Among the tiles discovered in 1866, Mr. Llewellyn Jewitt writes, (_Reliquary, Jan. 1868_), “are examples different in form, as well as in material and design, from any others which had come under my notice, made of light stone-coloured clay, the foliated pattern in very high and bold relief, and covered with a rich green glaze.” One consists of the crowned letter M, terminated at either end with a crowned letter A, with foliage, all in high relief, and green glazed. The letters are the initial ones of _Ave Maria_, and probably adorned the “Chapel of Our Lady” in the Priory Church, where one was found during the excavations. Among the _single tile_ patterns, of which these two are the most beautiful, are many very curious ones, armorial bearings of England, with label of France, the de Warrenes, de Burghs, Berkeleys, and Hastings, &c. Alphabet. Fleur-de-lis. Emblems of Saints Peter and Paul, (Bell, Key, and Sword). Grotesques, (men, animals, birds, &c.) One, bearing the name Redlington and arms, which some suppose stand for Bridlington, and the arms of the founder (Gant) of that priory. Geometrical, Foliage, especially oak leaves, with acorns. Another is divided into nine square compartments, (stamp used, intended for smaller tiles,) in the centre a flower, right-hand top corner, arms of De Warrene, left-hand bottom corner, arms of Berkeley, the others, a double fleur-de-lis, a cross lozengy between four pellets, a rabbit, a martlet, and two grotesque animals. Of _four tile_ patterns there are some good examples, geometrical designs with foliage (oak leaves), and armorial bearings. There are also some remarkably rich and beautiful _sixteen tile_ patterns. One has a border of curving foliage between a double circle, within the circle is a quatre-foil, enclosing a most elegant foliage design, in the centre is an octagonal flower, in the cusps formed by the quatre-foil are figures of hares playing, in the corners of the tile are two pigeons, facing each other, with a cross, with double head, issuing from their beaks, like Sir John Port’s crest. A second is similar to this, but the centre is wanting. A third, also circular, still more elaborate, with dragons in the corners. There are also some elegant border tiles, with patterns, consisting of undulating or waving foliage, or birds perched on the side of a straight branch, with double circles and pellets between them. Besides these there are some curious examples of tiles simply indented or stamped, with circles and foliage, and painted within the pattern with green glaze, not filled with “slip,” as the liquid clay was called, and two have a pattern which has evidently been cut or incised with some sharp instrument, not stamped as all the rest have been.