We will close the “Maximilian” examples pure and simple by briefly referring to a fine fluted suit on horseback formerly in the collection at the Chateau De Heeswijk, near Bois-le-Duc. This suit (Fig. 24) is almost identical with that already referred to in the Königl. Bayer Armée Museum at Munich, and the figure carries a tournament lance, with the coronal. The bards are contemporaneous with the armed figure, and the same theme of repoussé ornamentation runs throughout the entire armament. [Illustration: Fig. 24.--Mounted Maximilian Suit, with Bards.] PART XI. ARMOUR WITH LAMBOYS OR BASES. As already mentioned, a very distinctive feature of this period, which lasted only four, or at the very most six decades, is the skirt of mail called “lamboys,” or in the language of the day, “bases,” which resembles a full gathered or plain petticoat, or kilt of laminated hoops, held together with “Almayne” rivets. A drawing is given of this kind of armour from an example in the author’s collection (Fig. 25), which is said to have come from an old castle in the Tyrol into the family from whom he obtained it. The suit could only be traced back some seventy or eighty years. Armour with long skirts was current during the reign of Henry VI., but this description differed from the “bases” of the reign of Henry VIII. in the plates being flexible in a vertical direction; capable, as Viscount Dillon says in _Archæologia_, vol. li., p. 258, of being lifted up like a Venetian blind. As shown by the fine suit with lamboys or bases, by Conrad Seusenhofer, in the Tower of London, which will be commented on somewhat later in these pages, it is obvious that this style of armour was to the fore during the later years of Maximilian’s reign, but it became more _de rigueur_ in that of his successor. The general pose of the suit (Fig. 25) is excellent and characteristic. The armet is fluted and “Maximilian” in three pieces, and is a most perfect specimen and graceful in outline. There is a small comb on the crown-piece, and a plume-socket. The visor moves on rosettes of nine petals, and it projects sharply forward to a point, the front consisting of four deeply indented bevels, with two broad lights above them, and two smaller slits in each bevel. There is a spring-catch for closing the visor. The bevor is attachable to the crown-piece by a similar catch. The helmet has a collar of three lames, and weighs five pounds. It is almost identical in form with one catalogued No. 47 among the helmets exhibited at the rooms of the Royal Archæological Institute in July 1880. The date given is 1515–30. In all probability the helmet on Fig. 25 was made earlier than the date fixed upon for the suit, and perhaps was not worn with it. The cuirass has a tapul with a projection near the base, like the “peascod,” and this feature seems at first to be indicative of a rather later date than 1550–60. The same form is present, however, on a suit with lamboys in the Vienna collection, made