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Footnote 1: [(return)]
This elegant and curious piece of workmanship, the history of which is involved in uncertainty, bears the marks of an age subsequent to that of the choir, and was probably erected in the reign of Henry VI. It is in the most finished style of the florid Gothic, containing niches, canopies, pediments, and pinnacles, and decorated with the statues of all the sovereigns of England, from the Norman Conquest to Henry V. The statue of James I. stands in the niche which tradition assigns as that formerly occupied by the one of Henry VI.
Footnote 2: [(return)]
These stalls or seats which were formed of oak, and of the most elaborate workmanship, occupied the side, and western end of the choir: they were surmounted by canopies, supported by slender pillars, rising from the arms, each being furnished with a movable misericordia.
Footnote 3: [(return)]
Vide Drake's Eboracum, p. 527.
Footnote 4: [(return)]
We thank our intelligent antiquarian correspondent for this article, which, he will perceive appears somewhat, abridged, as we are unable to spare room for further details.
Footnote 5: [(return)]
We ourselves remember the thrilling effect of our first reading this ballad; especially while clambering over the ruins of Brambletye House. Indeed, the incident of the ballad is of the most sinking character, and it works on the stage with truly melo-dramatic force, Perhaps, there is not a more interesting picture than a solitary tree, tufted on a time-worn ruin; there are a thousand associations in such a scene, which, to the reflective mind, are dear as life's-blood, and as an artist would say, they make a fine study.