href="@public@vhost@g@gutenberg@html@files@41676@[email protected]#fig11" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">Fig. 11). Poleynes are mentioned in a wardrobe account of Edward I in 1300. They were frequently made of cuirbouilli, and this material is probably intended in the illustration (Plate III, 1), as elaborately decorated metal is rarely met with at this period. At the end of the thirteenth century appear those curious appendages known as Ailettes. On Plate III, 2, the figure is shown wearing the poleynes and also the ailettes. For practical purposes they are represented on recumbent figures as worn at the back, but in pictorial illustrations they are invariably shown on the outside of the shoulder. Some writers consider that they were solely used for ornament, presumably because they are generally shown decorated with heraldic blazons. Against this, however, we may place the fact that they are depicted in representations of battles, and in Queen Mary’s psalter (2. B. vii in the British Museum) the combatants wear plain ailettes. The German name for the ailettes (Tartschen) suggests also that they were intended for shoulder-guards. Fourteenth-century Inventories abound with references to ailettes. In the Roll of Purchases for Windsor Park Tournament are mentioned thirty-eight pair of ailettes to be fastened with silk laces supplied by one Richard Paternoster. In the Piers Gaveston Inventory before quoted are: ‘Les alettes garnis et frettez de perles.’ These, of course, would be only for ceremonial use. The illustration (Fig. 11) shows different forms of ailette, and occasionally we find the lozenge-shaped, and once (Brit. Mus. Roy. MS. 2. A. xxii, fol. 219) they assume a cruciform shape. The attachment of the ailettes with the laces referred to in the Windsor Park Inventory is shown on Fig. 12. In the Chroniques de Charlemaine, preserved in the Bibliothèque Royale at Brussels, the ailettes appear to be laced to the side of the helmet. This occurs in so many of the miniatures that it must be taken as a correct presentment of this detail in arming. It may be, however, that, as this manuscript was produced in the year 1460, it recorded a later method of using the ailette which, per se, disappears about the middle of the fourteenth century, as far as monumental records exist.

The next addition of plate to the equipment of mail seems to have been on the legs. The only monumental brass that gives this fashion of arming is the Northwode brass at Minster, Sheppey. As the legs are of later date than the rest of the brass, although most probably correct in design, it may be better to trust to a monument which is intact, as is the statue of Gulielmus Berardi, 1289, which is carved in the Cloister of the Annunziata Convent, Florence (Fig. 13). Here we find the front of the leg entirely protected by plates which may be intended for metal, but which, from their ornate decoration, seem rather to suggest cuirbouilli. These jambeaux, or, as they are sometimes called, Bainbergs or Beinbergs, of leather have been before referred to as mentioned by Chaucer.

Returning to monumental brasses again, we find on the Gorleston brass (Plate III, 3) that the plate additions are still more increased. Besides the poleynes and the ailettes there are traces of plate jambs on the legs, and the arms are protected by plates and circular discs on shoulder and elbow.

Plate III