Fig. 37 has been sketched from the seal of Winchelsea in the British Museum. For detail of information it is pre-eminent: the date is the end of the thirteenth century. The reader, after making allowances for the limitations of space and shape imposed on the artist, will at once remark the similarity of the lines, especially at bow and stern, between this and the Gogstad ship. The stem- and stern-post are depicted very high. Forward is seen the forecastle taking its Gothic curves from the architecture on shore. Above, floats a flag. Below the stern-castle sits the baron or commander protected by the roof and arches, whilst over him two trumpeters are pealing forth. We have seen this trumpeting at the stern also depicted in the ancient Mediterranean ship coming into harbour (Fig. 22), and the practice was evidently still a common one in the middle ages when entering or leaving port so as to give due warning to approaching vessels. Hakluyt contains a reference to Richard when he had wearied of waiting at Marseilles and had sailed to Messina. “After that he had heard that his ships were arrived at Messana in Sicilie, he made the more speed and so the 23. of September entred Messana with such a noyse of Trumpets and Shalmes, with such a rout and shew, that it was to the great wonderment and terror both of the Frenchmen, and of all other that did heare and behold the sight.” The rigging, the sail furled to the yard, and the two braces are so clearly shown as to need no comment. But two other points are of considerable interest to us. Firstly, notice that the rudder, on the starboard side, is almost identical with that of the Gogstad ship. From the hull projects a bracket to support the rudder, while above, the tiller or _clavus_ fits in at right angles and comes inboard to the helmsman. Secondly, notice that the two men forward are getting up the anchor and that the cable leads aft to a winch—probably a great wooden drum like that found on the Dutch schuyts of to-day—for the two men in the stern are clearly shown working away with their handspikes, which would fit into the windlass drum in the manner the reader will notice any day he likes to take a stroll and look at the Dutch craft lying off Billingsgate. In a few moments the ship will be under way, for one of the crew has been sent aloft to unfurl the sail. The fighting-top is not shown on this seal, but that is possibly accounted for by the fact that the artist was cramped for space. Winchelsea, or as Hakluyt speaks of it, “Frigmare Ventus”—and not inaptly so-called, as those who have been caught in the nasty chilly squalls off this ancient shore will agree—was one of the original five Cinque Ports before the others were added, and in the time of Edward I. had to provide ten ships, though during the reign of the third Edward this was increased to twenty-one with five hundred and ninety-six mariners. [Illustration: FIG. 38. SEAL OF HASTINGS (THIRTEENTH CENTURY).]