the Earl of Londesborough.

80   23. Spur with lozenge goad: from the bronze monument of Rudolph von Schwaben, a.d. 1080, in the Cathedral of Merseburg. From Hefner's Trachten. 81   24. Figure from folio 30 of Harleian MS. 603, a Latin Psalter of the close of the eleventh century. See p. 29 for its description. This subject, an illustration of Mr. Akerman's paper in vol. xxxiv. of the Archæologia, "On some of the Weapons of the Celtic and Teutonic Races," has been kindly lent by the author of that essay. 90   25. Great Seal of King William the Conqueror: from the fine impression appended to a charter preserved at the Hôtel Soubise in Paris. The charter is a grant to the Abbey of St. Denis of land at Teynton, in England. The king wears the hauberk of chain-mail over a tunic. The hemispherical helmet is surmounted by a small knob, and has laces to fasten it under the chin. The legs do not appear to have any armour: the spur has disappeared. A lance with streamer and a large kite-shield complete the warrior's equipment. The legend is ✠ Hoc Normannorum Willelmum nosce patronum si(gno). 92   26. Great Seal of King William II., 1087-1100. From an impression preserved at Durham. The hauberk appears to be of chain-mail, though expressed in a somewhat different manner from the preceding seal of William the Conqueror, and from others which will follow. The conical helmet seems to have had a nasal. The spur is of the goad form. If the leg has had armour, the marks of it have been obliterated by the softening of the wax. The king is armed with lance, sword, and kite-shield. 102   27. Seal of Alexander I., king of Scotland: 1107-1124. The figure is armed in hauberk with continuous coif, apparently of chain-mail; worn over a tunic or gambeson, seen at the wrist and skirt. Conical nasal helmet, lance with streamer, kite-shield, and goad-spur, are the other items of the equipment. The leg does not shew any armour, though the softening of the wax may have obliterated markings which originally indicated a defensive provision at this part. The ornaments of the poitrail are usual at this period. 107   28. Great Seal of King Henry I., circa 1100. From Cotton Charter, ii. 2 (in British Museum). The instrument is a confirmation of the gift of Newton by "Radulfus filius Godrici," and is witnessed by Queen Matilda and others. See Tanner's Notitia, p. 339, Norwich. The material of the hauberk is represented by that honeycomb-work so often observed in seals of this period, and which appears to be one of the many modes in use to imitate the web of interlinked chain-mail. The leg does not shew any markings as of armour, but these may have disappeared from the softening of the wax, and the prominence of the seal at this part. The helmet is a plain conical cap of steel, without nasal: the spur a simple goad. The lance-flag terminating in three points, is ensigned with a Cross. The shield is of the kite-form, shewing the rivets by which the wood and leather portions of it were held together. The peytrel of the horse has the usual pendent ornaments of the time. 119   29. The various modes of expressing the armour in the Bayeux Tapestry. 121   30. Great Seal of King Stephen. Drawn from an impression among the Select Seals in the British Museum, and from that appended to Harleian Charter, 43, C. 13. The helmet seems to have had a nasal, but the seals at this part are so imperfect that it cannot be clearly traced. Behind is seen a portion of the lace which fastened the coif or the casque. The body-armour is noticed at page 122. Compare woodcut, No. 42. 122   31. Various modes of representing chain-mail on medieval monuments. 124   32. From Harleian Roll, Y. 6. The Life of Saint Guthlac. Date, about the close of the twelfth century. The figures wear the tunic, hauberk of chain-mail, and square-topped helmets, of which one only has the nasal. The triangular shields are suspended round the neck by the guige: their ornaments are mere fanciful patterns, not heraldic. No armour appears to be provided for the lower part of the figures. This Roll is further curious from having, at the back of it, drawings of about a century later date. 127   33. From Harleian MS. 603: a Latin Psalter of the close of the eleventh century. The figure is a pen-drawing, and represents Goliath. Compare the crowned figure in woodcut 13, from Cotton MS., Claudius, B. iv., and the warriors in the Bayeux Tapestry. The hauberk appears to be of chain-mail. This manuscript has many drawings of military costume and of weapons. 129   34. From Cotton MS., Nero, C. iv. French art. Date, about 1125. The figure is one of a group representing the Massacre of the Innocents: a subject, with those of the