Several other similar cases might be mentioned, but it will suffice to refer to only one more, more ancient than any of those already cited. Paulus Diaconus (who wrote about the year 800) relates that a Lombard queen, Gundiberg (of the 7th century), having been charged with infidelity, one of her servants asked permission of the king to fight in the lists for his mistress's honor, and conquered his antagonist in the presence of all the people. The same story is told, more in detail, by Aimoin, a somewhat more recent writer, of another Gundeberg, likewise of the 7th century. A Lombard nobleman makes insolent proposals to his queen, and meets with a most emphatic repulse. Upon this he goes to the king with a story that the queen has been three days conspiring to poison her husband, and put her accomplice in his place. The tale is believed, and the queen shut up in prison. The Frankish king, a relation of the injured woman, remonstrates on the injustice of condemnation without trial, and the king consents to submit the question to a duel. The champion of innocence is victorious, and the real criminal is condignly punished. This form of the legend, the oldest of all that have been cited, approaches very near to the Danish and English ballads. Our conclusion would therefore be, with Grundtvig, that the ballads of _Sir Aldingar_, _Ravengaard and Memering_, and the rest, are of common derivation with the legends of St. Cunigund, Gundeberg, &c., and that all these are offshoots of a story which, "beginning far back in the infancy of the Gothic race and their poetry, is continually turning up, now here and now there, without having a proper home in any definite time or assignable place." Many circumstances corroborative of this view might be added, but we must content ourselves with obviating a possible objection. An invariable feature in the story is the _judicium Dei_ by which the innocence of the accused wife is established, but there is much difference in the various forms of the legend as to the _kind_ of ordeal employed, and some minds may here find difficulty. A close observation, however, will show such a connection between the different accounts as to prove an original unity. Even the earlier legends of St. Cunigund do not agree on this point; one makes her to have walked over burning ploughshares, another to have carried red-hot iron in her hands. The Icelandic copy of the ballad has both of these: the queen "carries iron and walks on steel"; and there is also a "judgment by iron bands." All these three tests are found in the Faroe ballad, which brings in Memering besides, and thus furnishes a transition to the Danish, which says nothing about the trial by fire, and has only the duel. Finally the English ballad completes the circle with the pile at which the queen was to be burned, in case she should not be able to prove her innocence by the duel.