ed piece.

3. Johannes et Lambertus Munten, 1546. This is likewise mural and
rectangular (2' . 11-1/2" x 2' . 1"). It is _painted_ a deep blue colour, and
has an inscription in gilt letters, at the foot of which is depicted an
emaciated figure, wrapped in a shroud and lying upon an altar-tomb: large
worms creep round the head and feet.

4. Johannes Paiel, 1560. Mural, rectangular (3' . 4" x 2' . 4-1/4"). This is
_painted_ as the last-mentioned plate, and represents the Virgin and Child
in a flaming aureole. Her feet rest in a crescent, around which is twisted
a serpent; on her right hand stand St. John Baptist and the Holy Lamb, each
bearing a cross; and to her left is St. Mary Magdalene, who presents a
kneeling priest.

5. Henricus de .... This is on the floor in front of the altar-rails, and
consists of a rectangular plate (2' . 9" x 2' . 1"), on which is
represented an angel wearing a surplice and a stole semee of crosses
fitchee, and supporting a shield bearing three fleurs-de-lis, with as many
crosses fitchee. A partially-effaced inscription runs round the plate,
within a floriated margin, and with evangelistic symbols at the corners.

In the centre of the choir of Cologne Cathedral lies a _modern_ rectangular
brass plate (8' . 10" x 3' . 11") to the memory of a late archbishop,
Ferdinandus Augustus, 1835.

Beneath a single canopy is a full-length picture of the archbishop in
eucharistic vestments (the stole unusually short), a pall over his
shoulders, and an elaborate pastoral staff in his hand.

JOSIAH CATO.

Kennington.

* * * * *

MILTON'S "LYCIDAS."

(Vol. ii., p. 246.; Vol. vi., p. 143.)

Your correspondent JARLTZBERG, at the first reference, asks for the sense
of the passage,--

"Besides what the grim wolf with privy paw
Daily devours apace, and nothing sed:
But that two-handed engine at the door
Stands ready to smite once, and smite no more."

My own view of this passage strongly testifies against the interpretation
of another passage at the second reference.

The _two-handed engine_, I am positive, is St. Michael's sword. Farther on
in the poem the bard addresses the angel St. Michael (according to Warton),
who is conceived as guarding the Mount from enemies with a drawn sword, for
in this form I apprehend does tradition state the vision to have been seen;
and he bids him to desist from looking out for enemies towards the coast of
Spain, and to "look