[71] “The Pilgrim’s Progress,” chap. iv., Fate of Simple, Sloth, and Presumption.
[72] “The Antiquary,” Nov., 1890.
[73] C. Madeley, “Obsolete Punishments,” p. 35.
[74] “Rizpah,” Tennyson.
[75] Communicated by Mr. C. Madeley.
[76] “Sussex Archæological Collections,” vol. xxiii. pp. 214-5.
[77] See W. Howitt, “The Rural Life of England,” 1838, vol. ii.
[78] See W. Howitt, ut. sup.
[79] “British Birds,” v. p. 84.
[80] In consequence of the rarity of representations of gibbets, it may be desirable to mention other examples in the works of Thomas Bewick, “British Birds,” Edit. 1832, vol. i. In a tailpiece to the account of the Alpine Vulture, p. 53, a gibbet is shown in the distance. Tailpiece to the Introduction to the Shrike, p. 74—a moonlight scene, with a gibbet in the distance; in the foreground a scared old man is terrified by trees and rocks whose forms assume hob-goblin shapes. Tailpiece to the account of the Chatterer, p. 105—Satan sits upon a rock, smoking a pipe, a gibbet in the distance. Tailpiece to the account of the Whitethroat, p. 261—a gibbet in the distance. “Quadrupeds,” first Edit., 1790. Tailpiece to the account of the Arctic Fox, p. 274—a gibbet in the distance; in the foreground two boys hanging a dog. Tailpiece to the account of the Opossum, p. 375—a gibbet in the distance; in the foreground two boys belabouring a donkey.