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Published online by Cambridge University Press: 15 November 2011
On a casual visit to the Fitzwilliam Museum on 24th October, 1904, a small brass, part of a larger one, was immediately recognised by the writer, from its resemblance to its noble confrères, as one of the long missing latten figures in the niched series forming the supports of the canopy of the great brass of Sir Hugh Hastings, in Elsing church, Norfolk, namely that of Roger, Lord Grey of Ruthin.
page 26 note a This rare and beautiful coat of mail was shown at the Helmet and Mail Exhibition, at the rooms of the Royal Archæological Institute, in 1880, and is illustrated in Mr. Gardner's, J. StarkieForeign Armour in England (London, 1898), 19, fig. 1.Google Scholar
page 26 note b Called “Le Hutin,” à, cause de ses goûts désordonnés. He was brother of Isabella, wife of Edward II., and succeeded his father Philip IV., “Le Bel,” as Louis X., in 1314.
page 27 note a Already in the first period of the Thirty Years' War the gorget had lost its laminations. At that time it was worn under the falling lace collar, and extended in a pointed form half way down the chest and over the buff coat, and so it continued during the Civil Wars. In the time of William III. the width had been retained but the point had been rounded off, and thus it continued until the abolition of the buff coat in the reign of George. I.
page 27 note b Many of these are illustrated by Mr. Kerrich's own etchings in Archaeologia (xviii. 186–196) from drawings taken by him before the Great Revolution, and bequeathed to the British Museum in 1828. The original etched copper plates are in the writer's possession.
page 30 note a For the different methods of suspending the sword during the Middle Ages, see article on “Sword Belts,” by the writer, Archæological Journal, xlviii. 320–340.
page 31 note a Add. MS. 32479, H. 3 (Douce Coll.). This has been well reproduced by Mr. E. M. Beloe, jun. in A Series of Fourteenth Century Monumental Brasses in Norfolk.
page 33 note a See “Portraiture in Monumental Effigies, and Ancient Schools of Sculpture in England” (Pollard, Exeter, 1899), by the writer.
page 34 note a It is also engraved fall size, with the original colouring, by Carter, John in his Specimens of Ancient Sculpture and Painting (London, 1780), i. 37.Google Scholar
page 35 note a His son Thomas, in virtue of his descent from Eleanor de Clare, was created Earl of (Gloucester.
page 36 note a The shields were of coloured glass and not enamel, inserted in the manner described by Mr. Hope in-the Postscript to this Paper.
page 37 note a In the possession of Sir J. Charles Robinson is the centre-piece of a baudric in copper gilt, decorated with leaves in relief, and having a large movable ring attached to the lower edge. Within a circle in the centre are the arms of Nassan in enamel. This is perhaps German, about 1390.
page 37 note b It was of glass, and not enamel. See Postscript.
page 38 note a Read 5th April, 1906.
page 39 note a London. 1780, vol. i. 13.
page 39 note b Corrected on page 38 as an erratum to “blank.”
page 41 note a In the spandrel on the dexter side of the St. George a pebble is embedded in the plaster.
page 41 note b The hole has unfortunately been filled up with pitch in the recent refixing of the figure.