If the note of the 15th century be variety of form, that of the 16th century, the last important chapter in the history of armour, is surface decoration, the harness of great folk atoning in some measure for loss of the beautiful medieval sense of line by elaborate enrichment. Plain engraving, niello, russet work, golden inlay and beaten ornament are common methods of enrichment. The great plume of ostrich feathers flows from the helmet crown of leaders in war. As in the reign of Edward III., costume's fashion affects the forms of armour, the broad toe of the Henry VIII. shoe being imitated in steel, as the wide fluted skirts of the so-called Maximilian armour imitate the German fashion in civil dress which the Imperial host popularized through northern Europe (fig. 11). These skirts have been called "lamboys" by modern writers on military antiquities, but the word seems an antiquarianism of no value, apparently a misreading of the word "jambeis" in some early document. So many notable examples of the armour of this 16th century are accessible in European collections, other illustrations occurring in great plenty, that its details call for little discussion; a fine and characteristic suit is that by the famous English armourer, Jacob Topf (fig. 12), which belonged to Sir Christopher Hatton. Into this century the arquebusier marches, demanding a chief place in the line of battle, although it is a common error that the improvement in fire-arms drove out the fully armed warrior, whose plates gave him no protection. Until the rifle came to the soldier's hands, plate armour could easily be made shot-proof. It was driven from the field by the new strategy which asked for long marches and rapid movements of armies. This century's armour for the tilt-yard gives such protection to the champion, with its many reinforcing pieces, that unless the caged helm were used--the same which cost Henry II. of France his life--the risks of the tilt-yard must have fallen much below those of the polo-field. The horse with crinet, chafron and bards of steel was as well covered from harm. [Illustration: FIG. 12.--Suit by Jacob Topf, nearly complete, the gorget does not belong to it. Below is the placcate.]