sprouts with red and white roses on the same stem. [Illustration: FIG. 134.] [Illustration: FIG. 135.] The Tudor rose has been united by dimidiation to many other badges, to the pomegranate and to a sheaf of arrows by Queen Mary, and to the thistle by James I and his successors, of whom Queen Anne used the two emblems growing from one stem, as in the present Union badge of the rose, thistle and shamrock. The Tudor rose crowned still remains the Royal badge for England. THE HARP.--As the Arms of Ireland as well as for the beauty of form with which it may be invested, the harp is of the greatest interest both generally (as the symbol of minstrelsy) and appropriately; for the fame of the Irish as harpists was widespread even in the early Middle Ages, when they were among the finest of the world. And although any symbol, whatever it may be, becomes hallowed by association, it cannot but be felt that the harp is peculiarly fitted to be the emblem of a people so full of artistic and romantic enthusiasm. [Illustration: FIG. 136.] [Illustration: FIG. 137.] [Illustration: FIG. 138.] The heraldic harp was at first very simple and always graceful in form, following that of the minstrels, the small harp that was played resting on the knee or held suspended from the neck. Examples of the minstrel’s harp are Fig. 136 from a thirteenth century French MS. and Fig. 137 from a Tudor MS. As a device for Ireland, it first appears on the Great Seal in that of Queen Elizabeth (Fig. 138), when it was used as a badge and was ensigned with the Imperial crown, as are all Royal badges. This type of harp is the same as that in the Wappen und Stammbuch by Jost Amman, 1579, and was evidently the shape that was in heraldic fashion at that period. In the next reign it became definitely the Arms of Ireland, as is so quartered on the Royal Shield by James I, where it has occupied the third quarter unmoved throughout the changes of its fellow quarterings. Its form continued to follow more or less that of the minstrel’s harp until the time of Charles II, when the familiar winged figure was made its principal characteristic (Fig. 139). This, however, has no special heraldic significance, but is merely a variety of ornamental treatment.