than from the testimony of these examples alone, that one is able to form any opinion as to the fabrics intended; and even at last the conclusion _must_ be doubtful, and may be erroneous. From analogous representations of various dates, however, it seems likely that the figures 1 and 2 are intended for interlinked chain-mail; Nos. 3 and 4 for jazerant-work (armour formed of small plates fastened by rivets to a garment of cloth or canvas); Nos. 5 and 6 appear to be plain quilted defences; No. 7 seems only a rude attempt to represent the quilted coif; No. 8 is one of many examples where different markings are used on the same garment. In some instances, the markings copied above are so strangely intermixed in the same dress, that one is led to doubt if, in any case, each differing pattern is intended to represent a different kind of armour. If from the tapestries we turn to the seals of this period, we shall find a similar difficulty in appropriating the armours represented. The modes of marking the defences are four. One of these is a sort of honeycomb-work, formed by a number of small, shallow, circular apertures, leaving a raised line running round their edges, so as to give a reticulated appearance to the surface. See woodcuts 42 and 43. This texture seems to represent interlinked chain-mail. A second mode consists of a series of lines crossing each other, so as to form a trellis-work of lozenges. [Illustration: GREAT SEAL OF KING STEPHEN. No. 30.] The great seal of King Stephen here given affords an instance of this method. Compare also woodcut No. 41. This, if not another conventional mode of representing interlinked chain-mail, may be intended for quilted armour. A third kind of engraving presents a number of raised half-circles covering the surface of the hauberk. See woodcut No. 26. This, though often described as scale-armour, seems to be no more than the ordinary chain-mail, the difficulty of representing which threw the middle-age artists upon a variety of expedients to obtain a satisfactory result. In the fourth method, lines of half-circles placed contiguously cover the whole exterior of the garment; and that this is another mode of indicating chain-mail is clearly proved by the similar work found on monuments of all kinds, even to the sixteenth century. See woodcut No. 1, fig. 1. From this glimpse at the seals and tapestries, (and the illuminated manuscripts of the period contribute similar testimony,) we may gather that the artists of this day had no uniform method of depicting the knightly harness; so that, instead of endeavouring to find a different kind of armour for every varying pattern of the limners, we should rather regard the varied patterns of the limners as so many rude attempts to represent a few armours. In the following sketch we have collected some of the methods in use at various times to indicate the ordinary interlinked chain-mail. [Illustration: No. 31.]