and penetrating the neck, an in- convenience sometimes avoided by means of arming-points or laces attached to the upper part of the hauberk, and passed through the camail, which was by that means kept closely down upon the neck. This contrivance appears in certain French and German effigies.
Figure in Bamberg cathedral.
For chausses, or long hose of chain-mail, we find in these examples leg coverings, probably formed of leather: Chaucer mentions "jambeux of coorbuly," or jacked leather, and defences of that nature may frequently be noticed in examining English monumental effigies of the reign of Edward III.
It may be sufficiently seen from these examples, how instructive and interesting is the series which is in the course of publication by M. de Hefner. We must, however, present to our readers one more example of German art, of the most splendid character. There is perhaps no other work of middle-age sculpture which exhibits so much dignity of expression, accompanied by the richest accessories of costume. The figure represents Giinther of Schwarzburg, King of the Romans, who died in 1349, not as his warlike aspect would have led us to imagine, in the front of the battle, but a victim to poison. It was raised shortly after his decease by his partisans, and still exists in the choir of the cathedral of Francfort on the Mein. It is elaborately painted, to give the reality of life, as nearly as might be, to so majestic a portraiture. The general usage of colouring monumental
