[52] No attempt will here be made to enumerate the various forms of crowns and coronets. A general outline of the subject is set forth in chapter xxvi of Mr. Fox-Davies’ Art of Heraldry.
[53] Lambecius, Bib. Caes. Vindobon., II, p. 516; Laborde, Ducs de Bourgogne, Pt. 2, II, p. 113, no. 3100.
[54] Several writers on Pilgrims’ Signs state that a furnace destined for the same purpose may still be seen in an upper chamber in Canterbury Cathedral. Inquiry on the spot has failed to confirm the truth of this statement. The furnace in question has been used solely for the purpose of casting leadwork for repairing the roof. The badges were probably made somewhere in the Cathedral precints.
[55] Compare, An “Esmail d’Arragon,” by A. Van de Put (Burlington Magazine, VIII, p. 421, 1906; X, p. 261, 1907).
[56] Figured in Exposition de Budapest, 1884, Chefs-d’œuvre d’orfévrerie, I, Pl. I. There is a reproduction of this remarkable specimen of Dinanderie in the Victoria and Albert Museum.
[57] Shaw (H.), Dresses and decorations, Pl. 60.
[58] Hist. MSS. Comm., IX, p. 56.
[59] Kalendars and Inventories, II, p. 165, etc.
[60] Archæologia, XXXIX, p. 264.
[61] Mr. Hartshorne (Arch. Journ., XXXIX, p. 366) considers the origin of the letters SS—par excellence the “crux antiquariorum,” he terms it—to lie between the words Seneschallus, Souverayne, and Sanctus, and of these he appears to be in favour of the first.