'Item a staffe of horn and wod for the hede of copoʳ. 'Item j staff covered wᵗ silver wᵗʰout heeid.' In the corresponding inventory of Winchester Cathedral we find entered three pastoral staves silver-gilt, one pastoral staff of a 'unicorn's' (presumably a narwhal's) horn and four pastoral staves of plates of silver. Suspended to the top of the staff was a streamer or napkin, which, like the lappet of the mitre, was called the _infula_. This was originally introduced to keep the moisture of the hand from tarnishing the metal of the staff. The symbolists think it is a 'banner' of some sort or other. It will be convenient, before proceeding to the discussion of the next vestment on our list, to give a few particulars regarding the archbishop's cross. This is necessary owing to the confusion already noticed, which exists between the crozier and the cross; but as the cross cannot strictly be included in a catalogue of ecclesiastical vestments, we shall make our notes as brief as possible. The custom of preceding an archbishop with a cross was introduced throughout the Western Church about the beginning of the twelfth century. It was carried by one of the archbishop's chaplains, who in this country received the name of 'croyser,' or cross-bearer, for that reason. The cross was usually richly ornamented with metalwork and jewels, and often, if not always, bore a figure of Our Lord on each face, so that the eyes of the archbishop were fixed on the one, those of the people on the other. The circumstance of highest importance connected with the archbishop's cross, so far as it concerns our present purpose, is this: the prelate _never_ bore the cross himself, except on the one occasion of his investiture. He then received the cross into his own hands, but immediately passed it on to his cross-bearer. The Pope is often in mediaeval monuments and illustrations represented as preceded by a cross with three transoms of different length, the uppermost being the shortest, the lowermost the longest. This is simply the result of a desire on the part of the artist to improve upon the patriarch's cross of the Eastern Church, which _appears_ to have two transoms, the upper transom being in point of fact a representation of the board on which the superscription on the cross was written. One more staff may be worth a passing mention—the staff borne as an emblem of authority by the ruler of the choir, who looked after the singing and behaviour of the boys. This was of silver, with a cross-head. The false conceptions about the crozier have probably arisen from an inaccurate etymological analogy with the word _cross_. The true derivation connects it with such words as our _crotchet_ and _crook_.