At Venice there is an admirably designed incised tablet in which Amorini stand beside the shield, each supporting on a pole one of the two large crests, Fig. 163; and the demi-angels which support the Royal Arms on the spandrels of the screen of Henry V. Chantry at Westminster, and the series of similar figures holding Badges in various parts of the Abbey should also be noted. Another admirable work in which Amorini figure is the fine panel of the Arms of Cardinal Wolsey, which faces the Crown Court at Hampton Court Palace, Fig. 164, a work that is no less remarkable for the strength and bold relief of its heraldry than for the grace and beautiful modelling of the figures. Under the head of supporters reference may also be made to the eagles, double or single-headed, on which in certain cases armorials are borne as a mark of special privilege. The arms of Princes and Peers of the Holy Roman Empire are borne on the double-headed Imperial Eagle, like those of the Duke of Marlborough as Prince of Mindelheim, as a privilege inherent in their rank. The single-headed eagle of the Kingdom of Prussia supports in a similar way the armorials of The Countess of Derby, to one of whose ancestors, Lord Carnarvon, Ambassador at Berlin at the end of the seventeenth century, the privilege was granted by Frederick William I. It therefore appears on her book plate, which I am permitted to reproduce here, Fig. 165. [Illustration: FIG. 164.--Sculptured Arms of Cardinal Wolsey. Hampton Court Palace.] Other accessories consist of Crowns, Coronets, Insignia of Order of Knighthood, Mottoes, Symbols of Office, Medals or any other emblem of personal dignity or ornament. The principal of these, the Imperial Crown, was, in its earliest form, a decorated circlet which was frequently of a most beautiful and elaborate character, but whose decoration, apart from its general form, had not acquired specific symbolic force, unless the fleur-de-lis that sometimes appeared as part of it may be so regarded. If so, it was probably introduced with the same idea of religious symbolism, as an emblem of the Resurrection, or of the Virgin Mary, or of the Trinity, which caused it to be used on sceptres and in other ways. The crowns of the early seals show traces of arches in some instances, but it was only in the time of Henry V that the crown, the one that succeeded the “golden care” of Shakespeare, finally became arched.