The shields of Jacob of Lalaing and his uncle Simon of Lalaing were mixed up. According to the visual historic source material, the red lion in the upper left chequer belongs to the shield of uncle Simon.[**break**] Jacob of Lalaing joined the Order of the Golden Fleece during the Eighth Chapter in Bergen (Mons) and he died before the Ninth Chapter in The Hague. Although the word “trespassé” is missing from the Golden Fleece Coat of Arms in The Hague, the fact that the crest and the covers are missing, and the presence of the belt, indicate that the knight had passed away.

This was not the only mistake or error that was made in the caption of the Golden Fleece Coat of Arms in The Hague. The original said “Mesire Jaqŭes de Lalaing, Seignř de Montagŭ“. Two restorations in the past had made the original text unrecognizable. It is now legible again thanks to the SRAL treatment. However, Jacob of Lalaing was Lord of Bugnicourt and not Montagŭ. Or were the captions of various Golden Fleece Coats of Arms in The Hague mixed up, and should this read ‘Montaigu’ or ‘Montigny’: Montaigu after the manor of John II of Neufchâtel (N15) or Montigny after the manor of Jacob’s uncle Simon of Lalaing (Z14)?

Apparently, in the sixteenth century people were not well aware of the fifteenth-century arms of Mathieu of Foix, Count of Comminges. Quarters I and IV represent the County of Foix, quarter II stands for the Viscounty of Béarn, and quarter III for the County of Comminges.[**break**] The Foix Coat of Arms, however, consists of three red poles in a gold field, instead of four, as shown in the Coat of Arms in The Hague. The Béarn arms consists of two cows or bovines placed over each other, whereas the Coat of Arms in The Hague shows two foxes. According to nearly all the visual and textual historic source material, the almond-shaped leaves of Comminges should be silver rather than gold as shown in the Coat of Arms in The Hague.

The crest consists of a head of a bovine animal (cow, bull or ox?) in gold. The coat of arms with seven gold discs in blue (3-3-1) and a gold shield head represents the Viscounty of Melun.[**break**] This arms and crest were carried by the Melun family since at least the fourteenth century. The manors of Antoing and Épinoy were inherited by John IV after his father’s death in 1406, but he became Viscount of Melun in 1415, succeeding his uncle William of Melun.

The arms is heraldically correct, but the crest is not. The shield is a so-called ‘talking arms’: the figure reveals the family name. Crequi is the French word for cherry tree. The cherry tree in the shield is stylized, as a seven-branched candle stand with a stylized leaf on the ends.[**break**] Originally, this cherry tree was a bright red. Due to natural degradation of colours and the choice of materials, we now see a brown cherry tree. The damascening (the line pattern) in the gold field is purely decorative and does not have any heraldic function.

Crest: two gold swans in closed flight standing on the helm, their beaks facing each other; in their beaks the birds have two entwined eels/snakes. The crest is heraldically incorrect. The fifteenth and sixteenth-century source material found shows that John V of Créqui carried a crest consisting of two swans (heads and necks only!) holding a finger ring in their beaks. The helm coronet is still a red ball; perhaps a cherry?

Three red crossbeams in silver represent the House of Croÿ. Three red adzes in silver represent the House of Renty. William I of Croÿ, grandfather of John II, quartered the Croÿ family arms with that of Renty during his marriage to Isabeau, Lady of Renty (married in 1354).[**break**]
John II, as the younger son, added to this quartered shield a heart shield to ‘divide’ the arms; after all, according to the rules of inheritance, only the eldest son could carry his father’s crest after he died. Quarters I and IV of the heart shield on the Coat of Arms in The Hague are heraldically incorrect. They are supposed to display the Craon arms- lozengy gold and red.  Craon refers to the origin of John II’s mother Margareta of Craon, from whom he inherited the manor of Tours-sur-Marne (see inscription on the Coat of Arms). Quarters II and III, showing a black lion on a golden field, refer to Henegouwen, where John II of Croÿ was viceroy. John II was the younger brother of the Golden Fleece knight Antoon of Croÿ (N03).

Crest: a dog (greyhound) in black (sable), armed, in full course against a silver background, collared in gold with a gold-coloured pendant.

The family arms of the House of Lannoy shows three green lions on a silver field. The red shield hem added by this specific branch of the family is missing from Boudewijn of Lannoy’s Golden Fleece Coat of Arms in The Hague. The shield hem is also missing from his brother Gilbert of Lannoy’s Golden Fleece Coat of Arms in The Hague (Z17), but is found in that of their brother Hugo of Lannoy (N02).[**break**]
The heart shield is not correct either. The heart shield carried by this knight shows crossbeams in silver and blue (azure). After all, that is the crest of Molembaix (Molenbeek), the manor to which the caption of the Coat of Arms refers.Boudewijn inherited this manor from his mother Catherina Gobiert of Corbion, Lady of Molembaix.

Although hardly recognizable for corrosion of the underlying silver layer, better preserved source material shows that the three lions in the arms were once a bright green.

While the crest is turned to the right for the viewer – i.e. originally in the direction of the high altar in the Great Church – the ram’s coat is erroneously facing left (see also:Z04). Since the helm is properly oriented, this discrepancy should simply be considered a mistake.

Coats of Arms and associated products were constantly worked on in the heraldic painter’s workshop. To produce high volumes over a short period of time, the production process was standardized using fixed working methods and patterns. Mistakes were easily made.

Three red crossbeams in a silver field stand for the House of Croÿ. Three red adzes in silver represent the House of Renty. William I of Croÿ, grandfather of Antoon, quartered the Croÿ family arms with that of Renty during his marriage to Isabeau, Lady of Renty (married in 1354).[**break**]
The crest: a black (sable) demi-dog, and collared in gold with a gold-coloured pendant. The dog in the crest belongs to the family arms of this branch of the House of Croÿ. Although the animal in the crest on the Coat of Arms in The Hague is black, there are also fifteenth and sixteenth-century sources showing a silver dog.

Antoon of Croÿ was a councillor, deputy and confidant of Philip the Good. He held many important positions, including that of viceroy of the Low Lands in Philip the Good’s absence in 1442, and Grand Master of France in 1462. He was the elder brother of the Golden Fleece knight John II of Croÿ.

The family arms of the House of Lannoy shows three green lions on a silver field.The red shield hem belongs to this specific branch of the family.[**break**] Although the hem is missing from their Golden Fleece Coat of Arms in The Hague, Hugo’s brothers – Golden Fleece knights Gilbert (Z17) and Boudewijn of Lannoy (N04) – also carried this element in their arms.

Over the centuries the three green lions have been repainted. The natural degradation of the colour and corrosion of the silver background now make the lions look dark brown, but better preserved fifteenth and sixteenth-century source material shows that they were originally a bright green.

Important Golden Fleece knights got larger Coat of Arms. Like Alfonso of Aragon, King of Aragon and Sicily.
The family arms of the Kings of Aragon consisted of four red poles in a golden field. It had been used by the rulers of this dynasty since the twelfth century and remained their family arms after Alfonso V of Aragon.[**break**] The name of this knight is surrounded with words of honour and prestige (“Tresexcellent et Trepuissant Prince, Don…“)  because of his high position and his power in certain districts.

Charles the Bold (1433-1477) was Philip the Good’s son (see PH). His mother was Isabella of Portugal. Charles the Bold was the second sovereign of the Order of the Golden Fleece (1467-1477). The Coat of Arms is identical to his father’s, albeit slightly smaller in size.[**break**] The crest consists of a gold lily. Before the SRAL treatment, two heraldic errors could be pointed out: the blue colour of the hem in quarters II and III, and the black colour of the lion in quarter III. Registrations of the Golden Fleece Coat of Arms in The Hague show that both the helm and the lion were originally red, which is heraldically correct.
A material and technical study confirmed the repainting. The engraving based on this Coat of Arms in the historic work by Jacob de Riemer on The Hague (1730) makes it possible to date both repaintings after 1730.

This Golden Fleece Coat of Arms tells us in Medieval French – without naming all the names – that Peter of Cardona had passed away when in 1451 the King of Arms Jan le Fèvre (Lord of Saint-Rémy) came to Sicily with Jacob of Lalaing (N09) and John II of Croÿ (N05) to present Peter with the Golden Fleece chain.[**break**] In 1451 Peter of Cardona was nominated and appointed knight of the Order of the Golden Fleece during the Chapter in Bergen (Mons). This happened in light of Philip the Good’s (Ph) intention to undertake a crusade. To do that, he needed the support of Alfonso V, King of Aragon and Sicily (N01), which he hoped to get by knighting two of the latter’s most important subjects. Peter of Cardona never wore the Golden Fleece chain. That was probably the reason that in the sixteenth-century collection he received a different Golden Fleece Coat of Arms than the other knights who had passed away since the latest Chapter.

The crest consists of a bust of a Moor with a golden earring and a white-grey head scarf, dressed in a red robe, trimmed with gold piping and buttons.[**break**] The crest was drastically repainted during previous restorations with a kind of waving fabric or leaves, but turned out to be partially there during the present restoration project. Art history studies in any event date the repainting after 1610 (Aernout of Buchel’s visit to the Great Church) and before 1730 (publication of historic work by Jacob de Riemer containing engravings of the Golden Fleece Coats of Arms), but the repainting was most likely done in the seventeenth century. The original inscription showing ‘Berdam’ is factually incorrect. It should read ‘Messire Jehan, Seigneur et Ber d’Auxy‘.

The left part of the shield with a silver heart shield in a red field with a gold carbuncle across refers to the County, and after 1417 the Duchy, of Cleves.[**break**] In the battlefield a carbuncle may have served as reinforcement of the shield, made of the metal mount of the shield knob that was affixed to the outer side of the wooden shield as reinforcement. In heraldry the carbuncle is usually represented by eight spokes coming out of a small circle, more or less decorated, in this case with lilies at the tips. The figure is also called a fleury wheel.

The left part of the shield, with three rows of chequered crossbeams in silver and red in a gold field, shows the arms of Van der Mark; the manor that was controlled by John I of Cleves after 1444.

The crest with the horned bull and silver-red chequered bend is also a combination of elements originating from the arms of both districts. John I of Cleves succeeded his father Adolf as the Duke of Cleves and Count of the Mark after the latter’s death in 1448.

The reason for organizing the Chapter in The Hague in 1456 was the conduct of Reinoud II van Brederode. He had helped his brother Gijsbrecht become the Bishop of Utrecht, to the dissatisfaction of Philip the Good, who preferred his own illegitimate son David of Burgundy as bishop.[**break**] Gijsbrecht was forcibly replaced and Reinoud’s role was investigated.Reinoud’s position in the Hook and Cod Wars and his loyalty to Philip the Good were also under discussion. The Lord of Brederode did not come to the Chapter in The Hague of his own accord. Philip the Good had him collected in Vianen by Henry II of Borssele, Lord of Veere (Z07).When Reinoud finally arrived, he apologized and had to make his plea in defence to the charges.
Not all the details of this Coat of Arms are correct. The lions in quarters I and IV refer to the descent of the family of Brederode of the Counts of Holland. These Brederode lions were originally red (not gold!), langued and armed in blue.In the Coat of Arms in The Hague only remainders of a red glacis were preserved. Around 1334 the Brederode arms was quartered with the Valkenburg arms. Quarters II and III show the lion of Valkenburg, but not in the heraldically correct double tail. The tongue and nails of this lion are usually red or gold, but in the Coat of Arms in The Hague they turn out to be blue.
The crest consists of a bull in red, horned in gold, around its head a bend in three rows of chequered in silver and red. Only the tips of a coronet stick out over the bend that is chequered in the colours silver and red.

John II of Neufchâtel was the second son of Thibault VIII, Lord of Neufchâtel and Châtel-sur-Moselle (Z11).[**break**] Crest: flight of silver loaded with a crossbeam in silver. Quarters I and IV of the shield show the Neufchâtel family arms. Quarters II and III with the eagle show the old coat of arms of the Free County of Burgundy. The Golden Fleece knight John II of Neufchâtel chose this shield in imitation of his great-uncle and namesake John I of Neufchâtel. Great-uncle John had probably chosen this arms to express that he was heir to the possessions in the Free County in the period of 1405-1419. John II of Neufchâtel, in his turn, inherited possessions from his great-uncle John. By choosing to bear the same arms, this knight deliberately chose to stand in a certain tradition.

Strikingly, these men from the House of Neufchâtel were both removed from the Order of the Golden Fleece. In 1481 John II was cancelled as a member because of felony (disloyalty of a vassal towards his lord. Although there are no sources in respect of the fifteenth-century collection of Coats of Arms in The Hague evidencing this, it is known that Golden Fleece Coats of arms were removed, hung upside-down or replaced in response to similar events. The crest is facing right and the ram’s head left. It is not certain whether this is related to the removal of John II of Neufchâtel from the Order.

Saint Andrew was the patron of Burgundy and, as such, also of the Order of the Golden Fleece, together with Mary. Saint Andrew’s attribute, the saltire, is the emblem of the Order.[**break**] Against the black background of this panel in The Hague a gold diagonal cross (saltire or Saint Andrew’s cross) has been painted. The arms consist of knotty branches. A golden fire steel, with gold-coloured sparks flying off is wound around the centre of the cross. Between the two cross arms at the top is a coronet set with pearls. Between the two cross arms at the bottom we see a silver flint with the Golden Fleece pendant, facing right. Fire could be made by rubbing a fire steel over a flint. The Golden Fleece hanging from the flint between the two cross arms refers to the Greek myth of Jason.

These Latin words put the Chapter in a historic context: In the year of our Lord 1456, on the twelfth day of May. In reality the gathering in The Hague began as early as the first day of May and the meetings continued after 12 May.

These Latin words place the Chapter in a historic context:In the year of our Lord 1456, on the twelfth day of May. In reality the gathering in The Hague began as early as the first day of May and the meetings continued after 12 May.

Saint Andrew was the patron of Burgundy and, as such, also of the Order of the Golden Fleece, together with Mary. Saint Andrew’s attribute, the saltire, is the emblem of the Order.[**break**] Against the black background of this panel in The Hague a gold saltire (or Saint Andrew’s cross) has been painted. The arms consist of knotty branches. A golden fire steel, with gold-coloured sparks flying off is wound around the centre of the cross. Between the two cross arms at the top is a coronet set with pearls. Between the two cross arms at the bottom we see a silver flint with the Golden Fleece pendant, facing right. Fire could be made by rubbing a fire steel over a flint. The Golden Fleece hanging from the flint between the two cross arms refers to the Greek myth of Jason.

Striking in this Coat of Arms is a stagger, mainly in the right-most pillar and the crossbeam. During the SRAL treatment, it turned out that this was the only painting in the collection that consisted of three boards.[**break**] The left and right boards contain the original sixteenth-century paint layers, while the centre board was most likely not painted until the eighteenth century. Apparently, this panel was so damaged at some point in history that the only way to restore it was to replace part of the boards. During that operation the outer parts of the two sixteenth-century boards were consciously preserved.In the treatment of this shield in 2013 it was deliberately opted to respect the history of this shield.

Unlike the other knights who were members of the Order of the Golden Fleece in 1456 very little is known about Philippe de Ternant.[**break**] The agenda for the Eighth Chapter in Bergen (Mons) in 1451 included a discussion of his misconduct. He had allegedly robbed a merchant of his goods and deprived him of his freedom, had not been honest about it, and he was said to have embezzled money.He was incarcerated for over a month. During the Chapter Philippe de Ternant was punished again by his fellow Golden Fleece knights, who sent him to Santigao de Compostela to do penance.

At the Ninth Chapter in The Hague Philippe de Ternant had already passed away. Just as all the other knights who had died before the Chapter in The Hague, in the sixteenth century he was given an Coat of Arms in which the helm, crest and covers were replaced by a belt.

The ram’s coat pendant hanging from the Golden Fleece chain faces right for the viewer, while the other crests and ram’s costs in the southern series face left – the direction of the original high altar at the Great Church. It can no longer be determined whether this panel was scheduled for the northern series at some point or that a mistake was made at the workshop of the heraldic painter (see also:N04).

This knight is hardly known in Burgundy historiography, because he originated from Italy and travelled in the circles surrounding King Alfonso V of Aragon (N01).[**break**] For that reason, the fifteenth-century Coat of Arms cannot be established with certainty.  Moreover, the genealogical and biographical information handed down is very limited and diverse; even his first name cannot be established with certainty.

During previous restorations (in any event before 1909) the escutcheon in The Hague of the Count of Ariano was repainted, so that the ermine tails were hardly recognizable as such before the SRAL treatment.In heraldry ermine is represented by a silver or white field set with pieces of black fur, for an ermine’s winter coat is bright white and its tail has a pitch-black tip. The ermine tails are often cross-shaped, always stylized, but their exact shape may vary.

Crest: armed and guardant a lion’s claw of gold amidst flames of gold.The coronet has been replaced by a roll of peacock feathers.

The black lattice in the silver field visualizes the Humières family Coat of Arms. Whether the barred hat or basket also formed part of the fifteenth-century Coat of Arms of this knight or is a sixteenth-century invention, cannot be determined.[**break**] The historic source material shows that there are various variants, with and without an element on the helm. Photographs made of this Coat of Arms in the twentieth century bring many gaps and damages to light that indicate that this painting has been damaged for quite some time.

Crest: silver-grey feathers coming out of a headdress showing the Borssele arms (a silver crossbeam in black (sable)). A silver crossbeam in black is the Van Borssele family arms.[**break**] This arms was used by the Lord of Veere, a descendant of the oldest branch of the Van Borssele family. The SRAL treatment unveiled the original damascening (decorative line pattern) against the black background of the shield. This detail has not been visible for 100 years. The crest is a so-called ‘talking coat of arms’: the plume (Dutch: veren) directly refers to the Lord of Veere. The fifteenth and sixteenth-century source material shows that the plume was represented both in silver and in black.

The family arms of the House of Lannoy consists of three green lions on a silver field. This family arms was borne by the Lord of Lannoy, i.e. John III of Lannoy.[**break**] If correct, the shields of the other men of the House of Lannoy in the Golden Fleece Coat of Arms collection in The Hague should all contain a red hem as the distinctive dividing line.

The natural degradation of the colour and corrosion of the silver background now make the lions in the shield look dark brown. Better preserved fifteenth and sixteenth-century source material shows that all these elements were originally a bright green.

Crest: armed, in flight of silver, a silver dog (greyhound?).

The shield with the three twin beams in red is the Noyelle family arms, which was borne by the Lord of Noyelle. For the knight Baudot of Noyelle a label has been added as the distinctive dividing line.[**break**] Fifteenth-century representations of the arms of this knight show that the crest should consist of a dog with wings on both sides. The wings are missing from the Golden Fleece Coat of Arms in The Hague.

Quarters I and IV showing a gold lily (fleur de lis) in blue refer to Charles of Orléans, descendant of the French Royal Family. In the absence of offspring, in 1498 the Crown passed to Charles of Orléans’ son Louis, who is known as King Louis XII.[**break**]
Quarters II and III with the twisting snake devouring, or delivering, a human baby (Biscione, Vipera or Bissa) represent the Duchy of Milan and the Visconti family who ruled Milan in the fifteenth century. This heraldic figure refers to Charles of Orléans’ descent from the House of Visconti: his mother Valentina Visconti was the daughter of the Duke of Milan.

In the battle of Azincourt (Hundred Years’ War), this knight was captured by Henry V, King of England. He stayed at various locations in England for many years, where he discovered his talent for French poetry. After 25 years he was released on the insistence of Philip the Good (1415-1440). Subsequently, he turned on the French King and reconciled with the House of Burgundy. During the Fourth Chapter in Saint Omaars in 1440 he was admitted to the Order of the Golden Fleece.

A silver crossbeam in red is the family arms of the House of Neufchâtel, which was carried by the Lord of Neufchâtel. Thibault VIII was the father of John II of Neufchâtel, Lord of Montaigu (N15).[**break**] The SRAL treatment unveiled the so-called damascening (decorative line pattern) in the red field of the shield. An analysis of the photographs made of this Golden Fleece Coat of Arms in the twentieth century shows that this decoration had been repainted before 1909, as a result of which it was hidden from the viewers’ eyes for a long time. A damascening does not have any heraldic relevance, but purely has a decorative function. So, the basis for the repainting will not have been ideological in nature.

The family arms of the House of Luxembourg consists of a red, double-tailed lion on a silver field.[**break**] The father of this knight – Waleran III of Luxembourg, Count of Saint Pol – bore the family arms to which his illegitimate son John of Luxembourg added a diagonal stripe or stake as a distinctive sign.

Although today the lion seems to be a dark brown, all the visual, historic sources show that it was originally a bright red. Natural obsolescence has caused the degradation of this colour. Traces of the bright red pigment can still be found in the black diagonal stripe.

The crest showing a winged dragon coming out of a tub is a fixed element of the arms of various members of the House of Luxembourg from (at least) the first half of the fifteenth century. Heraldic studies of various sources show, however, that it should be silver rather than gold.

The depiction of the bird (the crest) on the Golden Fleece Coat of Arms in The Hague is different from that in the fifteenth-century sources, but corresponds with the sixteenth-century depiction of the crest of a distant cousin (Claude of Vergy, Golden Fleece Coat of Arms Ghent 1559).[**break**] Another thing that is striking is that the registration of the Golden Fleece Coat of Arms in The Hague by Aernout of Buchel (1610) shows a red bird. During the SRAL treatment no traces of red paint were found.

The SRAL treatment did unveil the so-called damascening (decorative line pattern) in the red field of the shield. An analysis of the photographs made of this Golden Fleece Coats of Arms in the twentieth century shows that this decoration had been repainted before 1909, as a result of which it was hidden from the viewers’ eyes for a long time.

Since damascening only had a decorative function to liven up a large field, it can be assumed that there were no heraldic or political reasons to repaint the original damascening.

The shields of Simon of Lalaing and his nephew Jacob of Lalaing were mixed up. The visual, historic source material shows that a little lion is missing from the upper-left check; this lion can be found in Jacob of Lalaing’s arms, where it really does not belong.[**break**]

The word  ‘Prisōnier’ in the Coat of Arms in The Hague leads us to suspect that this knight was held captive during the 1456 Chapter.  Simon of Lalaing was, however, present in The Hague in the flesh. He was held captive in 1432, as a result of which he could not take the oath as a knight during the Second Golden Fleece Chapter in Bruges.

Crest: a demi-eagle with elevated wings in silver, with a gold beak.

In the sixteenth century mistakes were made in the representation of the shield and the crest, but a seventeenth-century repainting of quarters II and III tried to remedy those errors. So, the upper layer of paint, which is still visible now after the SRAL treatment, was a later correction. [**break**]Quarters I and IV show the Vergy family arms, a reference to Peter of Bauffremont’s descent from this house through his mother Jeanne of Vergy.

In the sixteenth century, in quarters II and III vair beams in the colours blue and silver were originally painted, alternated with red beams. These original paint layers were found during the SRAL treatment. In the seventeenth century this was repainted small vair in pale in gold and red, the Bauffremont family arms. This repainting is confirmed by registrations of the Coats of Arms in The Hague in the seventeenth and eighteenth centuries.

The colour of the heart shield shows that the arms was still not fully correct after that seventeenth-century operation. For the arms of the manor of Charny, which the caption refers to, includes three silver shields instead of the golden shields shown in the Golden Fleece Coats of Arms in The Hague.

Crest: two silver horns; in between on the helm a ball with the quartered shield as described above; a sword thrust in the ball from above, with red edge, golden parrying bar, and a golden plume for a hilt.

The presence of the Coat of Arms of Robert of Massemen in the collection in The Hague is striking, since this knight died as early as 1430, so that there is no way that he could have attended the 1456 Chapter.[**break**] Just as striking is the omission of the Coat of Arms of a knight who during the 1456 Chapter was, indeed, a member of the Order of the Golden Fleece (yet did not physically attend the Chapter in The Hague), i.e.:John II of Alençon, Duke of Alençon and Count of Perches.

Heraldic studies of this Golden Fleece Coat of Arms are nevertheless relevant. The arms is correct and well identifiable. The fish in the crest can be identified as a dolphin. The heraldic dolphin was sometimes faithfully depicted, at other times not, so that there were many variants in the Middle Ages. The Coat of Arms in The Hague shows a non-true-to-life variant.

The arms is heraldically not entirely correct. The family arms of the House of Lannoy shows three green lions on a silver field. The red shield hem added by this specific branch of the family is missing from the Coat of Arms of Gilbert of Lannoy in The Hague.[**break**] The shield hem is also missing from his brother Boudewijn of Lannoy’s Golden Fleece Coats of Arms in The Hague (N04), but is found in that of their brother Hugo of Lannoy (N02).

Although hardly recognizable for corrosion of the underlying silver layer, better preserved source material shows that the three lions in the arms were once a bright green.

An analysis of the photographs made of this Golden Fleece Coat of Arms in the twentieth century shows that during previous restorations various minor changes were made to the helm, the coronet, the punctuation marks in the inscription and the associated decorative lines.