belonged to the Duke of Modena. On it is represented St. George in armour, standing, and piercing a dragon at his feet. On his right is his charger; at the side of the head is an inscription in Greek. A few of the principal outlines of the figures are represented by very broad bands of metal, which appear to be part of the solid background. The remainder of the lines are very fine fillets of copper, set on edge, and gilt. The enamels are opaque. A portion of the border of gilt metal remains, representing scrolls and figures of saints and angels, with Greek inscriptions.
These are the only specimens of this kind of enamel which appear to be undoubtedly of Greek workmanship. I shall reserve for a future occasion such specimens as seem to have been executed by artists of the Byzantine school in other countries, or by the native artists themselves.
SOME REMARKS ON SEALS, WITH SUGGESTIONS FOR A PRACTICAL MODE OF CLASSIFYING THEM.
Seals, in some of their various kinds, have now, for a considerable time, deservedly held a distinguished place in the estimation of those who have been engaged in antiquarian researches. They present a wide field for investigation and speculation. The reader, who may be curious to learn something of its extent, or of their history, may consult with advantage the treatise contained in the fourth volume of the Nouveau Traité de Diplomatique. The medieval use of them, originally in the form of rings, so convenient for an unlettered age and race, may be traced to an early period of the Frankish and Germanic history. But among the Anglo-Saxons the general practice of authenticating writings, even the most formal and important, was by signing them with a cross. Edward the Confessor, however, had a seal, and other instances of Anglo-Saxon seals have been alleged, which some antiquaries have regarded with suspicion; and it is foreign to the present purpose to enter upon the question of their authenticity. Certainly seals did
