Page:Archaeological Journal, Volume 6.djvu/519

EFFIGY OF A KNIGHT OF THE FIFTEENTH CENTURY. 351 Great part of the interior of the camp has been worked for hmestone, and the work necessarily injured, but it does not appear that there ever was a regular ditch round it. In excavating near the " fine square tumulus," mentioned by General Roy, the workmen found some pottery, and, if the interior of the tumulus were examined, some urns would probably be found. The northern side of the camp has three gates, or openings in the rampart, with a tumulus opposite each opening on the outside. There seem to have been four similar openings in the w^est rampart, and four in the east, through one of which the Roman Way had been made. Two similar openings, at an unequal distance from the others, were in the south side, where the ground falls precipi- tously to the river Greta. Though these gates or openings cannot have contributed to the strength of the camp, they were covered by tumuli, and it seems difficult to explain why they were made so numerous. The noi'thern side of the camp is the longest ; the two obtuse angles about 105°, and the acute ones 75° each, the side of the figure being about 300 yards. Neither Brough, Bowes, Greta Bridge, nor Diderston, can be seen from Reycross. HENRY MACLAUCHLAN. EFFIGY OF A KNIGHT OF THE FIFTEENTH CENTURY, DUG UP IN THE CHURrnVARD AT MINSTER, ISLE OF SHF.PPEV, IN 1833, AND NOW PRESERVED IN THE CHURCH THERE. It is not always that a monument of rude art is the least valuable to the historian or the archaeologist. While we contemplate with delight the beautiful proportions and graceful decorations of the finest examples of medieval skill, let us not turn away in contempt from the productions of the rustic stone-cutter, or the unskilful "lattener." The single, impressive notion of truth, by which these latter are evi- dently actuated, gives their works a claim to considera- tion which we do not always so readily accord to more sumptuous designs, elaborated in " the most fine and fayrest wise." In that very curious brass of De Knevynton, at