I have not been able to discover at what precise date ‘shot’ materials came into use. There are many singular terms applied to the colours of dress throughout the middle ages, such as _pourpre-gris_, _ecarlate-blanche_, &c. In the ‘Fabliau de Gautier d’Aupais’ there is mention of ‘_un vert mantel porprine_’ (a mantle of green crimson). In my own mind I am persuaded that these terms, explicable easily in no other way, refer to shot materials. Mediæval miniatures and pictures also bear out this theory, dresses being depicted of certain colours shaded with certain others in strong contrast. The commonest is blue or red shaded with gold. There have been many conjectures with regard to the above terms. M. le Grand supposes that rare dyes, being chiefly used to dye rich cloths, gave at last their names to those cloths, irrespective of colour. The _Saturday Review_ once accused the old masters of “sporting with pigments prismatically” when they used red as the shadow of green, &c., oblivious of the fact that if the early masters had a fault it was adhering too blindly to nature in their works. It is clear that in Quentin Matsys’ day (fifteenth century) shot materials were quite common, for there is scarcely one of his pictures without a study of the kind. In his ‘Dead Christ’ at Antwerp several unmistakable examples occur; in his ‘Virgin’ at Amsterdam is introduced a curtain of green and brown shot. This being so, we have no reasonable ground for believing that shot silks, though not yet common, were unknown a century earlier. I have therefore given two marked examples of similar silks, in the robes of Griselda and Dorigen, both wealthy enough to import such fabrics if in existence at all. VIII.--THE RIOTER. The ordinary cheap wine used in the middle ages was often carried in ‘bottles’ or pitchers of this form. A longish gown was the dress of the commoner people in the fourteenth century. The Rioter is intended to represent a man of decent position, but not noble, who has come to the end of his tether, in a pecuniary sense, and whose slovenly hose and young but debauched and cruel face indicate with what facility he has been degraded by his elder companions. PORTRAIT OF CHAUCER. Chaucer’s portrait is copied from a drawing by Occleve the poet (Brit. Mus. Harl. MS. 4866). Occleve made, or caused to be made, shortly after Chaucer’s death, several portraits of him, of which two remain; and on these are founded the many now scattered over the country. The same features recur in all. The peculiar aquiline nose, mouth a little drooping, eyes downcast, the forked beard and fair complexion, the broad round jaw, are the same in all. Occleve always depicted Chaucer with a rosary in his hand, and his penner, containing his pen and inkhorn, hanging to his vest. His hands are small and well-shapen, his form is portly, his air calm, benevolent, almost pathetic. These lines run beside the miniature in Occleve’s MS.:--