in the south wall of Upton old church, Bucks. They had been used as common building materials, and in making some recent alterations these relics were discovered: the several parts were found in different places, upon putting them together they produced part of a group representing the Almighty seated on a throne, holding the Saviour extended on a cross. Unfortunately, the head of the larger figure could not be found. The execution of the work is masterly, and the expression of the Saviour dignified. There are some indications of gilding and colour on the borders of the vestment. Mr. Ferrey assigns the work to the latter part of the 14th century, and considers that it formed part of a larger subject, which once filled a niche on the side of the chancel arch, having well executed draperies, with the dog-tooth and other ornaments carved in oak, and coloured and gilded. At the back of the alabaster figure was a socket, which exactly fitted to a projection on the sill of this niche, leaving little doubt that this was its original position.
The Rev. E. Cutts, having sent for the examination of the Society some curious engraved sepulchral portraitures, offered the following observations on those which are incised upon slabs of stone:—"These effigies were much more numerous in the midland counties than has generally been supposed: few, indeed, remain in sufficient preservation to attract the attention of archaeologists, but the defaced and mutilated specimens are far from uncommon. They present a peculiarity, which I am not aware has hitherto been noticed, namely, that the designs, in many instances, are of a very different character or type, from that of sepulchral brasses. On comparing together a number of brasses of any period, it is well known that they are found so closely similar, as to suggest the idea that they were mostly the production of one or two artificers, or manufacturers of engraved memorials. But, on comparing a series of incised slabs with a series of brasses, it will be found that in the former there are two classes of design; one evidently the productions of the artists who engraved on metal, the other entirely different, less conventional, much more rudely, and often very incorrectly, designed. Brasses, it may be observed, were readily transported even to remote places, being composed of several pieces; whilst large slabs of stone, or alabaster, were too unwieldy to be conveyed to any distant locality. I suppose, then, that, in the first class, the slab may have either been sent to the artist in metal, to be incised; or a design obtained from him; and, possibly, an artificer sent to the spot to execute the work. The second class may be conjectured to have been the work of less skilful or provincial workmen." Mr. Cutts submitted a very curious and exaggerated example of the peculiarities of this class. It is a large slab at Burton Joyce, Notts., the memorial of Sir Brian Stapilton. The drawing of the figure is ludicrously out of proportion; the armour presents some curious features. Under the knight's head is an elephant, and a huge hound lies sprawling at his feet. The legend is as follows:—"Here lyeth Ser Brian Stapiltun knyght and barinet, wyche dyparted the second daye of Aprel in the fowrt yere of knyg Edward the syxt. The said Ser Brian had to his ferst wyf dame Elizabethe Stapiltun doughtcr to the lord Hare Skroup of Boltō in Rychemond shyer, and by her he had Rechard his eldest son. And the Ser Brian had to his second wyf Dame Jane Stapilton doughtar to Thomas Baset Esquer, of North Lofnam in Rotland shyer and by her he had Bryan his second son." The inscription is skilfully cut, the artificer, probably, being well accustomed to work of that kind. Mr. Cutts
