The Sleeveless Surcoat occurs of various lengths: sometimes scarcely covering the hauberk, sometimes reaching to the heels. Both the short and the long are seen throughout the century. The long appear on the royal seals noticed above. And on the seal of De Quinci, circa 1250 (woodcut, No. 87); on the sculpture from Haseley, c. 1250 (cut, No. 46); on the brass of D'Aubernoun, 1277 (No. 55); on that of De Trumpington, 1289 (No. 73); on the effigies at Ash and Norton, of the close of the century (Nos. 59 and 70); and on the statues of De Vere and Crouchback (Stothard, Plates XXXVI. and XLII.). The shorter Surcoat occurs on the effigy of Longuespée, d. 1226 (woodcut, No. 54); the knight at Whitworth, c. 1250 (Stothard, Pl. XXIV.); the figures from the Painted Chamber and the "Lives of the Two Offas" (woodcuts, Nos. 80 and 86); the knight at Florence, 1289 (cut No. 58); De Valence, in Westminster Abbey (Stothard, Pl. XLIV.); and our engravings, Nos. 47, 56, 63, 64 and 68: the last-named examples being of the close of the century. The Surcoat is either of a uniform tint, or diapered, or heraldically pictured. Probably, in some early sculptured effigies, the surcoat, now plain, had armorial devices expressed by painting, which time has obliterated. The armorial surcoat was a necessary result of the visored helm; for when the visor was closed, it was no longer possible to distinguish king from subject, leader from stranger, comrade from foe. A similar inconvenience had already been found in the nasal helmet. At the field of Hastings, Duke William was obliged to remove the bar from his face, in order to convince his followers that he was still alive. The figure of Longuespée at Salisbury, c. 1226, still exhibits a portion of the heraldic decoration of the surcoat. And it is again found on the statue of De l'Isle at Rampton, circa 1250 (Stothard, Pl. XX.). The pictures of the Painted Chamber offer many examples. (See our woodcut, No. 86.) See also our engravings, Nos. 58 and 62. The effigy of William de Valence in Westminster Abbey, circa 1296, offers a curious variety of this garment: it is powdered with escutcheons, on each of which are the bearings of his house. A similar arrangement is seen in one of the figures of the Painted Chamber (Plate VI.) The knightly surcoat of this time was slit up in front and behind, for convenience of riding. A singular deviation from this fashion of the garment is found in a figure in the Cathedral of Constance, c. 1220; where from the front part a portion passes under the arms, overlaps the part hanging from the shoulders behind, and then fastens at the back. See Hefner's work, Pl. IV. of Pt. i.