The shield at Canterbury that is ascribed to Edward the Black Prince has been already described as a most satisfactory example, which is in brilliant contrast to the modern instances wherein the lions occupy a central column in a broad field with a wide blank space at either side of them. This perhaps arose from a mis-reading of the words “in pale” of the blazon, which were perhaps taken to mean “in place of a pale,” whereas they mean “in the direction of a pale,” i.e. one over the other but without lateral limits other than those of the field. Passant regardant has the head looking backwards as in rampant regardant. The lion statant (Fig. 95) stands on all four feet, and may be statant guardant or statant regardant, according to the position of the head as before mentioned. Sejant is in the position of Fig. 96 and couchant that of Fig. 97. [Illustration: FIG 96..--Sejant.] [Illustration: FIG. 97.--Couchant.] The expression of vigour is the most important individual quality to strive after in the treatment of heraldic animals, the line of the back and loins may be made to express lithe strength, and power be suggested by the massive shoulder, with the powerful fore-leg tapering to the wide-stretched and vigorous paw. Dignity and life should be in the pose of the leonine head and mane, and broad harmonious effect in the whole treatment. The widely spread toes were sometimes very much exaggerated, as in the Arms of John of Eltham (Fig. 98), but in character and drawing were much nearer the natural facts than the foot of a quiescent lion might lead one to imagine. This may be seen on a small scale in the domestic cat when she stretches her leg with her claws protruding. When the lions of the later Gothic type lost the vigorous qualities of the earlier examples the toes lost their power and became like radiating leaf-forms. [Illustration: FIG. 98.--Arms of Prince John of Eltham. Westminster Abbey.] The setting-on of the tail may also help the expression of vigorous life, its junction with the body being well marked instead of being allowed to flow softly out of the line of the back. This is well shown in Dürer’s lion at Fig. 99, that splendid example of the best kind of Renaissance heraldry whose fine drawing, well-balanced design and beautiful technique have caused its frequent instance as a striking work of heraldic art. The illustration is reproduced from the very fine impression in the National Art Library at the Victoria and Albert Museum. Both these examples are excellent for their good decorative distribution, the former shield being probably the best extant instance of that necessary quality.