be seen by observing the breast and the treatment of the feet. In the
suit of his brother Prince Charles also will be seen an instance of the
decay of the armourer's art, namely, the thigh-pieces, which are marked
as though of several pieces of metal whilst being of one rigid piece.

In a small case are unfinished portions of a helmet and gorget, and a
gilt and engraved vamplate belonging to a suit of Henry Prince of Wales.

The figures on the opposite side of the room are horsemen and pikemen
of the seventeenth century, after which time armour may be said to have
ceased to be worn, till at the coronation of George IV in 1820, when the
Household Cavalry appeared in cuirasses. In the table cases in this room
are odd portions of armour: gorgets, gauntlets, cuisshes, &c., daggers,
knives, and swords, including good examples of the Cinquedea, or short
broad-bladed sword peculiar to Northern Italy.

In the series of wall cases at the end of both rooms will be found
several varieties of helmets, including salades, close helmets, tilting
helmets; also morions and cabassets and breasts and backs. Among these
observe the fine painted archers' salade, with vizor; two fine Venetian
salades, like the ancient Greek helmets, and bearing armourers' stamps;
sixteenth-century tilting helmets, with side doors for air; spider
helmets, &c. Those on the upper shelves are either false or imitations
of real examples. In the case by the door is a helmet made for and worn
by the late Emperor Napoleon III (when prince) at the Eglinton
Tournament, in 1839.

On the walls are portions of horse armour, bucklers for foot soldiers,
and several shields simulating the embossed ornamentation of the
sixteenth century.