the elbow. The most remarkable and distinctive feature in connection with this suit is the protection given to the inner arm by a series of small and very mobile laminated plates, attached to the rerebrace and vambrace by rivets; another example with a similar arrangement may be seen in the Tower. Cuisse and jamb have a high ridge running down the centre in front, the genouillières having a thicker projection, bevelled at the sides, in a line with the ridge on the other two pieces. Plate armour fell into discredit during the seventeenth century and gradually disappeared, the pikeman being the last of the foot soldiers to use it. The cuirass was the last piece generally worn, and this in time gave place, except in the case of the cuirassiers, to the buff coat and jerkin. [Illustration: Fig. 30.--Late Suit at Brancepeth Castle.] Among the great armour-smiths who worked from 1540 to the end of the century may be mentioned Kunz Lochner of Nuremberg, who was perhaps the greatest artist in steel of the German “renaissance.” A suit made for Duke Johann Wilhelm of Weimar about 1560–65, at Dresden, is very typical of his time. The comb of the burgonet is high, the neck-piece consists of three lames; the breastplate is short and “peascod”; while the cuisses exhibit an early instance of coming to the knees. This suit is referred to under the heading “Enriched Armour.” Anton Peffenhauser of Augsburg began somewhat later, and worked up to the end of the century. A notable example of this master may be seen at Madrid, in an enriched harness made for Don Sebastian of Portugal in 1576 (Fig. 39); and there are others at Dresden. Sigmund Rockenberger of Wittenberg; the von Speyers of Annaberg in Saxony, and the two Wilhelms von Worms, and Heinrich Knopf of Nuremberg; Giovanni Battista Serabagio, and Lucio Piccinino of Milan, were all great artists of their time; and examples of their work may be seen at Vienna, Dresden, and Berlin. Mention of the work of Jakob Topf of Innsbruck first appears about 1575, and an attempt has been made to identify this armour-smith with the “Jacobe” of the South Kensington Album, but with very slender foundation in point of evidence, as it seems to us. Some further sifting of the matter would be interesting. PART XIV. ENRICHED ARMOUR.