To gain protection, also, some molluscs when building their shells introduce stones and other shells and corals into the edifice, so that they become indistinguishable from the sea-bottom on which they lie. Many caterpillars cover themselves with bits of leaves, and even with the help of silk make spiral shells that might easily be mistaken for those of snails. The silk also, from which many of our gay clothes are made, is spun by the silkworm, which, like the larva of many moths, produces it in order to protect the chrysalis while it rests. We are occupied here, however, with the coverings of animals that they owe to man, and first and foremost of those creatures which have come in for his polite attentions is the horse. We may recall the armour by which the chargers of the old knights were protected, and the trappings or emblazoned coverings that were put over this in the same way as the surcoat was made to cover the armour of the knights. (See Figure 84.) The trappings were often made of coloured satin, and were embroidered with gold and silver, and at the exhibition held by the Burlington Fine Arts Society in 1905 a chasuble of red velvet was shown, embroidered with the arms of England in gold, which was apparently made from a horse-trapper of the fourteenth century. Figure 84 well shows how the horses carried the armorial bearings of their masters. In the ostrich-feather ornaments and the velvet trappings of modern funeral horses, we still have some remnants of the days of chivalry. To-day horse clothing, though not intended to be of an ornamental character, we should imagine, is still often decorated with a monogram of the horse's owner. Perhaps one of the most interesting survivals in connection with horses is to be found in the brasses which decorate those used for carts and waggons. Dr. Plowright[48] has shown that many of these ornaments, which are really amulets put on to the harness with a view to protecting the horses against the evil eye, are of Moorish origin. He contrasts their style with the ornamental details shown in the Alhambra, and he figures a number which take the form of a crescent, or a crescent enclosing an eight-rayed star, and others in which the ornament shows eyes and eyebrows conventionalized. In other cases we get the fleur-de-lys treated in an arabesque way, the escallop shell and the mystic interlaced triangles (which were considered the talisman of talismans, and are known as the seal of Solomon or the shield of David), with a crescent in the centre. Miss Lina Eckenstein[49] figures many other horse brasses which can be compared with those worn by Roman cart-horses. Among them is the crescent, which was also worn by women carved in ivory, and by certain senators as ornaments on their shoes.