variations of the swept hilt which were evolved in the earlier part of the century, having left them, as far as we propose to deal with them in Volume iv, on page 319. Towards the close of the first quarter of the century, curiously uninteresting and unworkmanlike forms of rapier and sword hilt suddenly developed. We say suddenly; for the author has been unable to trace the evolution of this form of hilt from any other type, unless it be the simple cruciform dagger hilt of early XVIIth century date. The type in question has been christened the "pillow" sword, a name derived from the circumstance that these short swords, with their simple forms of hilt and guard, were hung by the householder at the head of his bed so as to be within easy reach. Except that they were small and light, it appears extraordinary that they enjoyed such popularity, for they had the disadvantage of a guard of no protective use whatsoever. Of their popularity, however, we have ample proof in the pictorial art of the middle of the XVIIth century, more especially in Holland: it is safe to say that in nearly all famous genre subjects of the great Dutch painters, they are practically the only type of sword represented. The first example we illustrate is an historical weapon in the Armoury of Windsor Castle, a sword reputed to have been the property of James I, and to have been worn by Charles I when Prince of Wales (Fig. 1499), an attribution, however, of which we entertain considerable doubt. The hilt is of French workmanship, and, according to an inscription on the blade socket, was made somewhere in France at the sign of LA ROCHE D'ARGENT, an interesting piece of information which enables us to identify the nationality of two other hilts known to us, and made by the same swordsmith. However, both the other hilts are of later date, which leads us to suppose that though the blade may be that of a sword once worn by Charles I, the hilt now associated with it has been substituted for the original. Before referring to the blade, which is the work of Clemens Horn of Solingen, we will first of all examine the form and workmanship of the hilt now associated with it. The pommel takes somewhat the shape of a heart, but is fashioned in six facets. The quillons are short, curving slightly outward, and finishing in heart-shaped ends, the ring-guard duplicating this outline in the centre. The surface is russeted and most finely damascened with a minute scroll design in gold. The grip is of wood, overlaid with plated silver and iron wire to form a chequered design. The impressed unicorn mark employed by Clemens Horn is to be seen. The blade is of flattened oval section, hollowed on either face part of its distance, and furnished with a strangely chamfered cutting edge that suggests that its
