6. crupper croupière {krup panzer }groppa grupera {lenden panzer } 7. tail-guard garde-queue schwanzriem guardacorda guardamalso panzer 8. flanchard {flançois }flanken panzer fiancali flanqueras {flanchière } ] Horse armour or “barding” was of necessity more cumbrous and but little was attempted beyond the covering of the vital parts of the body with plates or padded trappings (Fig. 5). Mail was used for the whole “bard” in the thirteenth century, as we know from the decorations in the “Painted Chamber” at Westminster.[2] It was still in use for the neck-defence or “crinet” in the middle of the fifteenth century. Examples of the latter are to be found in Paris (Plate XXIII) and in the Wallace Collection, No. 620. Some attempt to make an articulated suit was evidently made; for we have a portrait of Harnischmeister Albrecht (1480) mounted on a horse whose legs are completely covered by articulated plates similar to those on human armour (Fig. 6). A portion of the leg-piece of this or of a similar suit is in the Musée Porte de Hal, Brussels (Fig. 7). Besides the obvious advantage of plate armour over mail for defensive purposes, it should be noted that in the former the weight is distributed over the body and limbs, while with the latter the whole equipment hangs from the shoulders, with possibly some support at the waist. Hence the movements of the mail-clad man were much hampered both by the weight of the fabric, and also by the fact that in bending the arm or leg the mail would crease in folds, and would thus both interfere with complete freedom and would probably produce a sore from chafing. [Illustration: FIG. 6. Harnischmeister Albrecht, 1480. From a painting in the Arsenal, Vienna.] [Illustration: FIG. 7. Cuissard for the off hock of a horse. Musée Porte de Hal, Brussels, IV, 9.] 3. =Recognition of material.=--It would seem at first sight superfluous to give examples of this when considering armour; but in the sixteenth century, when the craftsman desired to show off his technical skill, we find many suits made to imitate the puffed and slashed velvets and silks of civilian dress. A notable example of this is to be found on the famous “Engraved Suit” made by Conrad Seusenhofer for Henry VIII in the Tower, in which the cloth “bases” or skirts of civilian dress are imitated in metal (Plates XII, XXI). The human form, head and torse, were also counterfeited in metal in the sixteenth century, with no great success from the technical point of view.