Those who would read a very interesting account of the history of this stone are referred to the late Dean Stanley’s “Historical Memorials of Westminster Abbey.”
 The sous, which was but nominal money, may be reckoned as representing 20 francs, the denier 1 franc, but allowance must be made for the enormous difference in the value of silver, which would make 20 francs in the thirteenth century represent upwards of 200 francs in the present century.
 The panels of the high screen or back to the stalls in “La Certosa di Pavia” (a Carthusian Monastery suppressed by Joseph II.), are famous examples of early intarsia. In an essay on the subject written by Mr. T.G. Jackson, A.R.A., they are said to be the work of one Bartolommeo, an Istrian artist, and to date from 1486. The same writer mentions still more elaborate examples of pictorial “intarsia” in the choir stalls of Sta. Maria, Maggiore, in Bergamo.
 Writers of authority on architecture have noticed that the chief characteristic in style of the French Renaissance, as contrasted with the Italian, is that in the latter the details and ornament of the new school were imposed on the old foundations of Gothic character. The Chateau of Chambord is given as an instance of this combination.
 Dr. Jacob von Falke states that the first mention of glass as an extraordinary product occurs in a register of 1239.
 “Holland House,” by Princess Marie Liechtenstein, gives a full account of this historic mansion.
 The following passage occurs in one of Beaumont and Fletcher’s plays:
“Is the great couch up, the
Duke of Medina sent?” to which the duenna
replies, “’Tis up and ready;” and then Marguerite asks, “And day beds
in all chambers?” receiving in answer, “In all, lady.”
 This tapestry is still in the Great Hall at Hampton Court Palace.
 [PG Note] The original text said “gods”.
 The present decorations of the Palace of Versailles were carried out about 1830, under Louis Phillipe. “Versailles Galeries Historiques,” par C. Gavard, is a work of 13 vols., devoted to the illustration of the pictures, portraits, statues, busts, and various decorative contents of the Palace.
 For description of method of gilding the mounts of furniture, see Appendix.
 For a short account of these Factories, see Appendix.
 Watteau, 1684-1721. Lancrel, b. 1690, d. 1743. Boucher, b. 1703, d. 1770.
 The Court room of the Stationers’ Hall contains an excellent set of tables of this kind.
 The late Mr. Adam Black, senior partner in the publishing firm of A. and C. Black, and Lord Macaulay’s colleague in Parliament, when quite a young man, assisted Sheraton in the production of this book; at that time the famous designer of furniture was in poor circumstances.