warrior for battle, would still be wanting the helm of plate to fix over his mail-coif. His shield—a very unusual arrangement—is placed under his head, in lieu of the second pillow generally found in knightly monuments.

192   47. Mounted Archer, from Roy. MS. 20, D. i. fol. 127: Histoire Universelle, and other tracts. French art. The drawings are all coloured, and in great number. It is one of the finest manuscripts in the world for the illustration of ancient armour and military usages of all kinds. See note on page 196. 195   48. Group of bowmen from folio 307 of the same MS. The fighters in both examples wear the hauberk of banded-mail with surcoat, and the "sugar-loaf" helm. The mounted figure is distinguished by having chausses also of banded-mail. The helm at his feet shews the laces by which it was fastened. 199   49. Cross-bowman and Archer from Add. MS. 15,268, fol. 101: Histoire de l'ancien monde. Date, about the close of the thirteenth century. The armour of the arbalester is probably meant for chain-mail: that of the archer is very vague, but seems to express some kind of pourpointing. The artist has carefully distinguished the barbed head of the arrow and the pile of the crossbow-bolt. 201   50. Group of soldiers from Harl. MS. 4,751, fol. 8: a Latin Bestiarium of the commencement of the thirteenth century. The variety of weapons in this little subject is very remarkable: they will be noticed under their separate heads. The "castle" on the elephant's back is, in the original, full of fighters, all wearing the flat-topped helm, and having their shields fixed in a row in front of the car, as we see them hanging over the edge of a vessel in sea-pictures. The "pick-pointed hammer" in the hand of the swordsman is rather an engineering tool than a weapon, and in other manuscripts is given to those who are employed in breaching a wall. 205   51. Group of soldiers armed with the staff-sling, axe, spear, and bow with lime-phial: from Strutt's Horda, vol. i. Plate xxxi. His authority is the MS. of the "History" of Matthew Paris in Benet College Library, Cambridge: C. 5, xvi. It has been suggested, but with no great probability, that the manuscript in question is the work of Matthew Paris himself. 206   52. Great Seal of King John: drawn from impressions attached to Harl. Charter, 84, C. 7, and Cotton Charter, viii. 25; and Carlton Ride Seal, H. 18. The helmet in this figure is of unusual form; and here, for the first time, the military surcoat appears in a royal seal of England. The mailing has been obliterated at the skirt of the hauberk, from the prominence of the seal at that part. The ornamental "peytrel" of the horse is well defined in this monument, and the fashion of the saddle is very distinctly seen. 228   53. The three knights, from a picture of the Martyrdom of Thomas à Becket, in Harl. MS. 5, 102, fol. 32. The volume is a Latin Psalter, written in the beginning of the thirteenth century, and containing many illuminations. Fitzurse is conspicuous from the figure of the Bear on his shield. The heads of the knights present a curious variety of arming: one wearing the flat-topped helmet, another the rounded casque, and the third having no further defence than his coif of mail. The tunic is seen passing beyond the edge of the hauberk. The legs of the foremost figures are coloured red. 230   54. Sculptured effigy of William Longespée, earl of Salisbury, from his monument in Salisbury Cathedral. His death and burial (in 1226) are recorded in the curious cotemporary manuscript of William de Wanda, the dean; which is still preserved in the Bishop's Records at Sarum. See Dodsworth's History of the Cathedral, pp. 121 and 201. The statue more fully illustrates various points of the knightly equipment at this early period than any other that could be named. These details will be separately noticed in their particular places. The figure still retains much of its ancient painting. The chain-mail is of a brown hue, a singularity not hitherto satisfactorily explained. The spurs have yet sparkles of gold. The Lions on the shield are in relief; gold on a blue field. This device has been repeated, by painting, on the surcoat. The statue, which is of free-stone, has every appearance of having been sculptured at the time of the death of Earl William; and, as it is so clearly identified by the carved device of the shield, becomes one of the most valuable examples for archæological reference. 232   55. Monumental Brass of "Sire Johan D'Aubernoun, Chivaler," in the church of Stoke D'Abernon, Surrey. This is the most ancient sepulchral brass yet observed, whether in England or on the continent: its date, about 1277. Till lately it was partly hidden beneath the altar-rails, but is now fully disclosed. On the shield, the tincture of the field (blue) is represented by enamel; the copper lining being plainly discernible in the narrow edge that borders the colour. The heraldic bearing is repeated on the lance-flag and on the escutcheon above the effigy. The armour of the knight will be described as the various parts of it come to be examined in detail. 237   56. From Willemin's Monumens Inédits, vol. i., Plate cii. The original is a drawing in the Album of Wilars de Honnecort, an artist of the thirteenth century. The chain-mail chausses of the knight are drawn together behind the leg and under the foot by lacing. The coif of the hauberk thrown back on the shoulders, discloses the under-coif, worn by the men-at-arms to protect the head from the rough contact of the iron garment. The figure is further