The MANTLING or LAMBREQUIN, that depends from the helmet, and is a most valuable asset to the designer, was derived from some such protection to the helmet as the surcoat was to the body armour, and like it was soon made to serve decorative purposes. The surcoats, mantles and other garments of the fourteenth century, being ornamented with dagged edges cut into various tongue-shaped patterns, the mantling naturally followed their example and thence proceeded to other ornamental development, very simply at first, but continuing with ever-increasing elaboration until it became, in many instances, similar to the contemporary architectural tracery. Its early form is shown in Fig. 155, and the beginning of its decorative development in Fig. 156. An even earlier instance of dagged edges to drapery occurs on Trajan’s column, in the decoration of a tent. [Illustration: FIG. 155.] [Illustration: FIG. 156.] Though the mantling probably remained comparatively simple in actual use its treatment in the illuminated MSS. and on monuments shows a very ready acceptance of its ornamental possibilities, both as a decorative adjunct to the armorials and also as a link between them and other decoration. During the Middle Ages it followed the method of the Gothic tracery in dividing and sub-dividing in groups of three, which curved and interlaced in infinite variety. In addition to being laced to the helm it was, in some cases, secured by two straps which were rivetted to the helm on either side and buckled at the back. It was also frequently decorated with badges, and in some cases the coat of arms was wholly repeated on it. It sometimes took the form of a cap which fitted over the helm, and was continued behind, and a curious example of a tourney helm with such an ornament is Fig. 157, after Viollet-le-duc, which is part of the equipment of a knight about to tourney, whose surcoat is charged with a double-headed eagle, and, he being about to encounter with swords and therefore having no shield, the charge is repeated on the helm in the bold and effective manner here shown. On the stall plate of Gaston de Foix as a Knight of the Garter, part of whose arms is Or three pallets Gules, the mantling has one side similarly striped with gold and red. Examples of mantling charged with badges are also to be found on the Garter stall-plates. [Illustration: FIG. 157.] The practice of decorating the surface of mantling is still carried out to some extent in that of a Knight of the Garter, as it hangs over his stall in St. George’s Chapel, the coloured side being sewn with a twisted ornament in lace and spangles. The edges are jagged with cuts in accordance with the theory that that was the origin of the ornamental form. A far-fetched reason for what was after all a purely ornamental development.