in Tintern, Plate LXI., c. A.D. 1250; in the fourteenth century the forms are more elaborate, the curved head crocketed, and its section very generally hexagonal or octagonal. The example from Jervaulx, Plate LXV., c. A.D. 1436, exhibits the form of the fifteenth century.

:

The early Norman shields were kite-shaped, as in that on the Coningsborough stone coffin, Plate XXXVII.; afterwards heater-shaped, viz., like the above, with a straight top; and sometimes were much longer in proportion than is there* represented through the thirteenth and fourteenth centuries they became shorter, as in examples of Johan Fitzalain, Plates XIII. and xIx.; Orkney, Plate xxI.; Dunstable, Plate XXII.; Chester, Plate xxIII., &c. At the end of the fourteenth and beginning of the fifteenth centuries, the upper part of the sides is straight, and the shape almost square. About the end of the fifteenth and beginning of the sixteenth century, very fanciful shapes were given to them, as Llanlivery, Plate xxx.

Early chalices were very simple in shape, as in examples from Newcastle, Plate XI.; a later one is given on Plate XVI.; and on the stone from Holme Pierrepoint, A.D. 1394, Plate XXIII. Fifteenth and sixteenth century chalices generally had an octagonal base, as in example from Topcliffe, Plate XXVIII.

Sometimes, though seldom, mouldings are introduced at the edges, &c., of the stone, as in a fine example in Norwich cathedral, and then the date can generally be approximately determined. The subject of mouldings could not be sufficiently condensed for insertion here; for information on the subject the reader is referred to Mr. Paley's work on Gothic Mouldings.

Ornamental work introduced in the design generally carries its date. Knot-work, as in Plates XXXIII., XXXIV., XXXV., is generally of Saxon or very early Norman work;

rude figures of men and animals in low relief, as in Plate XXXVI., and Coningsborough, Plate XXXVII., are generally of Norman work; the border in Plate xxxIx. is of the thirteenth century; the vine-leaves in Plates XV., XVI., XVII., XVIII., &c., and the oak-leaves in Dereham, Plate LXIII., are characteristic of the fourteenth century.

We are generally driven to such accidental features as those above pointed out, it would be an endless task to go through them all; the above will suffice to indicate the way in which the student must proceed in finding out the dates of these interesting monuments.

Yet after all every practised antiquary knows well that the date of many an object of antiquity is determined, rather by the general character and composition of the design, and by resemblances to conventional peculiarities of a particular period, than by any particular feature which can be pointed out to an inexperienced eye.

INSCRIPTIONS.

THE subject would hardly be complete without a few words on the inscriptions which we find upon these ancient grave-stones.

The most remarkable thing in them is that they are, until a comparatively late period, very brief, and have little variety in them: nearly all of the same age were taken, with slight variations, from one conventional form which obtained at that period.

Thus from A.D. 600 to 1000 the conventional mode seems to have been "Pray for the soul of." We find it on the Irish slabs, Plates I., II., and elsewhere.

In the thirteenth and early part of the fourteenth centuries, the model seems to have been

When the deceased is an ecclesiastic, a forty or a hundred days' pardon are sometimes promised to all those who shall pray for the deceased, as in the example from St. Neot's, Beds., Plate XIX. There is a curious variety belonging to this age on a slab at Kirklees, Yorks. (Gough, vol. iii. plate 18. p. 247.) "DOUCE IHU DE NAZARETH FILS DIEU EIT MERCI DE ELIZABETH DE STANTON JADIS PRIORESS DE CEST MAISON.'

From the middle of the fourteenth to the latter part of the fifteenth century, the conventional form appears to have been, "Pic facet Dns- -cujus anime propicietur

Deus. Amen.”

A not uncommon addition in this period is, "Jesu merci, Ladie help." Sometimes it is the sole inscription.

Towards the close of the fifteenth century, longer inscriptions began to grow common; and in the succeeding centuries the conventional method appears to have been to give a brief biography of the deceased, with a catalogue of all the titles which he did possess, and all the virtues which he ought to have possessed.

In contrast with this more modern practice there is something very striking in the ancient practice which we frequently find of putting upon the slab the name of the deceased alone, or with the prefix, "Hic jacet."

In a church at Chester, is a stone inscribed, "HIC JACET RADULFUS;" this may, perhaps, have been that Radulf, earl of Chester and Lincoln, of the time of Henry and Stephen, the most powerful and renowned of England's barons, the greatest warrior of his age, whose name was the theme of a hundred ballads; then there is a noble simplicity in the inscription, there is a whole sermon on the vanity of human greatness in the words, "Here lies Radulfus." Or this Radulfus may have been some other man who left behind a weeping wife or orphan daughter: is there not something very touching in the desolation of that grief which could only think-Radulfus is deadwhich could only write "Here lies Radulfus" on the stone lid of his stone coffin. But suppose this Radulfus to have been a man undistinguished, and uncared for,-" Here lies Radulfus" was a sufficient inscription, much better than undeserved eulogy or feigned lamentations; better to say nothing, than to "lie like an epitaph."

It is very worthy of remark too, that by far the greater number of these ancient monuments have no inscription whatever, not even a name; nevertheless these stones are not dumb; they speak more justly and eloquently than

I

long and laboured epitaphs. The cross upon them tells that a Christian lies in the grave beneath, its flowery form speaks of hope and triumph through the cross; the lamb at the base of one speaks to the most unlettered Christian of the Lamb of God who bare the cross for us, and that we must take up our cross and follow Him, in self-denial here, if we would follow Him to glory hereafter; the dragon at the base of another, pierced through by the shaft of the cross, tells how Christ bruised the serpent's head, and how we must overcome sin and Satan through the cross; the mystic fish upon another directs our thoughts to "Jesus Christ the Son of God the Saviour;" and these sermons in stones are the more eloquent and impressive for being thus symbolically given; they speak to the imagination and to the heart as well as to the reason. Again, the sword or the pastoral staff, beside the cross, say more eloquently than words, Here lieth a Christian warrior, whose warfare is done--a Christian bishop who has resigned his staff into the hands of the great Shepherd: it matters little that we know not their names--they are written we trust in the Lamb's book of life.