[Footnote 6:  My readers will join with me, I trust, in thanks to M. Langlois, for his drawings; and will not be sorry to see, accompanying his sketch of the bas-relief, a spirited one of himself.  Normandy does not contain a more ardent admirer of her antiquities, or one to whom she is more indebted for investigating, drawing, and publishing them.  But, to the disgrace of Rouen, his labors are not rewarded.  All the obstacles, however opposed by the “durum, pauperies, opprobium,” have not been able to check his independent mind:  he holds on his course in the illustration of the true Norman remains; and to any antiquary who visits this country, I can promise a great pleasure in the examination of his port-folio.]

[Footnote 7:  Its size at top is fourteen inches and a half, by six inches and two-thirds.]

[Footnote 8:  This difficulty, in the present instance, has yielded to the extensive researches of Mr. Douce, who has afforded assistance to me, which, perhaps, no other antiquary could have bestowed.  He has unravelled all the mysteries of minstrelsy with his usual ability; and I give the information in his own words, only observing that the numbers begin from the left.—­“No. 1 was called the violl, corresponding with our Viol de Gamba.  As this was a larger violin, though the sculptor has not duly expressed its comparative bulk, I conceive it was either used as a tenor or base, being perfectly satisfied, in spite of certain doubts on the subject, that counterpoint was known in the middle ages.—­No. 2 is the largest instrument of the kind that I have ever seen, and it seems correctly given, from one part of it resting on the figure, No. 3, to support it.  Twiss mentions one that he saw sculptured on the cathedral, at Toro, five feet long.  The proper name of it is the rote, so called from the internal wheel or cylinder, turned by a winch, which caused the bourdon, whilst the performer stopped the notes on the strings with his fingers.  This instrument has been very ignorantly termed a vielle, and yet continues to be so called in France.  It is the modern Savoyard hurdy-gurdy, as we still more improperly term it; for the hurdy-gurdy is quite a different instrument.  In later times, the rote appears to have lost its rank in concert, and was called the beggar’s lyre.—­No. 4 is evidently the syrinx, or Pan’s pipe, which has been revived with so much success in the streets of London.—­Twiss shewed me one forty years ago, that he got in the south of France, where they were then very common.—­No. 5 is an instrument for which I can find no name, nor can I immediately call to memory any other representation of it.  It has some resemblance to the old Welsh fiddle or crowth; but, as a bow is wanting, it must have been played with the fingers; and I think the performer’s left hand in the sculpture does seem to be stopping the strings on the upper part, or neck, a portion of which has been probably broken