II.— On a triptych of the Twelfth Century from the Abbey of Stavelot in Belgium, containing portions of the True Cross

From time to time the Society has the privilege of examining and publishing important examples of mediaeval art brought to its notice by the Fellows. Of these a fair number are fortunately in the safe keeping of museums or corporate bodies in this country, and such are mainly the most important. I have in my mind treasures like the relics of the Black Prince at Canterbury [would that they were better cared for!], the crozier of William of Wykeham at New College, and “King John's Cup” at Lynn. Such legacies as these are not likely to leave our shores, short of some national catastrophe. For the rest, still very numerous, that remain in private hands, there can be no doubt that the tendency at the present time is rather in favour of their finding homes in foreign than in English collections. Our riches in such directions, however, help to make London a market or exchange for works of art, and the wealthy buyer is forced to come here to increase his collections. In this way we have before us this evening a monument of mediaeval art workmanship of a kind and importance that is but seldom found in the open market

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