FIG. 8.—A copy of an ancient drawing lately in the possession of Mr. E. Gardner, now in the collection of Sir Edward F. Coates, Bart. The drawing is supposed to be contemporary and to have been the work of an early Italian artist resident in England. It was purchased at the Strawberry Hill sale by Dr. Wellesley for the Gardner collection; and the Marquis of Salisbury is stated to have several drawings by the same early Italian artist. The sketch shows part of the north-westerly aspect of the Chapel of St. Mary Roncevall, with some of the later Tudor additions. The battlements were probably added when additions were built, perhaps in the time of Henry IV, or later. The Tudor chimneys appearing over the battlements are reminiscent of the work of Cardinal Wolsey at Hampton Court and would have been constructed in brick. The building on the extreme left of the sketch is probably the corner of a north porch. The sketch also shows the gardens of the Convent of which very special note is made in Cawarden’s inventory, and in the distance the buildings of Whitehall and of Westminster. FIG. 9.—Copy of an official stamp now used in the Priory, showing the Cross of Roncesvalles. FIGS. 10 and 11.—The common seal of the Fraternity and Guild of St. Mary Roncevall. The seal appears to be of the fifteenth century and was no doubt the seal specially mentioned as being given to the Fraternity by Edward IV. The seal is round, the engraved part being 2-1/4 in. in diameter. Unfortunately the impression is imperfect. Fig. 10 is from a cast taken by Doubleday in the middle of the last century. Fig. 11 is from a cast taken by Mr. Ready from the impression still attached to the Deed of Surrender. It will be noted on careful examination that there are certain interesting differences in the state of preservation of these two casts. The seal on the Deed of Surrender has been backed and strengthened, but this repair does not altogether account for the differences noticed in the impressions. It is possible that another impression may have existed when Doubleday made his cast. The seal represents “the assumption of the Virgin, who is standing on a crescent upheld by an angel and surrounded by radiance. At each side three flying angels issuing from clouds. Overhead in clouds the Trinity. The legend reads:— ‘SIGILLU(M COĒ FRATER)NITATIS BĒ MARIE DE ROUNCIVA(LL).’” (Birch’s Catalogue of Seals.)