To the custom of hanging arms in churches we are indebted for the preservation of all the most valuable historic pieces. The first record of this poetic usage occurs early in the thirteenth century, when William of Toulouse hung his helm and splendid shield over St. Julien's tomb at Brives, and his lance and sword, bow and quiver, outside. By the middle of the century it had become the practice, when a brave knight died, to hang his shield and helm on the walls above his grave, and it appears in addition, from the instance of the King of France after the battle of Cassel in 1328, that the victor in some cases presented his arms to the nearest church. The helm of the Black Prince, still suspended above his tomb at Canterbury (Fig. 11), is an illustration familiar to all. By the kindness of Sir Noel Paton we are enabled to present an even finer helm (Fig. 12), in more perfect preservation, which formerly hung above the tomb of Sir Richard Pembridge, K.G., in Hereford Cathedral, who died one year before the Prince of Wales, in 1375. Its admirable workmanship has been fully described by Baron de Cosson, its fine steely quality being such that no penknife would scratch its polished surface. It is formed of three pieces--the cone, the cylinder, and the top-piece, welded so beautifully that no seam is visible, and these are joined by round-headed nails clinched on the inside. Every practical detail, down to the minutest, has received careful attention. The metal is thickened and turned outwards round the eye-piece, which is thus efficiently guarded, and the bottom edge is rolled inwards over a thick wire, so as not to cut the surcoat. These and other details given by Baron de Cosson in the Catalogue of Armour exhibited at the Royal Archæological Institute in 1880, show conclusively that this specimen at least is a real war helm, fitted to resist and to strike fire under the shock of a lance that might unhorse its wearer. The conical helm was worn over the visorless bassinet next described, as the previous helms had been worn over the chapelle-de-fer, and being only donned in the hour of danger, is rarely represented in monuments, except as a pillow under the head. When worn the face was invisible and recognition impossible, so that a moulded crest of linen, leather, or some light material surmounted it and became its most important feature. A mantling was also introduced, at first in the simple form of a puggaree, as seen in the effigy of the Black Prince (Fig. 16), but later of more ample dimensions, fantastically shredded to represent the supposed rents of battle. When the taste for military display increased, these mantles were usually of scarlet lined with ermine. A wide-rimmed helm is often represented as worn over or in place of the bassinet, and jewelled and crested. This form reappears continually, its first introduction dating so far back as the Bayeux tapestry.