[Illustration: FIG. 223.--Gauntlet, late fourteenth century. (Wallace Collection.)] _Plate Defences._--One of the features of this period was the enclosure of the limbs in plate defences which conformed generally to the natural curves, and present a striking contrast to the distortions which appeared during the greater part of the fifteenth century. Upon the shoulders laminated epaulières occur, the upper plates of which are habitually hidden by the camail and jupon, but were probably affixed to or depended from the gorget of plate before mentioned. Brassarts of plate enclosed the upper arms, while coudières of a close-fitting pattern protected the bend of the arm. There was no distinct fashion during this period for the outer projecting plate of the coudière; at first a roundel appeared as in the case of Sir John de Argentine (Fig. 218), and Sir John de Paletoot (Fig. 224), but the general form was that exhibited in the brasses of Sir John Wingfield (Fig. 219) and Sir George Felbrigge (Fig. 220). Cylindrical vambraces of one plate guarded the forearms to the wrist, where they were covered partly by the cuffs of the gauntlets. The latter during this period attained to a higher degree of perfection than had previously been the case, and great attention was paid to detail and careful fitting. The fingers and thumbs were distinct and articulated; a plate covered the back of the hand and another was formed into a cuff. The introduction of gadlings, or spikes of steel upon the knuckles and joints, occurred at this time, not solely for ornament but for actual weapons of offence when other means had failed. In a trial by combat fought before Edward III., one of the combatants gained the advantage by striking the gadlings of his gauntlet into the face of his adversary. At times they are shown of great size, projecting a considerable distance from the knuckles. Towards the close of the fourteenth century the terminal parts of the finger-guards are shown with imitation finger-nails, and many of the gauntlets seen upon the effigies are richly decorated. A most interesting specimen, unique in England and of great rarity, is Fig. 223, in the Wallace Collection, dating from the latter half of the fourteenth century and of French make. The plates for the fingers are missing; the covering for the back of the hand and the cuff is formed of one piece, with the exception of a small plate, which, however, is not movable. The decorations are bands of latten. The gauntlets of the Black Prince hanging over the tomb in Canterbury Cathedral are often referred to; they are of the same period as those in the Wallace Collection, but made of latten, gilded, and cannot vie with them in workmanship. The gadlings are well seen upon the various brasses of this period, those of Sir George Felbrigge being perhaps one of the most prominent (Fig. 220). [Illustration: FIG. 223A.--Brass in St. Michael’s Church, St. Albans.]