1.--From 1550 to 1570 there is a tendency to keep the greater portion of mantlings above the shield. They are of smaller volume, and one fold is allowed to wander down on each side, ending in a tassel about one-third down the depth of the shield. A very characteristic example is engraved in _Miscell. Genealogica et Heraldica_ for June, 1887, being the grant to Thomas ffletewood, of London, 1st June, 1545. In the grant to John Lambard, 15th January, 1551 (engraved in _Archæologia Cantiana_, vol. v, p. 247), such a mantling has four tassels, two above carried up somewhat high, and two below standing about one-third down the shield. The mantling to the arms of Goodricke, engraved in Gerard Legh's _Accedens of Armory_, edition 1562, is of the same character, but without tassels. 2.--A little later the number of folds is observed to increase, and the tassels are carried down further and turn inwards towards the base point of the shield. 3.--In a grant dated 1572, which is printed in _Miscell. Genealogica et Heraldica_, vol. i, p. 321, occurs the first instance I have noticed of the foldings coming from behind the shield, and the same may be seen in a grant of 1575, printed in Sylvanus Morgan's _Sphere of Gentry_, lib. ii, p. 74. 4.--From about 1590 to 1630 a return to the simpler style is observable; a single fold wandering away from the body and reaching with tassels to the base of the shield. Occasional instances return wholly to the descriptions given under 1 and 2. 5.--After about 1620 the volume of mantling gradually increased, and seemed to be purposely so arranged as to come out from behind, probably because it was found in drawings to give artistic relief to the shield. 6.--By about the year 1670 mantlings are frequently found of excessive volume, and in a mass, which would be solid were it not skilfully broken by lighter hackings appearing in the central portions; the folds come down in heavy masses, sometimes like great sausages or cucumbers, to the bottom of the shield. Examples of such may be seen in Sandford's _Genealogical History_, 1677, and in book-plates engraved in _Miscell. Genealogica et Heraldica_, December, 1886, p. 184, and elsewhere. The skill of the artist affects wonderfully the quality of these designs; it is not only the chiaro-oscuro, but the turning of a line may often sparkle with genius. Sometimes they are extremely flat and heavy, for instance, in the map attached to Thoroton's _Notts_, 1677, may be seen a specimen, which is a great contrast to Hollar's designs in Sandford's _Genealogical History_, published in the same year. Again, the frontispiece to Carter's _Honor Redivivus_, published in 1673, shows flat waves, and behind the shield, coming out two-thirds down its length, the edges rippling into leaves and hackings, while the folds extend down to a boldly hacked and curled cartouche for the motto, out of which spring two branches of olive.