that in the Church of St. Gregory, at Sudbury, Suffolk, representing Seieve, wife of Robert de St. Quentin, doubtless a foreign merchant, as noticed in a former volume of the Journal.[1] Its date is circa 1320. Another, which has also been regarded as of French workmanship, is the singular engraved effigy in Brading Church, Isle of Wight, representing John Cherowin, or Curwen, Constable of Porchester Castle, who died in 1441.[2] It may assuredly be considered probable that French artists, whose superior skill in works of this nature is sufficiently evinced by existing specimens, might occasionally be invited to undertake the execution of such tombs in England. The curious fact is ascertained by contemporary record, that one of the executors of Walter de Merton, Bishop of Rochester, made a journey to Limoges, about the year 1276, to provide an enamelled tomb for that prelate, which was conveyed to England, accompanied by Magister Johannes, Limovicensis, the artist by whom it was executed.
One other fine memorial of this class in England, unquestionably by a foreign hand, exists at Boston. It has never been published, and was first brought into notice by the kindness of Mr. Goodacre, of that town, who communicated an impression for exhibition in the Museum formed at Lincoln, during the meeting of the Institute. It was discovered some years since, on the site of the Franciscan Friary, on the south-east side of Boston, now occupied by the Grammar- School.[3] This interesting work of art pourtrays a Westphalian merchant, citizen of Munster, who died in 1312. The inscription around the verge is, as follows:—✠ HIC . IACET . WISSELVS . D' CS . SMALENBVRGH . CIVIS . ET . MERCATOR . MONASTERIENSIS . QVI . OBIIT . FERIA . SEXTA . POST . NATIVI- TATEM . BEATE . MARIE . VIRGINIS . ANNO . DOMINI . M. CCC. XII . ANIMA . EIVS . REQVIESCAT . IN . PACE . AMEN. The costume and architectural accessories of this striking memorial are shown, with the greatest possible accuracy, in Mr. Utting's admirable woodcut here submitted to our readers. It will not escape notice that the merchant wears under his gown, which is open in front, as well as at the sides, a long coutel, the point of the weapon appearing below the skirt of his dress. In elegance of design and execution, as also in its
