Compare also the effigy of gilded metal in Westminster Abbey, of William de Valence, who died in 1296 (Stothard, Pl. XLIV.). In the following figures, from a German manuscript of about 1280, copied from Hefner's _Trachten_, it will be observed that each knight differs from his fellow in the manner of his equipment, though the staple defence of all is the banded-mail. Other examples of this kind of armour will be found in our woodcuts, No. 47, 48, 63, 72 and 77. At last, we can establish no definite conclusion. Our proofs are but of a negative character. Yet it is always something, to have determined what a thing is not. It seems pretty clear, then, from the absence of varied colours which we have remarked, that the Banded-mail is not pourpointerie of any kind. And, from the presence of the ring-work on the inside of the armour as well as the outside, it appears not to be of the construction suggested by the German and Belgian antiquaries. If meant for ordinary chain-mail, it must be confessed that the medieval artists never hit upon a mode of expressing this material so little resembling the original. It is to the further examination of ancient evidences, or to the discovery of monuments hitherto unobserved, that we must look for a satisfactory solution of this knightly mystery. [Illustration: No. 69.] In addition to the various armours already noticed, we find in the thirteenth century the defence expressed by cross-lines which we have remarked in the earlier periods. Good examples occur on folio 9 of Roy. MS. 12, F. xiii., and in Laing's Scottish Seals, Plate IV. And in a chess-piece of the early part of this century, the markings of the armour are made in a very peculiar manner: by rows of drilled holes divided by lines. (Woodcut 69.) This seems to be the device of a rude artist to express the ordinary chain-mail. The example was first brought into prominent notice in the pages of the Archæological Journal, vol. iii. p. 241. Occasionally, but very rarely, the chain-mail was indicated in monumental statues by merely painting the links on a flat surface. The effigy of a De l'Isle in Rampton Church, Cambridgeshire, engraved by Stothard, Plate XXI., affords a good instance of this method.