elizabeth, we have commanded a memorial of her to be made in our Church of Westminster, the place where the Kings and Queens of this realm are usually interred: And for that we think it inconvenient, that the Monument and Her body should be in several places, we have ordered that her said Body remaining now interred in that our Cathedral Church of Peterborough shall be removed to Westminster to her said monument: And have committed the care, and charge of the said translation of her body from Peterborough to Westminster to the Reverend Father in God, our right trusty, and well-beloved servant the Bishop of Coventry and Lichfield bearer hereof, to whom we require you (or such as he shall assign) to deliver the Corps of our said dearest Mother, the same being taken up in as decent, and respectful manner as is fitting. And for that there is a Pall now upon the Hearse over her grave, which will be requisite to be used to cover Her said Body in the removing thereof, which may perhaps be deemed as a fee that should belong to the Church, we have appointed the said Reverend Father to pay you a reasonable redemption for the same; which being done by him, we require that he may have the Pall to be used for the purpose aforesaid.

"Given under our signet at our Honour of Hampton Court, the eight and twentieth day of Septemb, in the tenth year of our Reign of England, France and Ireland, and of Scotland the six and fortieth."