The equestrian suit shown in Plate XXX.*, p. 340, is of Augsburg or Nuremberg make, and is also of the time of Charles V. It is of considerable interest in exhibiting the various kinds of extra defences such as the grande garde, garde-de-bras, and manifere, the last differing from the Wallace specimen in having separate fingers. The subject of horse armour, or bardings, has not been treated in this work owing to the exigencies of space; it is a matter of considerable interest, and the horse shown in this plate exhibits it in very nearly its highest development. The error is very prevalent that horse defences were of comparatively late introduction (_i.e._ of the fifteenth and sixteenth centuries); the accompanying Fig. 444 from Roy. MS. 20, c. 7, _temp._ Henry IV. or earlier, shows defence of a very high order, inasmuch as the chanfron covers the whole of the head, and the crinet, of lames of plate, encircles the neck completely. In England horse-armour originated in the twelfth century. Plate XXXIV.*, exemplifies the wealth of elaborate decoration bestowed upon horse furniture in the sixteenth century; the chanfron in the centre has been worked into the semblance of a dragon with which the mainfaire is in harmony. The chanfron on the left is of Moorish workmanship. [Illustration: PLATE XXXIV* 1. Moorish Chanfron. 2. Chanfron and Mainfaire, Sixteenth Century. 3. Chanfron, with Imperial Arms. _A. F. Calvert_] During the fourteenth century the Italian armourers had been making steady progress towards fame, and in no city more so than Milan, where, towards the end of the century, armourers came to the front whose names are famous. A Milanese salade, _c._ 1480, is represented in Plate VII.*, p. 60, and was produced by one of the Negroli family, who made their home in the city. The salade is cast in one piece, except the visor, and the ornamentation is a pleasing combination of the Italian and Oriental styles. The delicacy, vigour, and force of its execution may readily be perceived upon inspection of the illustration. Another example of the work of the Negrolis is given in Plate X.*, p. 80, which represents a three-quarter suit made for Charles V. The Milanese were among the first to feel and acknowledge the influence of the Renaissance in their work, and the decorations upon the pauldrons, coudières, &c., of this suit exemplifies it.