Maskell, are here reproduced on the same plate as a set by Riemenschneider (Plate XLIX.), but one can find in them no resemblance to the Lower Frankish school. The draperies are entirely different, without any exaggerated angular folds. I think them to be late fourteenth rather than fifteenth century as the museum label describes them. They are of fairly early style, with something of the stolidity of the Lewis ivory chessmen. The faces and general character are of the type of the Saviour figure just described. But the inspiration is various: partly French, and, if in any way German, would be of the Low German or Suabian type of the early fifteenth century. It is not unlikely that the destination of figures such as these was to flank the poppy-heads of some elaborately carved benchends. A fifteenth-century Madonna statuette, also from the Maskell collection, is interesting (though in bad condition) on account of the scarcity of English examples. It is not a fine work, certainly, with the fat heavy cheeks which even the colouring would not alter. A standing figure of St. Andrew in oak, unpainted, and an appliqué group of the Blessed Virgin and St. Joseph adoring the Infant-interesting on account of the costumes-and an early sixteenthcentury figure in a flat doctor's cap almost exhaust the list of English figure work of Gothic times in the

museum.

There still exist in various churches in the country a few lecterns, of wood, which come more properly under the head of furniture. Among them may be cited those of Detling in Kent, Ramsey and Bury in Hunts, Lingfield, Wells, and Norwich. In Labarte's Handbook of the Arts of the Middle Ages, published in 1847, is figured a carved saddleback or cantle of wood, which, judging from the engraving, seems of extremely fine character. It was formerly in the Debruge collection. The subjects are a knight and a

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