Seals Two of Richard I, the first used before his expedition into the Holy Land, (S.) and the second after his return.+ (S.) Of the Earl of Moreton, afterwards King John, (S.) p. 55.

Seals-Of King John (S.) Of Henry III. (S.)— another of that King, p. 56. (S.)§

+ King Richard I, after his return from his captivity in Austria, had a new Great Seal made, by which he confirmed all the charters, &c. he had previously granted; on this seal he first bore three lions passant guardant, for his arms, which from this time became the hereditary arms of his successors, Kings of England. From this age arms seem to have taken their rise and original in this kingdom, and by little and little to become hereditary; it being accounted most honourable to carry those arms, which had been displayed in the Holy Land, against the professed enemies of Christianity: but they were not fully established until the latter end of King Henry III.

The Arms assigned or attributed to the Kings of the Norman Dynasty, viz. Gules, two lions passant guardant, or, Sandford observes he could not find had ever been used by those Princes, either on monuments, coins, or seals, but that historians had assigned or fixed them upon the Norman Line to distinguish it from the succeeding Plantagenets, that bore gules, three lions passant guardant, or. According to the opinion of modern Genealogists, Henry II, who bore two lions for his arms, in the manner above mentioned, added, on his marriage with Eleanor of Aquitaine, the arms of that duchy, viz. gules, a lion, or, to his own, and so was the first King of England who bore three lions: but for this there is no better proof than for those assigned to the Norman Dynasty; for the arms of Henry II, upon his monument at Fontevraud in Normandy, are on a shield of a modern form, and on the same monument are escutcheons, with both impalements and quarerings, which were not used till a hundred years after his death.

This is the first seal of the Royal Family, Sandford says, on which he had seen arms depicted; they are two lions passant. This seal is represented in Speed's Chronicle, but not correctly, for the lions in that are passant guardant, and the Earl's horse caparisoned, a thing not in use in the Royal Family till the time of King Edward I.

§ Henry III, on both these seals is represented wearing a crown on his helmet, being the first who adopted that addition. It was also worn in the same manner by Edward I, II, and III.

Seals-Of Ela, Countess of Salisbury-two of Eleanor of Provence, Queen of Henry III-Of William Longespée, second Earl of Salisbury.-Of Ela Longespée, Countess of Warwick.-Of Richard de Warren, natural son of King John, p. 57.

Headpiece to Book the second-Portraits of Henry II, Richard I, John, and Henry III, with their Arms.

Monument in the Church of Fontevraud of King Henry II, his Queen, Eleanor of Aquitaine, Richard I, Isabel, Queen of King John, Joan, Queen of Sicily, youngest daughter of King Henry II, and her son, Earl Raymond, p. 64.

Monument of King John, with his Effigy, in the Cathedral Church of Worcester, p. 85.

Monument of King Henry III, with his Effigy, in Westminster Abbey, † p. 92.

Seals-Of Richard, Earl of Cornwall--of the same when King of the Romans (S.)-two of Edmund of Almaine, Earl of Cornwall-of Margaret de Clare, Countess of Cornwall, p. 94.

Seals-Two of Thomas, Earl of Lancaster, beheaded at Pontefract, two of Edmund Crouchback, Earl of Lancaster, of the same as King of Sicily. (S.)-Of Henry, Earl of Lancaster, 34 Edw. I, (the second on the right side of the plate.) Of Henry, Duke of Lancaster, 33 Edw. III, p. 102. Monument of Aveline de Fortibus, Countess of Lan

This monument, with that of Queen Eleanor, and one for the children of this monarch, are engraved in Gough's Sep. Mon. Vol. i. part 1. pl. 18, 20. 21, and 23, and the portraits of King Henry and Queen Eleanor, pl. 22 and 23.* The King's Monument is also engraved in the second volume of Dart's History of Westminster Abbey, p. 33.

On the largest of these two seals, upon the helmet of the Earl, stands a Wivern or Dragon, and from his crest his lambrequin or ancient mantling extends itself, which is the first crest and mantling observed as borne by the Royal Family.

caster, wife of Edmund, surnamed Crouchback, in Westminster Abbey, p. 104, engraved by Hollar.+

Monument of Edmund Crouchback, Earl of Lancaster, in Westminster Abbey, p. 106.

Monument of William Longespée, Earl of Salisbury, with his Effigy, in the Cathedral Church of Salisbury, p.

115.

Seals-Of King Edward I.|| (S.)-Of the same when Prince of Wales-Of his Queen, Eleanor of Castile-Of Margaret of France, second wife of Edward I,tt p. 20.

Seals-Of Edward II, (S.)-Of the same when Prince of Wales-Of Elizabeth, Countess of Holland-Of Isabel of France, Queen of Edward II.-Of Thomas of Brotherton, 7 Edw. III. p. 121.

Seals-Of Edward III, An. Reg. 8-Of the same, 1339.‡‡ (S.)-Of the same when Prince of Wales, 1325. p. 122.

+ Also engraved in the second volume of Dart's History of Westminster Abbey, p. 9.

Also engraved in Gough's Sep. Mon. vol. 1, part 1. pl. 25 and 26, and in the second volume of Dart's Hist. of Westminster Abbey, P. 13.

§ Also engraved in Gough's Sep. Mon. vol. 1. part 1. pl. 13. page 41. || King Edward I, was the first son of a King of England that differenced his arms with a File, and the first King of England that bore his arms on the caparisons of his horse.

Queen Margaret was the first Queen of England that bore her arms dimidiated with her husband's in one escutcheon, that is, both escutcheons being parted by a perpendicular line, or, per pale, the dexter side of the husband's shield is joined to the sinister side of the wife's; which kind of bearing is more ancient, than the impaling of the entire coats of arms.

1. Edward III, in the year 1339, having taken upon him the title of King of France, was the first of our Kings who quartered arms in his seal, bearing those of France and England, quarterly, and so careful have the Kings his successors been ever since in marshalling the arms of both kingdoms in the same shield, that when Charles VI, King of France changed the Semee of flowers de Lyz into three, our King

Seals-Of Margaret, Countess of Norfolk and Baroness Segrave-Of Edward III, p. 122.

Seals-Of Edward III, An. Reg. 15. (S.)—Of Ann of Bohemia, Queen of Richard II-Of Thomas Holland, Earl of Kent, (the second on the left of the plate)-Of Philippa, Queen of Edward III-Of John Holland, Duke of Exeter, &c. 22 Rich. II (the first on the left of the plate), p. 124.

Seals-Of Edward the Black Prince, 1370-another of this Prince, 1374-Of Thomas of Woodstock, Duke of Gloucester-another of this Duke, 14 Rich. II-Of Eleanor de Bohun, Duchess of Gloucester, p. 125.

Headpiece to Book the Third, Portraits of K K. Edward I,

Henry V did the like, and so it continued till the Union of Great Britain and Ireland in 1801, when the arms of France were relinquished. The first example of the quartering of arms is found in Spain, when the Kingdoms of Castile and Leon were united under Ferdinand III, and was afterwards imitated as above described by King Edward III. Eleanor of Castile, his Queen, introduced this mode of bearing arms, into England, in which she was followed by the King, as above mentioned.

King Edward III was also the first King that on his counter seal used a Crest, viz, a lion passant guardant crowned, upon a Chapeau, with which his figure on horseback is adorned, and which our succeeding mo narchs, down to Edward VI, inclusive, continued in their Royal Seals. In the margin of this counterseal, near the point of the King's sword, is represented the hand of justice, being an ensign of royalty peculiar only to the Kings of France, for though they in common with other princes carry in their right hand a sceptre of gold, yet in the other they bear the hand of justice, being a short rod, and having on the top of it a left hand, wide open, made of ivory, on account of the elephant being the only quadruped observable for his devotion, love to his governors, and for his equity. The left hand it is said is preferred to the right for this purpose because not being employed in working so many wicked actions as the right, it became more proper than the other to represent the symbol of justice. This hand is also placed in the counter seals of his successors, Richard II, and Henry IV. Henry V omitted it in his seal, and conquering France, both placed that crown on the head and the French sceptre and hand of justice in the hands of his son, King Henry VI.

Edward II, Edward III, and Richard II, with their arms,

p. 127.

Monument of Eleanor of Castile, Queen of Edward I, in Westminster Abbey, with her Effigy, p. 131.†

Monument of King Edward I, in Westminster Abbey, p. 136, engraved by R. Gaywood.

+Also in the second volume of Dart's History of Westminster Abbey, p. 30, as is that of Edward I, on the same plate.

↑ R. Gaywood was a native of England, and a disciple of Hollar, whose manner of engraving or rather etching he imitated, but fell greatly short of the merit of his master, for he had neither the taste nor judgment so conspicuous in the works of the latter. His outlines are hard and incorrect, and the etchings heavy and laboured. There are a great variety of Portraits by Gaywood, but his best print, Strutt thinks, is a couchant Venus with a Spaniard playing upon an organ, a middle sized plate, from Titian. The original picture was in the possession of Charles I, from whence it came to Lord Cholmondeley. He engraved a set of lions, small plates, from Rubens, and a book of birds, after Barlow. The other works of Gaywood are chiefly portraits, amongst which are, Mary, Queen of Scots, with a cross in her hand; W. Drummond, of Hawthornden, the Scottish historian, a small oval, with his arms. Edward Cocker, who seems to have been an engraver too, Sir Bulstrode Whitelocke; Sir George Cook; William Fairfax, with six English verses; Holbein ; James Hodder, writing master; William Leybourn; Marguerite Leman, Vandyck's mistress, with French verses; Countess of Portland; John Playford, of whom there are three different prints by Gaywood, Loggan, and Van Hove; Matthew Stevenson, an humble author, to which are placed these jingling rhimes.

Cocker is deservedly reckoned among the improvers of the art of writing and arithmetic ; and there are at least 14 or 15 of his copy books in print; for he kept writing and printing till the time of his death, which happened about 1677. He was the engraver of his own writing, some of which he did on silver plates, and there was never any writing master before or after him who published so much; indeed his being so general a publisher has been objected to him as a fault. Among his works may be enumerated An Introduc tion to Writing, England's Penman, Penna volans, Magnum i Parvo, Multum in Parvo, Youth's Directions, Pen's Facility, London Wiring Master, Lawyer's Writing Master, Country Schoolmaster, A Copy Book of fair Writing, Lond. 1657, 8vo. Urania, or the Scholar's Delight in Writing, 4to. Cocker's Morals, or the Muses Spring Garden, a book of Sentences for writing, Lond. 1694, Vulga❤ and Decimal Arithmetics, which have been often printed.