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 curious from the "cotte à mancherons déchiquetés." 238 57. Chess-knight of ivory, preserved in the Ashmolean Museum: seen in two views. The knight wears the hauberk of chain-mail, and the cylindrical helm of its earliest form. The gamboised chausson is seen overlying the mail chausses. The triangular bowed shield is very exactly represented, and the draping of the surcoat has more freedom than is usually found at this early period. The date appears to be the beginning of the thirteenth century. 243 58. From a marble bas-relief in a cloister of the Annunziata Convent at Florence, 1289. After a drawing in the Kerrich Collection, Add. MSS., No. 6,728. The knight, Gulielmus Balnis, among several singularities of equipment, presents us with a very unusual pattern of leg-armour: the whole suit will be duly examined at a future page. The composition conveys no very exalted idea of Italian art in 1289; and, in the drapery, the sculptor might well take a lesson from the humble chess-piece carver of the days of Magna Charta, whose handiwork was the subject of our last notice. 244