in Stothard's Monuments, Plate 20; the latter in Strutt's Dress and Habits, Plates 45 and 46. Instances both of the undivided and the fingered glove will be found among our engravings. Occasionally the sleeves of the hauberk terminate at the wrist, as those of the archers in cuts 47 and 48; in these instances obviously for the greater freedom in handling the bow. Where the lancer's hauberk is thus fashioned, the hand has the supplementary defence of a gauntlet. Gauntlets of scalework occur in a knightly brass, c. 1280, engraved by Waller, Part x., and Boutell[330], p. 113. To the elbows of the hauberk were sometimes affixed, but rarely in this century, plates of metal called _coudières_. An effigy in Salisbury Cathedral, circa 1260, (Stothard, Pl. XXX.,) offers a good example. There is another, a knight of the Clinton family, in the church of Coleshill, Warwickshire. The hauberk was subject to a further variety: it was made with or without a _Collar_. Matthew Paris tells us that in a hastilude "at the abbey of Wallenden" in 1252, the lance of Roger de Lemburn entered beneath the helm of his antagonist and pierced his throat, for he was uncovered in that part of his body, and without a collar (_carens collario_). Ducange cites an analogous passage: "Venitque ictus inter cassidem et collarium, dejecitque caput ejus multum a corpore[331]." The hauberk without collar may be seen in the figures of _Largesse_ and _Debonnaireté_ in the pictures of the Painted Chamber (Vet. Mon., vol. vi.) The Continuous Coif was in the early part of the century nearly flat at the top; in the second half the round-topped coif was more usual. The flattened form is well shewn in the statue of Longespée (woodcut, No. 54), and in those of De l'Isle and De Braci, (Stothard, Plates XIX. and XX.) The rounded crown occurs frequently in our woodcuts. The coif was drawn over the head by means of an opening in the side, and was then fastened by a lace, a buckle, or a tie. The manner in which the lace, passing through alternate groups of the links farming the coif, is made to secure the loose to the fixed part of the cap, is excellently shewn in the figures of Longespée and the so-called Duke of Normandy in Gloucester Cathedral, (Stothard, Plate XXII.) A good example of the fastening by strap and buckle is furnished by the fragment of an effigy found at Exeter, engraved in the Archæological Journal, vol. ix. p. 188. The coif adjusted by a tie is seen in our woodcut, No. 62. The side-piece hanging free is shewn in a knightly statue of this century in the Abbey Church of Pershore, Worcestershire, engraved in the Journal of the Archæological Association, vol. iv. p. 319. The coif is sometimes encircled by a fillet. See our woodcuts, No. 46, 59, and 63. The circles are of gold-colour in figures of the Painted Chamber (Pl. XXX.): in the effigy of William de Valence the band is richly jewelled, (Stothard, Pl. XLIV.)