On the other hand there can be no doubt that the conquest of Andalusia had let the Castilian artificers into the secrets of many new methods, such as damascening and enamelling, by which they were not slow to profit. The traditions of the goldsmith’s craft, handed down from Visigothic times, had never been lost; and certain it is that in the fourteenth century, when the conquerors had had time to assimilate the arts of the conquered to their own, armour and metal work of all kinds began to assume a rich and elaborate character. The goldsmiths of Barcelona, Toledo, Valladolid, and Seville enjoyed a European reputation. They worked in close co-operation with the armour-smith. In the example of a fourteenth-century harness we have just considered--that of Don Bernardo Anglesola--not only bascinet, gauntlets, coudes, and genouillères are chased, and in some cases set with precious stones, but the hauberk has a rich fringe of gilt, and each plate of the rere-braces has a decorative band at the lower border. The baldric is adorned with studs and fleurs-de-lys. In the statue, at Seville, of Don Alvaro de Guzman, Admiral of Castile, who died in 1394, the same elaboration may be noticed in the roped edges of the genouillères, the gauntlets, and the tasteful floral devices, alternating with rows of studs, in the ornamentation of the baldric. The pommel of the sword, as was customary, is emblazoned with the arms of the owner. According to Froissart, the bascinet of the King of Castile (1385) was encircled by a fillet of gold and precious stones--“qui bien valoient vingt mille francs.” Helmets at the close of the fourteenth century were not only richly, but, as was often the case in preceding ages, fantastically decorated. We have an excellent illustration in the Armoury (plate 9) in the crest of King Martin of Aragon (1395-1412), formerly attributed to Jaime el Conquistador, and carried for many years in the procession of the “Standart,” at Palma (OII). It represents the head, neck, and wings of a dragon--the _Drac pennat_, the device displayed in field and tilt-yard by the Princes of the House of Aragon from Pedro IV. to Fernando II. (1336-1479). As was generally the case, it is made of boiled parchment and gilded plaster, and was set on the crest of the helmet, encircled by the crown or coronal, amid dancing plumes. The cap on which the _Drac pennat_ is mounted was added in the first years of the fifteenth century, that it might be worn by the man who carried in the procession the standard of Jaime I. At the renowned and honourable passage of arms of Don Suero de Quiñones (1434), the crest of one of the knight’s helmets was in the shape of a golden tree, with green leaves and golden fruit; round the trunk was coiled a serpent, and in the middle was a naked sword with the device--_Le vray amy_. (True friend).