doré, enrichis d'émaux et de pierres; au bout de chaque pendant vj. chainettes ou sout attachés vj. ferets d'argent doré, et au dessus ij. saphirs talliés en forme de eœur." The restoration of the form of the New College mitre would be materially facilitated by comparison of the two original mitre cases, formed of stamped leather, with several locks for security, and preserved in the muniment chamber in the tower adjoining the southeastern corner of the hall. The founder's crosier, of which Carter has given a fair representation[1], bears much analogy in its workmanship to the remains of the mitre: it is said that some intentions have been entertained of "restoring" this unique example of chased-work and enamelling, many portions being defective; but it is much to be desired that no modern workmanship, however skilful in imitation, should be mixed up with the original, so as to destroy the value of the whole as an authentic evidence of the perfection of the arts during the fourteenth century. The collection of relics preserved at New College comprises, besides those which have been noticed, part of a mitre formed of simple tissue embroidered with the monogram ihc; a knit glove, curiously ornamented, and supposed to have been part of the founder's pontificalia; an episcopal ring; and a silver pax[2].
Mr. Way exhibited also a rubbing from the sepulchral brass of Flemish workmanship, preserved in the north aisle of Topcliffe church, near Thirsk, communicated by Mr. G. S. Master, of Brasenose College. It measures 5ft. 9in., by 3ft. 1in., the figures not being cut out and inlaid on the slab, as is usual in the case of English brasses, but represented on a diapered background, similar in design to those of the rich brasses at Lynn and St. Alban's, which were probably engraved at Bruges. The close resemblance in their workmanship would lead to the conjecture that all these memorials had been the work of the same artist. The Topcliffe brass represents a man in secular attire, with his wife; the figures measure in length 4ft. 1in.; tabernacle work, with figures of angels playing upon musical instruments, appears on either side, supporting beautiful canopies and shrine work. The inscription, beginning in the middle of the plate, at the foot, runs as follows: + hic. jacet. benerabilis . . . . . . . . . . topclyff. qui. obijt. an. . . . mo. ccco. lxbo. quoru'. ani'e . . . . . . . . . . . . . . quondam bxor. eius. que. obit. anno. domini. mo. ccco. xcio. quoru' ani'e. propicietur. deus. On either side is introduced an escutcheon, charged with these arms, a chevron between three peg-tops, and the evangelistic symbols appear in the angles of the plate. This brass is mentioned by Gough, who gives the name Thomas de topclyff, now lost[3].
May 28.
The following books were presented:—By the author, The Worship of the Serpent, traced throughout the World, by the Rev. John Bathurst Deane, second edition, 1833, 8vo.—The Ecclesiastical Architecture of Ireland, anterior to the Anglo-Norman invasion, comprising an Essay on the Origin
