At the battle of Auray, 1364, the French dismounted and fought on foot, when the arrows did little execution among them, and the fight developed into a hand-to-hand engagement with battle-axes, in which the leaders, Sir Oliver de Clisson and Sir John Chandos, greatly distinguished themselves. In all subsequent battles and skirmishes between French and English, until the close of the century, we find that both sides invariably fought on foot, riding up till almost within striking distance, and then dismounting as if by common consent. To advance any distance on foot after dismounting in order to engage was, in fact, almost impossible. The old knightly weapon, the lance, was in consequence almost discarded, and could now only be used effectively if shortened to about five feet, and thus with the shield fell into disuse as a weapon of battle, while the presence of artillery also began to make itself felt. IV _The Age of Plate-Armour_ Any line dividing what has here been termed a Transition Age from the age of fully-developed plate-armour must of necessity be a purely arbitrary one. Roughly speaking, the age of plate commenced when mail no longer formed the outer defence of any part of the body. The last chink, leaving the mail exposed under the armpit, was a vulnerable opening in the armour called the "vif de l'harnois," or the "defaut de la cuirasse"; and even this now became protected by small plates of steel called gussets. The necessity for such defences was often proved in tournaments: it is related that the lance pierced "au vif de l'harnois" for lack of the crescent or "gouchet." When these last plates were added the knights appeared more invulnerable than Achilles. We find at almost every period, however, that a fair blow delivered "au pas de charge" with a well-steeled lance might penetrate every defence; and that no armour could be made actually proof against downright blows from a two-handed battle-axe wielded by a powerful and expert rider. One of the most marked characteristics of this age of plate-armour was a growing appreciation of the intrinsic beauty of steel, and a new desire to invest steel armour with graceful lines. The tendency is best exemplified in the fine Gothic armour of the second half of the fifteenth century, of which much is fortunately preserved. This combines most splendidly picturesque outlines with graceful fan or shell-like ridgings, which please the more when examined critically, since every curve and fluting serves some definite and practical end. [Illustration: PLATE IV.--Grand-guard of the suit of George, Earl of Cumberland, in the possession of Lord Hothfield. This is a part of the 20th suit in the Armourer's Album in the South Kensington Museum. From a photograph communicated by Baron de Cosson.]