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Rh appears over each of the castles which had previously figured on either side of the throne. In the second Great Seal, fleurs-de-lis took the places of the castles.

The similarity of the Montgomery arms to the Royal Arms of France has led to all kinds of wild genealogical conjectures, but at a time when the arms of France were hardly determinate, the seal of John de Mundegumbri is met with, bearing a single fleur-de-lis, the original from which the arms of Montgomery were developed. Letters of nobility and the name of Du Lis were granted by Charles VII. in December 1429 to the brothers of Joan of Arc, and the following arms were then assigned to them: "Azure, a sword in pale proper, hilted and supporting on its point an open crown or, between two fleurs-de-lis of the last."

The fleur-de-lis "florencée," or the "fleur-de-lis flowered," as it is termed in England, is officially considered a distinct charge from the simple fleur-de-lis. Eve employs the term "seeded," and remarks of it: "This being one of the numerous instances of pedantic, because unnecessary distinction, which showed marks of decadence; for both forms occur at the same period, and adorn the same object, evidently with the same intention." The difference between these forms really is that the fleur-de-lis is "seeded" when a stalk having seeds at the end issues in the upper interstices. In a fleur-de-lis "florencée," the natural flower of a lily issues instead of the seeded stalk. This figure formed the arms of the city of Florence.

Fleurs-de-lis, like all other Royal emblems, are frequently to be met with in the arms of towns, e.g. in the arms of Lancaster, Maryborough, Wakefield, and Great Torrington. The arms of Wareham afford an instance of fleurs-de-lis reversed, and the Corporate Seals of Liskeard and Tamworth merit reproduction, did space permit, from the designs of the fleurs-de-lis which there appear. One cannot leave the fleur-de-lis without referring to one curious development of it, viz. the leopard's face jessant-de-lis (Fig. 332), a curious charge which undoubtedly originated in the arms of the family of Cantelupe. This charge is not uncommon, though by no means so usual as the leopard's face. Planché considers that it was originally derived from the fleur-de-lis, the circular boss which in early representations so often figures as the centre of the fleur-de-lis, being merely decorated with the leopard's face. One can follow Planché a bit further by imagining that this face need not necessarily be that of a leopard, for at a certain period all decorative art was crowded with grotesque masks whenever opportunity offered. The leopard's face jessant-de-lis is now represented as a leopard's face with the lower part of a fleur-de-lis issuing from the mouth, and the upper part rising from behind the head. Instances of