168, written by Viscount Dillon, P.S.A., the term “Almayne rivets” was sometimes applied to complete harnesses; for an order sent to Florence by Henry VIII., in 1512, runs: “The 2000 complete harness, called Almayne ryvettes, were to be alway a salet, a gorget, a breastplate, a backplate, and a pair of splints (tassets) for every complete harness at 16s. the set.” There is a sixteenth century specimen of an armourer’s pincers, with claw and hammer head for riveting armour, in the Rotunda collection at Woolwich. It was soon found that arms of attack would not glance so well off fluted suits, and smooth armour was again generally reverted to. Blackened armour was not uncommon at this time; and a black, white, or coloured tunic of stuff was often worn over bright. The first instance of black armour that we have met with is mentioned by Froissart, under the year 1359.[18] While in “Gothic” armour the taste of the period found expression in beauty of outline, already in the fifteenth century it had become fashionable to have armour engraved and otherwise ornamented. Perhaps the only brass that is to be seen in Spain represents a beautiful specimen of inlaid armour; the figure is of Don Parafan, Duke of Alcola, who died in 1571. The pikeguard has ceased, sollerets are the shape of the foot, and he wears a morion. The morion and cabasset were late sixteenth and seventeenth century helmets, while armets and burgonets were greatly worn early in the sixteenth. Late in the fifteenth and during the sixteenth centuries there was a description of armour called “penny-plate.” It consisted of round pieces of steel riveted on to leather. There is a specimen of this kind of armour at the Rotunda, Woolwich.