Footnote 4: [(return)]
Milner's Winchester, vol. ii. p. 149.
Footnote 5: [(return)]
We should imagine The Crypt Correspondent to be no enthusiastic admirer of ancient painted glass, unless of the first order of execution. It must be confessed that some ancient specimens have been immoderately over-rated, and the olden art has altogether been enveloped in such mystery as to cause modern attempts to be unfairly estimated.
Footnote 6: [(return)]
Beauties of England, vol. vi. p. 111.
Footnote 7: [(return)]
Essays on Gothic Architecture, 1802, p. 144, 148.
Footnote 8: [(return)]
The Crypt, No. vii. p. 168.
Footnote 9: [(return)]
Beauties of England, vol. vi. p 110.
Footnote 10: [(return)]
The specimens at St. Cross were considered by Dr. Milner to be the earliest instances of the experiment, but the Abbey of Clugny, and several other edifices have disputed its claim to priority.—The Crypt, No. 8.
Footnote 11: [(return)]
These have been engraved by Mr. Carter, for his Specimens of Ancient Sculpture, together with the Brass in memory of John de Campden, &c.
Footnote 12: [(return)]
The writer of An Introduction to the Natural History of Molluscous Animals, in a Series of Letters: one of the most delightful contributions to the Magazine of Natural History, since the establishment of that valuable journal.
Footnote 13: [(return)]
Rome in the Nineteenth Century, vol. ii. letter 36.