The legend on the label is, as far as is legible, REGINA SABA FAMA SALOMONIS (adduct) A VENIT (Iero)SOLUMA UBI LIGNUM IN ... ABATICA ... IT ... GENIS ... PERSOLVETUR. [Illustration: B] Plate =B= is, virtually, two; one ſhowing the angel appearing to Conſtantine when, early in the fourth century, he was advancing towards Rome againſt Maxentius; but the legend of the miraculous inſcription which appeared in the ſky, “IN HOC SIGNO VINCES,” does not appear. The other, and larger portion, repreſents his victory over Maxentius, and he is repreſented as ſpearing and killing that monarch; but this is not hiſtorically correct, for, after his defeat, as Maxentius fled towards Rome, eſſaying to croſs the Tiber over a rotten bridge, it gave way, and he was drowned. It is noticeable that the Chriſtian flag bears the Tau Croſs. [Illustration: C D] _The Plates_ =C= _and_ =D= _run into each other, although they portray different ſubjects,_ =C= _being the departure of St. Helena for Jeruſalem on her queſt of the holy Croſs. The label in this freſco is utterly illegible._ Plate =D= ſhows Judas (called Julius in the label) Cyryacus (the Quyryache of the Golden Legend) being releaſed, after having been forced, through impriſonment and ſtarvation, into confeſſing where the holy Croſs lay buried. In the upper part St. Helena is receiving the holy Croſs, whilſt labourers are uncovering the Tau Croſſes of the two thieves. The legend is mutilated, but enough remains to make its meaning clear: “HERE SEYNTE HELYNE EXAMY(neth) THE I(ews for) Y^E HOLY CROS.... IULIUS CYRYACUS (saith that he knew w)HERE HETE WAS.” [Illustration: E F] _The legend in Plate_ =E= _is nearly perfect, and accurately deſcribes the painting_, “HYT WAS PROVED EVIDENTLY BY MYRAKEL WHICH WAS Y^E VERY CROS THAT OURE SAVYOUR SUFFYRED.... IN RESYNGE A MADE FROM DETH TO LYFE.” Here all the Croſſes are of the Tau type, and the ſcene is laid in a foreſt, where an old labourer, and a bill-man, and the deer nibbling the trees, give a rural aſpect, inſtead of in the City of Jeruſalem, as ſaith the Golden Legend. Plate =F= evidently conſiſts of two ſeparate paintings—one, where St. Helena is reverently carrying the Croſs into Jeruſalem, whilſt the angels in heaven are diſcourſing celeſtial muſic; and the other, its reception either in Jeruſalem or Byzantium, whither St. Helena ſent a portion as a preſent to her ſon. And this latter ſeems the more probable, if we imagine the King, who, with St. Helena, is adoring the Crucifix, to be the emperor Conſtantine, a fact which might have been ſettled had the label been legible. The legend at the bottom is unfortunately mutilated, but that evidently relates to that portion of the Croſs which remained at Jeruſalem, becauſe it ſpeaks of Choſroes: “HERE THE HOLE CROS WAS BROUGHTE SOLEMLY YN TO THE ... IN Y^E BYSSHOPS HANDS EASILY AND (remaynyd) UN TO THE TYME OF (King Codſd)ROE. [Illustration: G H]