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 and the inner circumference of the nave of the cathedral greatly favours this supposition. This remarkable work of art, as carefully drawn in colour in 1818 by Mr., is reproduced in the sixth volume of the Vetusta Monumenta; and more recently an excellent copy of it from autotype plates has been published by the Arundel Society. Each of its scenes is accompanied by a Latin description, the whole uniting into a graphic history of the event commemorated. We see taking leave of ; riding to Bosham with his hawk and hounds; embarking for France; landing there and being captured by the Count of Ponthieu; redeemed by  of Normandy, and in the midst of his Court aiding him against, Count of ; swearing on the sacred relics to recognise  claim of succession to the English throne, and then re-embarking for England. On his return, we have him recounting the incidents of his journey to, to whose funeral obsequies we are next introduced. Then we have receiving the crown from the English people, and ascending the throne; and, apprised of what had taken place, consulting with his half-brother  about invading England. The war preparations of the Normans, their embarkation, their landing, their march to Hastings, and formation of a camp there, form the subjects of successive scenes; and finally we have the battle of Hastings, with the death of Harold and the flight of the English. In this remarkable piece of work we have figures of more than six hundred persons, and seven hundred animals, besides thirty-seven buildings, and forty-one ships or boats. There are of course also numerous shields of warriors, of which some are round, others kite-shaped, and on some of the latter are rude figures, of dragons or other imaginary animals, as well as crosses of different forms, and spots. On one hand it requires little imagination to find the cross patée and the cross botonnée of heraldry prefigured on two of these shields. But there are several fatal objections to regarding these figures as incipient armory, namely that while the most prominent persons of the time are depicted, most of them repeatedly, none of these is ever represented twice as bearing the same device, nor is there one instance of any resemblance in the rude designs described to the bearings actually used by the descendants of the persons in question. If a personage so important and so often depicted as the Conqueror had borne arms, they could not fail to have had a place in a nearly contemporary work, and more especially if it proceeded from the needle of his wife."

Lower, in his "Curiosities of Heraldry," clinches the argument when he writes: "Nothing but disappointment awaits the curious armorist who seeks in this venerable memorial the pale, the bend, and