The Gambeson, that quilted garment which we have seen was worn as an additional defence beneath the hauberk of chain-mail, is in view in the monumental effigy from Haseley church, Oxfordshire, (woodcut 46,) a figure seemingly of the middle of this century. It is again very clearly shewn in our woodcut No. 59, an effigy in Ash church, near Sandwich. In both these examples the vertical lines of quilting are plainly expressed by the sculptor. Ducange, in his Observations on the History of St. Louis, cites an account of the year 1268, which includes "Expensæ pro cendatis et bourra ad Gambesones[329]." These might, however, have been the Gambesons that formed of themselves the body-armour of the soldier. It is very clearly distinguished as a horseman's garment in a passage of the Statutes of Frejus, in 1235; where also we see the gambeson _alone_ accorded to the foot-fighter: "Militem sine equo armato intelligimus armatum auspergoto et propuncto (with hauberk and gambeson) et scuto: peditem armatum intelligimus armatum scuto et propuncto _seu_ aspergoto." The Chronicon Colmariense, under the year 1298, is still more explicit: "Armati reputabantur qui galeas ferreas in capitibus habebant, et qui wambasia, id est, tunicam spissam ex lino et stuppa, vel veteribus pannis consutam, et _desuper_ camisiam ferream." [Illustration: PLATE LIV.] The Hauberk of chain-mail, in the beginning of the thirteenth century, was made with continuous coif and gloves, the coif somewhat flattened at the top of the head, and the gloves not divided into fingers; it descended nearly to the knees, and at the face-opening left little more than the eyes and nose of the knight in view. A striking example of the last-named arrangement is afforded by the figure here engraved, the sculptured effigy of William Longespée, at Salisbury, c. 1227. See also the seal of King John, p. 228, and the woodcut, No. 53, from Harl. MS. 5102. The sleeve of the hauberk is sometimes secured at the wrist by a lace or strap; as in the figure of Longespée, in the brass of Sir Roger de Trumpington, c. 1289, (woodcut 73,) and the effigy at Norton, Durham, of the end of the century (woodcut 70). In order to liberate the hand occasionally from its fingerless glove, an aperture was left in the centre of the palm. This is clearly shewn in our woodcuts, No. 80 and 62; the first from the Lives of the Offas, Cotton MS., Nero, D. i.; and the other from Roy. MS. 2, A. XXII. The glove turned off and hanging from the wrist may be seen in Plate 17 of Hefner's _Trachten_, and in the sculptured effigy of a knight in Bingham church, Nottinghamshire. In the second half of the century the gloves of the hauberk were divided for the fingers; from which we may suppose that the armour-smith had by this time improved his art by making his mail-web more flexible and more delicate. Early examples occur in the sculptured effigies of knights at Rampton, Cambridgeshire, and Danbury, Essex; the former figured