three plates, the second rising to a point in the middle of the breast, and the third running nearly parallel with it and converging to a point below it. At the top of the breast is a socket for attachment to the mentonnière by a cusp-headed bolt. There are, however, exceptions to this, as shown in examples at the Dresden Museum, where the top of the breastplate projects in a piping. In one of these cases an open helmet had been worn, and the suit probably used by the leader of a company. A suit of which an illustration is given in Fig. 18, shows how the mentonnière goes under the cuirass. The same would also be the case in Fig. 19, but here the mentonnière is missing. The English form of the fifteenth century is usually in two plates, as in the Redmarshal and Downes effigies.[27] The first examples occur before the middle of the century. The lance-rest is on the right breast, and on the left are screw holes for a tilting shoulder-guard when this piece is used, or for a grand-guard. The Maximilian form, which followed the Gothic, is sometimes in one piece with the taces--that is to say, riveted with them--and is more globular in character. In the sixteenth century the cuirass is lower and flatter, and cut straight at the top, and frequently had the tapul already mentioned. In the middle of the century it tends to lengthen somewhat, and is provided with a ridge along the top and round the arm-holes for turning a stroke, and has often, as already mentioned, a single lamination round the arm-holes. A feature of the breastplate about 1560 is the hump or projection over the navel; while usually a little later we have the “peascod” form, where the projection is found lower down. The “peascod” is obviously copied from the doublet of the period, but whence the idea of the middle hump sprang we cannot say. The cuirass made specially for tilting is fully described under the heading of “tilting suits.” In the seventeenth century the breastplate becomes very flat and very short. ÉPAULIÈRES AND PAULDRONS.