belfry corner, to form the ridiculous ornament of the churchwarden's grotto or the squire's glyptotheck. With pious care it is restored to the sacred fane from which it had been abstracted; it again becomes part of the chancel or chantry beneath whose pavement lie the bones of him of whom church, chantry, and statue are alike the monuments. But from the very consideration which has been newly accorded to these memorials, has arisen a fresh danger: it has, in some cases, been thought expedient to submit them to a so-called restoration. They have been patched up with Roman cement, eked out with supplementary limbs, plastered over with mock Purbeck marble. The mistakes that have been committed in costume, equipment, and art-treatment, are more fit for the pages of a jest-book than those of a sober treatise; and it is scarcely necessary to say that, for any purpose of the historian, the archæologist, or even in the more narrow view of ancestral portraiture, the statue has become, under such a treatment, utterly valueless. Yet our task is so simple. We have only to preserve. Inheritors of the finest series of national ancestral memorials that Europe can boast, let us at least transmit to after-days, in all their integrity, the admirable works that have come down to us through the troubles and turmoils of seven centuries[265]. Throughout the thirteenth century the feudal and mercenary TROOPS continued to be employed together. But towards the middle of this period, the Italian cities, combating for their liberties, began to levy their men-at-arms from the non-noble class as well as from the knightly; a force which, under the name of _Conduttitij Soldati_, obtained in the next age a very wide celebrity. [Illustration: No. 47.] Besides the mounted men-at-arms or heavy cavalry, there were light-horse troops formed by the mounted archers and cross-bowmen, and the esquires attending upon the knights. The example here given is from Roy. MS. 20, D. 1, fol. 127, a work of the close of the thirteenth century[266].