that at least on occasions of state solemnity they were all worn. In the illustration it will be seen that the cyclas is confined, not by a silk cord, but by a narrow belt, while the sword-belt of the thirteenth century is still worn in addition. The jupon is seen in the two knights tilting, in the woodcut on p. 348. In the knight on the left will be seen how it fits tightly, and takes the globular shape of the breastplate. It will be noticed that on this knight the skirt of the jupon is scalloped, on the other it is plain. The jupon was not girded with a silk cord or a narrow belt; it was made to fit tight without any such fastening. The sword-belt worn with it differs in two important respects from that worn previously. It does not fall diagonally across the person, but horizontally over the hips; and it is not merely a leather belt ornamented, but the leather foundation is completely concealed by plates of metal in high relief, chased, gilt, and filled with enamels, forming a gorgeous decoration. The general form will be seen in the woodcut on p. 350, but its elaboration and splendour are better understood on an examination of some of the sculptured effigies, in which the forms of the metal plates are preserved in facsimile, with traces of their gilding and colour still remaining. [Illustration: _John of Eltham._] It would be easy, from the series of sculptured effigies in relief and monumental brasses, to give a complete chronological view of these various changes which were continually progressing throughout the fourteenth century. But this has already been done in the very accessible works by Stothard, the Messrs. Waller, Mr. Boutell, and Mr. Haines, especially devoted to monumental effigies and brasses. It will be more in accordance with the plan we have laid down for ourselves, if we take from the less known illuminations of MSS. some subjects which will perhaps be less clear and fine in detail, but will have more life and character than the formal monumental effigies.