II Kings, VI, 15, 16, 17.

One line of the refrain is taken from an old love song, "Sweet, if you Love me, Let me Go," set to a charming melody in D major, and to be found in Chappell's Popular Music of the Olden Time.

St. Anne's, Soho, boasts the "sorry steeple," one of London's architectural absurdities. Hazlitt's grave is grassed over and unmarked, but the epitaph which has now for some years stood in place of the interesting original one, may be read on the headstone set against the outer west wall of the church.

Suggested by the very simple but soldierly melody in Mendelssohn's Lied ohne Worte in A, Book I, Opus 19, No. 4, the last two lines coming in for repetitions.

Having to do with Iliad IV, 473-489.

It is perhaps too daring to force into Greek forms any sentiment so dead against the Greek spirit of determinism.

"The PrÆtor." Brutus in Shakespeare, if not the historical Brutus.

Many years after these lines were in print, it was pointed out to the author by a friend, a student of St. Bernard, how they have managed to echo in part a saying of that great Doctor, in his De Consideratione, Lib. I, Cap. VIII, Sec. 9:

"Prudentia item est quae inter voluptates et necessitates media, quasi quaedam arbitra sedens ... disterminat fines ... ex alterutris tertiam formans virtutem quam dicunt Temperantiam."

It may be well to state (as these have often been taken for translations), that they are only pseudo-Alexandrian.

A sort of floral log-book of a walk from Oxford to Appleton in Berkshire, May, 1908.

This is Wood's disinterested helper, John Aubrey, F.R.S., 1626-1697. Never was a truer lover of what he calls "that most ingeniose Place!"

The only monument in the streets of Oxford was put up by the local Low Church party in 1841, not really so much to commemorate Cranmer, Ridley, and Latimer, all Cambridge men, as to register a protest against Hurrell Froude (then dead), Newman, and Keble, who all showed frank disrespect to the heroes of the Reformation in England. The reference in the sestet is of course to Cardinal Newman, and was written barely a month before his rather sudden death on August 11, 1890.

The College is a century and a half older than the upper part of its chief entrance gate, and the once monastic bell is much older than either. "The Tom Tower [was] finished in November, 1682. In this was hung the bell called Great Tom of Christ Church, which had originally belonged to Osney Abbey.... From that time to this, it has rung its one hundred and one strokes every night at nine, as a signal that all students should be within their College walls. It need hardly be said that the signal is not obeyed!"

J. Wells, M.A., 1901. Oxford and its Colleges: Christ Church, pp. 205-206.

The great Dial in the quadrangle of Corpus Christi College was not put up until 1605,—too late to have been contemporary with either Erasmus or Pole. The author discovered the error several years ago, but has never known how to correct it except by this caution. "Osney Bell" is Great Tom (see just above): Christ Church being next neighbour to Corpus; but Tom may or may not have been in place and condition to ring for curfew in the second year of Queen Elizabeth's reign. The closing line is meant to refer to the motto of the University, Dominus illuminatio mea, taken from the opening of Psalm XXVII.

"The priestless Pulpit" was an accurate description when this sonnet was written (1895), though it is so no longer. From the open-air Pulpit of Magdalen, disused since the Reformation, a Sermon is once again delivered annually on St. John Baptist's Day.

St. Peter-ad-Vincula is the ancient and sadly appropriate dedication of the Church near the Beauchamp Tower and the site of the scaffold. The vaults are under the chancel.

Inigo Jones' Water Gate, standing on the Embankment at the foot of Villiers Street, Strand, now a long way from the river, is still called York Stairs. It is the sole surviving appanage of the great town-house of the seventeenth-century Dukes of Buckingham.