observed that the word "Mail" cannot properly be applied to any but chain armour. It is by no means unusual to find in novels and even books of higher pretension a description of a knight "clad in plate mail," or "sheathed in plate mail from head to foot," (when plate armour is evidently intended), who slowly enters the arena and challenges the whole of the assembly to mortal combat. Not many years ago a famous writer of fiction, well-known to most of you, but whose literary productions at that time were, or at all events were supposed to be, confined to much more prosaic subjects, described two suits of armour," on view in Clare street," as being of plate mail. entirely failed to convince him that this was an impossibility"chain mail" and "plate mail" was his idea of the distinction, and nothing could shake it. "Mail," however, is derived from the same root as the French maille, a stitch, mesh, or opening in net work, and should never be applied to "plate armour." I With the armour of the period before King Henry III., we have little to do. Examples anterior to that date may be found on the seals of the various monarchs, of which a fine series may be examined and compared at the library of the Guildhall in London; also in illuminations in books of the date, and in the Bayeux tapestry. But of monumental effigies we find none in England which can be clearly identified as being earlier than the second quarter of the 13th century. Armour anterior to that date consisted of a leather tunic or "haqueton," over which was a hauberk of mail, which, in earlier examples, clothes both legs and body in one piece, but later the body only, the legs being protected by "chausses" fitting closely and covering both feet and legs. The helmet in the time of William I. was conical, somewhat like a Chinese cap; in the time of William II. a "nasal," or bar running from the forehead to the end of the nose, was added —this "nasal" gradually developes into a complete faceguard, the top of the helmet becomes flat instead of conical, and eventually the entire helmet takes the form of a small barrel with slits for the eyes and nose. This, as an external protection or "tilting helmet," as it is often termed, held its ground with slight modifications up to the 14th century. The early shields are of large size, kite shaped, or curved towards the body. Subsequently the top is cut square instead of curved, and ultimately they become much reduced in size and assume the "heater" shape. The earliest known shield having heraldic bearings is supposed to be that of the Earl of Essex, in Temple church, London, the date assigned to which, is 1165, but until a much later date the large majority of shields were quite plain. Perhaps the earliest specimen of armour on any sepulchral monument in this part of England to which a positive date can be given is that on the tomb of Wm. Longespèe, in Salisbury cathedral; to this the date of 1226 can be fixed by direct evidence. At St. Mark's or the Mayor's chapel in Bristol, there is a very early effigy attributed, probably correctly, to Maurice Berkeley de Gaunt, the founder, who was buried there in 1230. He is represented in a hauberk, with sleeves covering the arms and hands, and coif covering the head, all in one continuous piece, and chausses covering the legs, the whole being of linked mail. There is no admixture of plate whatever. The figure wears a long flowing surcoat, open nearly to the waist, where it is secured by a broad belt, from which depends diagonally by two straps, a broad heavy sword, with cross hilt, the arms of the guard being slightly curved— as is not unusual with early effigies-towards the point of the sword. The figure is represented as crossed-legged, and as holding the scabbard in his left hand, while he sheathes his sword with his right. He does not carry a shield. On the heels are plain prick spurs, i.e., spurs ending in a single point instead of a rowel. Another early effigy lies by the side of the former. It is supposed to represent Robert de Gournay, who died 1260, and from the style of the armour this may well be the case. This effigy is very similar to the former, but the sword and belts are much lighter, and the coif is not continuous with the hauberk, but is in the form of a flat circular cap or coif laced to the hauberk above the ears. On the left arm is a curved kite-shaped shield, but with the top straight. The hands are crossed, not folded, over the heart. It may be interesting here to notice the different modes in which these early effigies are represented, sometimes as sheathing the sword—it is usually described as drawing the sword, but it is doubtful whether in every case sheathing is not the better description—sometimes, and in later times usually, with the hands raised as in prayer-occasionally, as in the case just mentioned, with the hands crossed. The helmet is frequently removed and used as a rest for the head-the hand coverings of mail are thrown back, or the gauntlets of plate, used in later times, are laid aside. In one early effigy, at Pershore Abbey, the collar or neck of the hauberk is unlaced and thrown back. In every case the aim seems to be to suggest by the whole attitude the idea so well expressed by Sir Walter Scott in his "Lady of the Lake." "Soldier rest, thy warfare o'er, Sleep the sleep that knows not breaking; Days of danger, nights of waking." I am strongly inclined to think that the crossing of the legs, the motive for which has been for so long a matter of controversy, is simply a further development of the same idea of rest and repose. The idea that persons were so represented because they were Knights Templars, or had taken part in a crusade, has long since been abandoned, as many represented with the legs crossed certainly never either belonged to that order or joined in a crusade, and in Ireland some female effigies are so represented. On the other hand, many effigies which presumably represented actual Templars or Crusaders have the legs straight. The idea that the persons represented had, although not actual Crusaders, taken a vow to join, or had assisted by money in the objects of those expeditions, appears to be merely conjectural and founded on no sufficient basis, but simply to be another instance of the struggles which an idea, originally untenable, will still make for existence. About the year 1270 we find the first step towards plate armour, the Genouillères, or knee-caps, as shewn in the effigy of Sir Roger de Trumpington c. 1280, being the earliest of the series before you. Originally it is probable that these were of thick leather, but many are certainly of metal, and, in later instances, are richly engraved. This effigy affords a very good and complete specimen of the armour of this period, and special attention should be directed to the helmet, used as a pillow, which is secured to the sword belt by a chain, and also to the shoulders, from which rise the ailettes or wings, on which are emblazoned the arms of the wearer, the two trumps on a field semée of crosslets (Trumpington). The same arms appear on the shield, and also on small escutcheons on the scabbard of the sword. From illuminations of the period the ailettes would appear to have been fixed at right angles to, and not parallel with, the shoulders; but on an incised plate they could not readily be shewn in such a position. II. So far we may be said to have been considering the period of mail virtually complete; but about the beginning of the 14th century the plate makes rapid strides. The mail shirt, &c., are worn as before, but additional defences are put on over them. The arms from shoulder to elbow are protected by "demi brassarts," and from front of elbow to wrist by "vambraces;" the front of the shins by "jambarts." Frequently also the feet are covered with scales of plate in the fashion of the tail of a lobster, and the front of the shoulders and the bend of the elbows are protected by disks or small circular shields, to which the name of "palettes “roundels" has been given. In later instances a more ornamental form is given to these-in the case of Sir John de Creke (c 1325) at Westley Waterless, the form is that of lion's faces or masks. About this date also the surcoat takes a very peculiar form known as the "cyclas." No doubt the long surcoat, originally worn to prevent the heating of the armour from the rays of the sun, was found very inconvenient on horseback, and some innovator, wise in his generation, boldly cut away the front of the skirt and reduced the remainder to less ample proportions. The shield gradually becomes much smaller, and instead of its former concave shape it assumes a flat or "heater" shape, so called from the article of domestic utility, known as a "flat iron." III. After 1370 the shield, as a piece of defensive armour, will seldom be found on sepulchral effigies. The sleeves of the hauberk are much shortened, and shew plate armour beneath protecting the lower arm. We then enter the "Camail Period," of which there are numerous specimens in our Cathedral. It may be said to be coëval with the Decorated or Edwardian period of architecture. The Coif de Mailles, or chain armour covering the upper part of the head, disappears, and is replaced by a conical helmet, or scull cap of plate, called a "Bascinet." This is pointed, and in early cases sometimes fluted. The tilting helmet was worn over this, but practically is never seen on early monumental effigies, except used as a pillow. From the edge of the bascinet depends a curtain or cape of mail, from which the name of "camail," ("cap," or "cape" mail) is derived. It is attached to the bascinet by a cord running through rings, and frequently with a small tassel at each end. In early examples this cord and rings are plainly seen, but soon after 1380 it will be found that the cord is concealed, a pipe or groove being provided at the edge of the bascinet through which the cord runs. It has been suggested, with great probability, that the cord when exposed was liable to be cut by sword or lance, and that therefore the additional protection was provided. This is one of the small points to which particular attention should be given in attempting to determine the date of an effigy in this class of armour. Very soon after the commencement of this style the surcoat disappears, and is replaced by a closely fitting sleeveless garment, extending from the shoulders and covering the hips, to which the name of "Jupon" "has been given. This garment was made of velvet, silk, or stuff, and was frequently embroidered with the arms of the wearer, thus being literally a "coat of arms," and no doubt the origin of this term. In early examples, the lower border of the Jupon is simply escalloped, but gradually the border becomes much more enriched, and about 1395 to 1405 is often of a rich vine leaf or other floriated pattern. Below the Jupon can usually be seen the fringed edge of the mail shirt worn beneath it. During the early part of the Camail period the legs are often protected by "banded" or "studded" armour, the plate or cuir-boulli (leather) of which the ground work was composed being concealed by velvet or other stuffs, secured to it by large round-headed studs or by longitudinal bands of metal, which, themselves, must have greatly added to its strength. The Genouillères or kneecaps not infrequently resemble pot-lids, and sometimes star-like rays or points project below them as in one of the examples now before you. The sword-belt during the camail period is almost invariably worn straight across the hips. It is broad and generally richly jewelled. In some monuments actual jewels are known to have been inserted, but, naturally, the sockets are all that now remain. This hip-belt is characteristic of the age, and will be found not only on military effigies but on those of civilians, both male and female, of the 14th century. On the left side is suspended a |