quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
of the fifteenth century	24
the middle of the	22
of the fourteenth century	20
at the battle of	18
of the black prince	18
in the british museum	17
the end of the	17
to be found in	16
in the possession of	15
of the thirteenth century	15
the south kensington museum	13
be found in the	12
from the effigy of	12
the armour of the	12
collection of major farquharson	11
in the south kensington	11
of the sixteenth century	11
by baron de cosson	11
of the earl of	11
in the case of	10
is to be found	10
the time of the	10
the beginning of the	10
of the time of	9
the time of henry	9
the close of the	9
the earl of warwick	9
in the fifteenth century	9
second half of the	9
the second half of	9
of the duke of	9
the back of the	8
on the left side	8
the front of the	8
at the present day	8
from the fact that	8
seems to have been	8
in the preceding chapter	8
one of the most	8
at the time of	8
of the armour of	7
the breast and back	7
the duke of westminster	7
for fighting on foot	7
from the tomb of	7
the fact that the	7
the duke of burgundy	7
a part of the	7
in the reign of	7
said to have been	7
was worn over the	6
time of henry vii	6
suit of henry viii	6
album in the south	6
to have been worn	6
the rest of the	6
the reign of henry	6
in the thirteenth century	6
the fifteenth and sixteenth	6
part of the body	6
chamber of windsor castle	6
in the national gallery	6
first half of the	6
one of the finest	6
the side of the	6
the first half of	6
appears to have been	6
the use of the	6
the king of france	6
as may be seen	6
as one of the	6
breast and back plates	6
of the second half	5
to the end of	5
wars of the roses	5
from the church of	5
in the inventory of	5
formed part of the	5
of the suit of	5
by the kindness of	5
the upper part of	5
towards the middle of	5
to be met with	5
as we have seen	5
we shall find that	5
the case of the	5
the tomb of sir	5
is seen in the	5
as that of the	5
about the middle of	5
the wearing of armour	5
the possession of lord	5
we may judge from	5
suit of the earl	5
belonging to the suit	5
of the seventeenth century	5
hinged at the side	5
century we find the	5
middle of the century	5
the wars of the	5
made for henry viii	5
the top of the	5
the armour of this	5
the earl of essex	5
of the middle ages	5
the shape of the	5
as well as the	5
armour of this period	5
the reign of edward	5
time of the conquest	5
on the trajan column	5
in the fourteenth century	5
said to be from	5
the introduction of the	5
master of the armoury	5
have been worn by	5
at the same time	5
half of the fifteenth	5
the effigy of robert	5
middle of the fifteenth	5
possession of lord hothfield	4
the possession of the	4
up to the end	4
the kindness of sir	4
the bear and ragged	4
for the production of	4
is shown on plate	4
is described in the	4
church of irene at	4
the effigy of sir	4
the name of the	4
and back plates are	4
bear and ragged staff	4
the outside of the	4
of the reign of	4
and some of the	4
the fashion of the	4
covered with raised gold	4
gauntlet from the effigy	4
it will be seen	4
of sir john de	4
the bend of the	4
to point out that	4
effigy of the black	4
about the end of	4
suit in the tower	4
by the city of	4
upper part of the	4
in the time of	4
on his tomb in	4
the church of irene	4
in the tower and	4
and weapons of the	4
be seen in the	4
at a later period	4
is shown on fig	4
on the side of	4
in use at the	4
on the other hand	4
may judge from the	4
at the lower edge	4
in the same manner	4
the reason for this	4
the duke of norfolk	4
in the second half	4
end of the thirteenth	4
of baron de cosson	4
close of the thirteenth	4
by philip of spain	4
the time of edward	4
now in the british	4
of humphrey de bohun	4
to be seen in	4
over the tomb of	4
to the fact that	4
after the battle of	4
on the bayeux tapestry	4
with the addition of	4
of one of the	4
as early as the	4
of irene at constantinople	4
reign of edward i	4
of sir philip sidney	4
it is difficult to	4
entirely covered with raised	4
this suit is also	3
at this period was	3
made for charles i	3
in one of the	3
chamber at windsor castle	3
in the catalogue of	3
during the fourteenth century	3
to be able to	3
by side with the	3
shown on plate v	3
de cosson in the	3
effigy of sir thomas	3
end of the fourteenth	3
to have been found	3
coronation of george iv	3
the first of these	3
lower edge of the	3
by piero di cosimo	3
from a photograph by	3
effigy of robert de	3
accession of henry viii	3
seem to have been	3
judge from the fact	3
when prince of wales	3
the left side of	3
collection in the british	3
time of edward iii	3
in the seventeenth century	3
in the spitzer sale	3
after the death of	3
as the work of	3
dress of the period	3
the tomb of john	3
it does not appear	3
beginning of the thirteenth	3
we find that the	3
development of defensive armour	3
sepulchre in lincoln cathedral	3
by conrad seusenhofer of	3
a variety of the	3
in the roll of	3
and also in the	3
may be seen on	3
is one of the	3
it seems to have	3
on the outside of	3
we have noticed in	3
end of the fifteenth	3
now in the possession	3
the lower edge of	3
the production of armour	3
transformed into a sallad	3
suit of sir christopher	3
the edge of the	3
so far back as	3
armour worn by the	3
towards the end of	3
shall find that the	3
to the suit of	3
for sir henry lee	3
of new bond street	3
burges collection in the	3
of sir thomas cawne	3
of the late sixteenth	3
armour of robert dudley	3
of the armourer was	3
the ends of the	3
the brass of sir	3
a suit made for	3
half of the fourteenth	3
as at the battle	3
there are several of	3
standard collar of mail	3
to the value of	3
are to be seen	3
the defence of the	3
will not allow of	3
not seem to have	3
in the effigy of	3
armour and weapons of	3
continued to be used	3
and the duke of	3
in the bayeux tapestry	3
of the emperor maximilian	3
part of the suit	3
the pressure of the	3
in the tower of	3
been before referred to	3
the appearance of the	3
collection at hertford house	3
the stern realities of	3
the form of the	3
in the wallace collection	3
of the middle of	3
the tower of london	3
in the sixteenth century	3
captain of the guard	3
of the tower armouries	3
will be seen in	3
is of later date	3
the craft of the	3
the history of the	3
the costume of the	3
of the dukes of	3
as shown on plate	3
of one of these	3
of sir christopher hatton	3
one of the many	3
from the time of	3
covered with red velvet	3
now in the tower	3
an old mansion in	3
as the sole defence	3
was sometimes made of	3
the weight of armour	3
suit of plate armour	3
to the excellence of	3
to the duke of	3
specimen in the tower	3
the suit of george	3
suits in the tower	3
it is impossible to	3
are several of these	3
of armour and weapons	3
field of the cloth	3
side of the barrel	3
needless to point out	3
believed to have been	3
in the history of	3
officer of the guard	3
that it is a	3
of an officer of	3
for a long time	3
the certosa at pavia	3
of much the same	3
of the king of	3
arms and armour have	3
continued to be worn	3
in place of the	3
worn by philip of	3
pie suit of henry	3
the roll of purchases	3
the city of london	3
to admit of the	3
with cloth of gold	3
suit for fighting on	3
we should remember that	3
in some cases the	3
with any degree of	3
baron de cosson in	3
of the battle of	3
first suit of sir	3
of the cloth of	3
an officer of the	3
which is shown on	3
the suit of plate	3
from the collection of	3
inventory of louis hutin	3
the cloth of gold	3
of england and europe	3
the helm of the	3
such as that of	3
the form of a	3
to a large extent	3
striking contrast to this	3
the edges of the	3
may be seen in	3
been worn by philip	3
lord grey de wilton	3
far as can be	3
oliver de la marche	3
so called from its	3
the work of the	3
the development of defensive	3
worn under the mail	3
model of banded mail	3
fifteenth and sixteenth centuries	3
the body of the	3
the pommel and quillons	3
is now in the	3
used by the reiters	3
example in the tower	3
of aymer de valence	3
the accession of henry	3
belonging to lord kenyon	3
in use throughout the	3
and now in the	3
of sir george brooke	3
tomb of john beaufort	3
front of the leg	3
to be from the	3
the coif of mail	3
so many of the	3
on to the shoulders	3
the thirteenth century the	3
to fight on foot	3
the presence of the	3
of later date than	3
the possession of mr	3
as far as can	3
to the catalogue of	3
on account of the	3
the addition of a	3
when we consider the	3
middle of the fourteenth	3
during the reign of	3
quarter of the fourteenth	3
of john of eltham	3
defensive armour and weapons	3
tomb of sir john	3
from the hands of	3
with raised gold damascening	3
in the light of	3
to a great extent	3
the field of the	3
preserved in windsor castle	3
side by side with	3
fifteenth and sixteenth century	3
body of the wearer	3
to have been the	3
suit of robert dudley	3
later date than the	3
attributed to william pickering	3
easter sepulchre in lincoln	3
from the beauchamp ms	3
in striking contrast to	3
richly engraved and gilt	3
old mansion in the	3
the weight of the	3
the age of plate	3
be from the church	3
the development of plate	3
sir john de melsa	3
the bottom of the	3
left side of the	3
the imperial collections of	3
the lower part of	3
the museum of artillery	3
in the twelfth century	3
be applied to the	3
foreign armour in england	3
glancing surface to the	3
in the jacobe album	3
hance of italian make	3
during the wars of	3
in the tower is	2
back of the neck	2
more likely to be	2
prince on his tomb	2
there is one of	2
was still in use	2
with coif and mufflers	2
presented to charles i	2
bands is an interlacing	2
first of these is	2
made for sir christopher	2
the hilt entirely covered	2
of the guard to	2
the drawing on plate	2
removed to the tower	2
the bayeux tapestry is	2
till the moment of	2
the great helm of	2
used with the buckler	2
a complete suit of	2
the inventory of louis	2
from the name of	2
on the right side	2
executed about the year	2
tomb of henry v	2
it is to be	2
of silver wire work	2
english tournament helm over	2
breastplate belonging to the	2
in the tower inventory	2
it is easy to	2
in the inventories of	2
parts of the armet	2
which belonged to henry	2
of burgundy from the	2
or hood of mail	2
latter end of the	2
first heard of in	2
of all that is	2
the first years of	2
about the close of	2
belonging to the half	2
earls of warwick and	2
represented on the trajan	2
history of defensive armour	2
it is remarkable that	2
the guard of cosmo	2
the left hand and	2
in conjunction with the	2
of the th suit	2
great russell street new	2
from the easter sepulchre	2
of the same date	2
the suit of henry	2
growing appreciation of the	2
is of earlier date	2
gauche with silver guard	2
part of the th	2
called from its likeness	2
damascened work on blue	2
fighting on foot in	2
slit to the waist	2
the left side and	2
use at the present	2
bassinet transformed into a	2
the margins of the	2
civil war in england	2
a more or less	2
combed and jewelled bassinet	2
from the isle of	2
tomb in the certosa	2
in the production of	2
each alternate row of	2
have been before referred	2
me according to my	2
with the arms of	2
gambeson under the mail	2
shown on plate iii	2
national badges and inscription	2
the decadence of armour	2
raised gold damascened work	2
at this date was	2
a good example of	2
to the opposing weapon	2
a cast in the	2
and engrailed breast and	2
of the beauchamp effigy	2
which could be thrown	2
of the same kind	2
in the fashion of	2
the duke of gloucester	2
the third quarter of	2
the fourteenth century the	2
end of the eighteenth	2
of sir giles capel	2
of no less than	2
armouries of england and	2
open down the front	2
was formed of two	2
with the bear and	2
but when it was	2
of the period we	2
of the pauldron which	2
can be gathered from	2
in compliment to the	2
hilt of carved steel	2
of armour and its	2
chandos and the earl	2
in the italian fashion	2
if not greater importance	2
an immense amount of	2
has been made to	2
ragged staff on the	2
the cast in the	2
the shield was sometimes	2
milan in his youth	2
from waist to knee	2
that it was a	2
in the triforium of	2
only the front of	2
the finest example of	2
worn by the earl	2
second quarter of the	2
of the seventeenth centuries	2
of warwick and stafford	2
wearing of armour and	2
at the siege of	2
the legs are covered	2
suit of maximilian fluted	2
on a horse barded	2
was such that it	2
much the same as	2
the shoulders and elbows	2
not to be found	2
of arthur we read	2
the th suit in	2
shown on plate i	2
helm of the black	2
as seen in the	2
sword of john hampden	2
to the custom of	2
tower and the wallace	2
of the knightly equipment	2
has been made in	2
of the count de	2
marauder of the bandes	2
just above the knee	2
coverings of the body	2
the effect of the	2
of the eighteenth century	2
the second quarter of	2
armorial bearings of the	2
guard for the forefinger	2
of the fourth or	2
have been noticed in	2
quillons in chased steel	2
is shown on the	2
of the bandes de	2
chapter v horse armour	2
jointed breast and back	2
the tower and at	2
the romance of alexander	2
had been in vogue	2
in so many of	2
method of attaching the	2
armour and its constructional	2
was due to the	2
helm from the tomb	2
made in one piece	2
belonging to the french	2
the earl of derby	2
overlapping lames or strips	2
be treated in a	2
the saddle on either	2
several of these brigandines	2
the lance in the	2
of an octagonal plate	2
not in any way	2
son of james i	2
hinged on the outside	2
portion of the body	2
of defensive armour with	2
with raised gold damascened	2
the helmet belonging to	2
photograph by baron de	2
of westminster abbey in	2
from his monument in	2
connected with english wearers	2
of captain lindsay of	2
profile of the helmet	2
only on the front	2
for the late prince	2
lower part of enriched	2
of the helmet and	2
it is well known	2
with rings of brass	2
the visor thrown into	2
the grip of silver	2
in the dresden museum	2
a suit in the	2
curious to note that	2
the death of their	2
the black prince on	2
of the imperial collections	2
of private possessors into	2
tilting helmet of an	2
jarnac and la chateigneraye	2
is very similar to	2
reinforcing the mail defence	2
formed part of a	2
by far the most	2
the coat of mail	2
is by no means	2
early age of plate	2
are in the tower	2
it continued to be	2
surface of the metal	2
the manner of the	2
human face in metal	2
maximilian to henry viii	2
to men on foot	2
we find mention of	2
with the sliding rivets	2
an early age of	2
and the low countries	2
is known as the	2
ornament of the italian	2
the days of the	2
of banded mail after	2
in the crystal palace	2
taking the place of	2
of robert of normandy	2
possessors into those of	2
the tower and the	2
of illustrations coloured plates	2
ancestor of sir philip	2
the quality of the	2
the property of the	2
company contents page i	2
possession of captain lindsay	2
the individuality of the	2
as much as feet	2
defences and weapons of	2
of the armour and	2
at the end of	2
that in the tower	2
chaucer writes in the	2
in england at the	2
the defences of the	2
helm of sir john	2
the effigy of ralph	2
twelfth and thirteenth centuries	2
fourth or fifth century	2
is attached to the	2
on the bands is	2
sight of the english	2
full suit of armour	2
are often covered with	2
the thick quilted gambeson	2
a photograph by baron	2
seal of richard i	2
century it had become	2
this is a part	2
held in place by	2
second suit of sir	2
to the same suit	2
sweeping lines embossed on	2
for combats on foot	2
in the armouries of	2
effigies in our churches	2
at the back of	2
records of the period	2
for his work on	2
beginning of the sixteenth	2
in the manner of	2
the weight of these	2
bassinet from the tomb	2
black prince at canterbury	2
collections in england and	2
the age of mail	2
to that of richard	2
in front of the	2
the sword of battle	2
is held in place	2
of the twelfth century	2
during the first half	2
of robert de vere	2
for arms and armour	2
characters in the dress	2
it may have been	2
the links of mail	2
it was used for	2
the collection of seymour	2
helm was worn over	2
wear and tear of	2
does not seem to	2
on the winning side	2
with coronet and mantelet	2
the reign of richard	2
in armour may be	2
the fact that he	2
is undoubtedly the most	2
been evolved from the	2
been found in a	2
a few pieces in	2
than the fifteenth century	2
sword of charles i	2
into a sallad in	2
ii the transition period	2
prince at canterbury is	2
anturs of arthur we	2
of this may be	2
the ornament of the	2
much the same form	2
the same manner as	2
the later form of	2
suit made for sir	2
the original gilding slightly	2
according to my own	2
of maximilian fluted armour	2
of armour of henry	2
of the leg is	2
in the north corridor	2
appears on royal seals	2
from the visconti tomb	2
the head to the	2
this side of the	2
end of the sixteenth	2
the origin of the	2
ornament on the tapul	2
plates below the knee	2
the tassets are made	2
the effigy of the	2
sergeants in the british	2
of arms and weapons	2
the meshes of a	2
hands of private possessors	2
transferring the weight from	2
be distinguished by the	2
sir john chandos and	2
and on the continent	2
tapul of the breastplate	2
it was worn by	2
by maximilian to henry	2
an important part in	2
maximilian and henry viii	2
and at the same	2
its natural state or	2
from the brass of	2
by sir henry lee	2
on plate i shows	2
armour of the time	2
as will be seen	2
of the gothic armour	2
change in the fashion	2
of the body armour	2
in english and european	2
possession of the duke	2
of the breastplate belonging	2
it is true that	2
suit of french armour	2
given up in favour	2
armour from eaton hall	2
the fourth or fifth	2
arms and armour at	2
time of henry iv	2
on the pommel and	2
study of defensive armour	2
use at the time	2
as the year we	2
original gilding slightly restored	2
and earls of warwick	2
the moment of impact	2
of the present day	2
of this period in	2
outside of the lock	2
probably be formed of	2
the most important is	2
the links of the	2
the barendyne helm at	2
the object of the	2
from one of the	2
suits which have been	2
referred to in the	2
gold damascened work on	2
like sir john chandos	2
of many of the	2
barded with embossed burgundian	2
suit of armour of	2
for the king of	2
lent by baron de	2
sent to the rear	2
have been spared by	2
strapped round the neck	2
historically with english wearers	2
continued in use in	2
to be put on	2
of the interlinked chain	2
modern writers call the	2
in his livre des	2
the greater part of	2
painted chamber at westminster	2
during the sixteenth century	2
that of richard ii	2
gambeson appearing below the	2
the use of a	2
handed sword with the	2
in his art of	2
used at this period	2
and the earl of	2
of the nineteenth century	2
the fashion of armour	2
and of little interest	2
stern realities of war	2
in its simplest form	2
as we have noticed	2
of the sixteenth and	2
the catalogue of the	2
english and european armouries	2
of the first years	2
who fought on foot	2
of late italian armour	2
the early part of	2
simplest form it was	2
made for the king	2
from the painted chamber	2
of artillery in the	2
at the clarendon press	2
fixed in the ground	2
english armet from the	2
is a good example	2
that they were not	2
as can be gathered	2
within the present century	2
and crest of the	2
are preserved with it	2
of edward i in	2
the reign of james	2
on the tapul of	2
armet of sir george	2
seems to imply that	2
photograph lent by baron	2
of the young maximilian	2
helm and crest of	2
we find on the	2
are represented in every	2
entry of louis xi	2
more often it is	2
that is with the	2
example of this style	2
armour of the earl	2
are more or less	2
list of illustrations coloured	2
king of the romans	2
an example in the	2
made for louis xiv	2
that the invention of	2
hauberks and conical helmets	2
helmet belonging to the	2
it differed from the	2
reduced facsimile of no	2
gold damascening on russet	2
the effigy attributed to	2
at the bend of	2
however this may be	2
an essential part of	2
suit of late italian	2
german late gothic suit	2
it is somewhat difficult	2
inventory of piers gaveston	2
artillery in the rotunda	2
the coverings of the	2
the sword of john	2
private possessors into those	2
of the meeting of	2
covering for the head	2
in the form of	2
of armour in the	2
a sallad in the	2
as represented in the	2
mail hauberk from sinigaglia	2
he seems to have	2
as master of the	2
was attached to the	2
de la porte de	2
well represented in the	2
belonged to henry viii	2
preface to the catalogue	2
of the norman conquest	2
the helm of richard	2
one of the latest	2
age of enriched armour	2
of mail has been	2
the roman de rou	2
burgundy from the walls	2
a full suit of	2
few pieces in the	2
to the effect that	2
the monk of st	2
space will not admit	2
by the beginning of	2
the helm and crest	2
the easter sepulchre in	2
painted wooden shield of	2
collection of seymour lucas	2
the taces are hung	2
a silver badge of	2
battle of cassel in	2
and appears in the	2
england and on the	2
is also to be	2
from a french manuscript	2
the subject of armour	2
of the history of	2
they were generally used	2
some of the suits	2
forming part of the	2
of queen isabel into	2
of the transition period	2
shown in our illustration	2
the fourteenth century are	2
is reproduced in fig	2
chapter i the age	2
effigy of richard beauchamp	2
of the excellence of	2
the suit of robert	2
grip of silver wire	2
part of enriched chanfron	2
engrailed breast and back	2
personality of the wearers	2
the same suit as	2
of sir noel paton	2
of the first half	2
would probably be formed	2
helmet of an ancestor	2
imperial collections of armour	2
by the duke of	2
from the monument of	2
from about the reign	2
when we examine the	2
the chapter on the	2
the vast bulk of	2
baron de cosson has	2
is generally made in	2
the breastplate belonging to	2
his tomb in st	2
the temper of the	2
of the intrinsic beauty	2
the founder of the	2
reign of henry v	2
portion of the armour	2
baron de cosson as	2
of the early fourteenth	2
there is a cast	2
early in the thirteenth	2
gunlocks by major v	2
the figures on plate	2
a good specimen of	2
that of the armour	2
with the history of	2
the royal artillery institution	2
the wearing of the	2
chapter vi the decadence	2
beneath the edge of	2
in the chapter on	2
the simplicity and constructional	2
of the most singular	2
the beauchamp effigy at	2
of the same order	2
by the earl of	2
of the armour was	2
is far from rare	2
in course of time	2
of the helmet belonging	2
the sword of charles	2
the sole defence or	2
a great number of	2
by the middle of	2
ends of the rings	2
starkie gardner illustration london	2
be described as a	2
for horse and man	2
made in two halves	2
the age of enriched	2
the rotunda at woolwich	2
for the sake of	2
worn over the breast	2
testimony to the excellence	2
triforium of westminster abbey	2
suit made for henry	2
in the museum of	2
fifteenth century we find	2
weight from the head	2
over the steel cap	2
kinds of defensive armour	2
of the fifteenth and	2
monument in canterbury cathedral	2
to the order of	2
illustration london seeley and	2
integral part of the	2
the contour of the	2
on the outside and	2
with embossed burgundian armour	2
the entry into rouen	2
last official use of	2
nobile of the pope	2
close of the century	2
used in conjunction with	2
in spite of its	2
the latter end of	2
the lower portion of	2
that of the black	2
could be thrown back	2
in addition to the	2
the great jousting helms	2
the coronation of george	2
is a variety of	2
of sir henry lee	2
it is needless to	2
at the beginning of	2
half of the thirteenth	2
the various portions of	2
in its natural state	2
for the first time	2
half of the century	2
the inventories of the	2
but there is no	2
and seems to be	2
to the dignity of	2
photograph by viscount dillon	2
is remarkable that the	2
to the french suit	2
the tower weighs lb	2
armet of rare form	2
isabel into paris in	2
the position of the	2
richly embossed and damascened	2
most important is the	2
presented by maximilian to	2
carried by the colour	2
tomb in canterbury cathedral	2
in time of danger	2
of fine italian gauntlets	2
the preceding chapter we	2
full suit of plate	2
sixteenth century we find	2
the gothic armour worn	2
the plates of the	2
shown on plate viii	2
craft of the armourer	2
casque of an officer	2
sallad in the fifteenth	2
maximilian armour from eaton	2
in the same way	2
for the use of	2
a matchless series of	2
important change in the	2
years of henry vi	2
in the days of	2
retinewe of speres comprised	2
is the case with	2
in england and on	2
armet from the collection	2
macmillan company contents page	2
suit of charles i	2
the body and the	2
the university of oxford	2
in the first instance	2
about the same date	2
the battle of lincoln	2
have seen in the	2
chapter ii the transition	2
a ridged bassinet with	2
vi the decadence of	2
of fighting on foot	2
weppun and schene gay	2
worn over the jupon	2
belonging to the same	2
period of defensive armour	2
all helms and helmets	2
norman knights in mail	2
inventory of humphrey de	2
belonging to the duke	2
possibly belonging to the	2
as well as one	2
and was richly decorated	2
in the former monograph	2
show that it was	2
the chausses and chaussons	2
of the marquis of	2
from rare to find	2
a french manuscript of	2
from a photograph lent	2
the back and breast	2
the production of lethal	2
were generally used by	2
armour was still worn	2
is almost superfluous to	2
at the back and	2
hilt entirely covered with	2
black prince on his	2
as is shown on	2
the crown of the	2
in a suit of	2
each of one piece	2
the salient points of	2
of blued and gilded	2
first part of the	2
gauche with steel hilt	2
defensive armour has been	2
the weapons of the	2
to have been invented	2
part of the fifteenth	2
to be found on	2
in imitation of the	2
for convenience on horseback	2
is somewhat difficult to	2
are not to be	2
with the gilding restored	2
a photograph lent by	2
the flower of the	2
the society of antiquaries	2
far from rare to	2
pair of fine italian	2
article on the hauberk	2
may be said to	2
arms of the owner	2
chase the duke of	2
from the earliest times	2
to be from an	2
early part of the	2
time of henry viii	2
for sir christopher hatton	2
now in the guard	2
of the finest examples	2
the effect that they	2
to protect the wearer	2
in a preceding chapter	2
worn over the steel	2
seen in the first	2
queen isabel into paris	2
armour was concealed under	2
when we consider that	2
of the period of	2
blued and gilded steel	2
does not appear that	2
that this fashion in	2
this is not the	2
at the field of	2
and ragged staff on	2
of an ancestor of	2
the bastard of burgundy	2
the overlapping lames or	2
series of gothic armour	2
the surface of the	2
must of necessity be	2
same manner as the	2
are hinged at the	2
third quarter of the	2
century armet of rare	2
the tomb of edmund	2
italian suit of blued	2
likely to be correct	2
the black prince at	2
protect the wearer from	2
lower portion of the	2
of the italian suit	2
of sir richard pembridge	2
in the middle of	2
the battle of the	2
in many of the	2
not only on the	2
alternate row of rings	2
this period of the	2
from the taces are	2
at a later time	2
head to the shoulders	2
from the romance of	2
of the body and	2
except the grip of	2
quarter of the fifteenth	2
to have been devised	2
of sir john gostwick	2
they were used for	2
the illustration of this	2
same suit as the	2
a glancing surface to	2
this period was the	2
details of dress and	2
was carried by the	2
iii the wearing of	2
materials were made up	2
have been evolved from	2
the defensive armour and	2
with the original gilding	2
the battle of cassel	2
in mail hauberks and	2
to be a military	2
about the reign of	2
helmet of bronze and	2
time of edward ii	2
in the fifteenth and	2
first year of his	2
of gothic armour have	2
sword with the bear	2
work on blue steel	2
shown on plate x	2
in the temple church	2
of the ornament of	2
of gloucester and earls	2
john chandos and the	2
owe their preservation to	2
suit made for louis	2
the fourteenth century we	2
appears in the effigy	2
in the picture of	2
of arms and armour	2
of the armour itself	2
the hall of the	2
middle of the seventeenth	2
the pikemen and musketeers	2
first years of henry	2
from its likeness to	2
in the direction of	2
of the middle temple	2
have originated with the	2
a suit of armour	2
the suit of armour	2
the bands is an	2
pistol by lazarino cominazzo	2
in the museum at	2
an integral part of	2
in the ashmolean museum	2
with national badges and	2
lames or strips of	2
its simplest form it	2
visconti monument at pavia	2
mail hauberks and conical	2
suit as the breast	2
london seeley and co	2
slays a mighty duke	2
from the head to	2
the same as the	2
appearing below the chausses	2
the visconti tomb in	2
of about the close	2
armour of the knight	2
stafford chase the duke	2
the armour worn by	2
does not appear to	2
first quarter of the	2
his livre des tournois	2
in use in germany	2
form of defensive armour	2
my course of lectures	2
were coverings for the	2
were worn on the	2
each other in their	2
represented in the tournament	2
that the wearing of	2
index list of illustrations	2
the hauberk of mail	2
and its constructional details	2
margins of the plates	2
the death of the	2
guard of the suit	2
space will not allow	2
surface to the opposing	2
roll of purchases for	2
pratt of new bond	2
from the walls of	2
armour is of the	2
preceding chapter we noticed	2
the first part of	2
the study of defensive	2
portions of the suit	2
is of much the	2
much as feet in	2
is to be noticed	2
the macmillan company contents	2
small plates of iron	2
it is almost superfluous	2
meshes of a net	2
beauchamp effigy at warwick	2
back of the helmet	2
in england from the	2
be seen on the	2
an instance of this	2
the walls of calais	2
the count de st	2
the wallace collection at	2
it is rare to	2
led to the introduction	2
cosson in the catalogue	2
the fact that it	2
the suit made for	2
frequently met with in	2
ending in a point	2
duke of gloucester and	2
give the necessary play	2
as in the preceding	2
the attachment of the	2
kindness of sir noel	2
th suit in the	2
noticed in chapter iii	2
of a movable visor	2
much in the same	2
the place of the	2
effigy of ralph neville	2
effigy of john of	2
the history of defensive	2
appreciation of the intrinsic	2
to my own taste	2
the bandes de picardie	2
tournament helm over the	2
of the early fifteenth	2
be from an old	2
target of etched steel	2
helm of richard pembridge	2
from an old mansion	2
of the most beautiful	2
temper of the metal	2
great helm of the	2
part of the armour	2
pictorial and sculptured records	2
the lines of the	2
the bellows visor and	2
into the possession of	2
tomb of edmund crouchback	2
wooden shield of the	2
of a suit made	2
a horse barded with	2
hinged at the sides	2
and the wallace collections	2
example of the latter	2
wallace collection at hertford	2
to the back and	2
have been handed down	2
and subsequently lord chancellor	2
at this period for	2
under the emblazoned surcoat	2
the shields of the	2
at the entry into	2
and can only be	2
for the right arm	2
the sollerets are of	2
museum of artillery in	2
no more than mention	2
in the roman de	2
captain lindsay of sutton	2
of these is that	2
velvet and studded with	2
as exemplified in the	2
staff on the pommel	2
suit of blued and	2
jacobe with jacob topf	2
complete suit for fighting	2
it was used in	2
the armour is of	2
at this period of	2
of warwick slays a	2
first appears on royal	2
the base of the	2
fashion of the armour	2
complete suit of mail	2
as far as we	2
like that of the	2
the year we find	2
sixteenth century armet of	2
joints of the armour	2
well as one of	2
some of the more	2
supposed to have been	2
have been found in	2
the sixteenth century we	2
and gilded steel covered	2
of bronze and iron	2
those materials were made	2
of about the same	2
is needless to point	2
the intrinsic beauty of	2
ridged bassinet with banded	2
of the horse armour	2
gardner illustration london seeley	2
does not appear in	2
at this time is	2
frequently decorated with the	2
the fate of the	2
year of his reign	2
this is by no	2
the improvement of firearms	2
to one of the	2
will not admit of	2
in the collections of	2
as is the case	2
in the madrid armoury	2
be met with in	2
hangs over the tomb	2
henry viii and maximilian	2
knights in mail hauberks	2
la porte de hal	2
of the finest of	2
rapier with silver guard	2
the most beautiful type	2
is preserved in the	2
the armour and weapons	2
are seen in the	2
production of lethal weapons	2
armour in england i	2
that these were used	2
weight of these helms	2
described by baron de	2
helm over the tomb	2
the effigy of john	2
tinned to prevent rust	2
of which there is	2
with the armour of	2
ceased to be a	2
hanging arms in churches	2
superfluous to point out	2
be found on the	2
during the twelfth century	2
is a part of	2
effigy of robert of	2
after the accession of	2
burgundian armour of the	2
drawing on plate i	2
damascening on russet ground	2
an ancestor of sir	2
an outer shell of	2
we consider that the	2
and inlaid with silver	2
the possession of captain	2
one of the chief	2
the weight from the	2
photograph by hauser menet	2
the painted chamber at	2
middle of the sixteenth	2
suit of sir henry	2
shield was sometimes made	2
bassinet with banded camail	2
far as we can	2
entry of queen isabel	2
within the limits of	2
duke of burgundy from	2
the part of the	2
armour is to be	2
pommel and quillons in	2
the archers of the	2
lack of antiquarian interest	2
chapter we noticed the	2
suits of the dukes	2
we find that in	2
to the thickness of	2
shock of the lance	2
as feet in length	2
illustrations coloured plates page	2
the different forms of	2
the construction of the	2
the most renowned of	2
we have seen in	2
defence from an effigy	2
and a pair of	2
of the lance in	2
sword of battle abbey	2
the first quarter of	2
of any of the	2
the hands of private	2
come down to us	2
armour of the middle	2
and stafford chase the	2
the art of war	2
mansion in the tyrol	2
but more often it	2
of the guard of	2
the uniform of the	2
which we have noted	2
for the most part	2
fashioned of wood and	2
its likeness to the	2
shown in the illustration	2
gloucester and earls of	2
subject of armour and	2
magnificently engraved and gilt	2
except in the case	2
and quillons in chased	2
crest of the black	2
in the certosa at	2
earl of warwick slays	2
to have been made	2
de commines adds that	2
is worn under the	2
gilded steel covered with	2
with an estate of	2
the armour in the	2
yeomen of the guard	2
do no more than	2
portion of the pauldron	2
equestrian figures of the	2
to have been at	2
an estate of livres	2
protected by small plates	2
in armour in england	2
illustration of the development	2
horse barded with embossed	2
over the front of	2
the proceedings of the	2
the entry of louis	2
his monument in canterbury	2
the impact of a	2
up in favour of	2
as a means of	2
it had become the	2
suit is in the	2
front and back views	2
a marauder of the	2
coloured plates page i	2
and drawn over the	2
the armorial bearings of	2
on blue steel matrix	2
is an example of	2
in the hour of	2
from the beauchamp pageants	2
the reign of king	2
through each alternate row	2
on the shoulders and	2
warwick slays a mighty	2
st earl of shrewsbury	2
with regard to the	2
gothic armour have been	2
a bassinet transformed into	2
the name of this	2
as distinct from the	2
in favour of buff	2
connected historically with english	2
the british museum is	2
embossed and damascened target	2
defence for the horse	2
is shown in the	2
i the age of	2
the time of richard	2
armour of the late	2
visconti tomb in the	2
barendyne helm at haseley	2
the great helm was	2
greater part of the	2
on the field of	2
course of time the	2
the shield in the	2
in the rotunda at	2
with hilt of carved	2
the triforium of westminster	2
the twelfth and thirteenth	2
and below the knee	2
found in the thames	2
armour in the country	2
intended for combats on	2
in the british army	2
and the fact that	2
into the form of	2
the strap and sliding	2
was often richly decorated	2
form of the hauberk	2
the isle of rhodes	2
his tomb in canterbury	2
was used for the	2
to have been evolved	2
in the first seal	2
for a suit of	2
the sixteenth century the	2
the next few years	2
shield of the fifteenth	2
strap and sliding rivet	2
place the fact that	2
the tomb of henry	2
the duke of bedford	2
probably of james i	2
in the first quarter	2
in the armour of	2
should remember that the	2
lindsay of sutton courtenay	2
on the part of	2
mail must have been	2
the yeomen of the	2
been in vogue for	2
the present day are	2
the butt of the	2
close helmet or armet	2
round the neck or	2
it is far from	2
fell into disuse in	2
the defences and weapons	2
the first seal of	2
warwick and stafford chase	2
helm of sir giles	2
the entry of queen	2
by the addition of	2
in the dress of	2
connected with the history	2
in vogue for some	2
embossed burgundian armour of	2
the time of elizabeth	2
and gunlocks by major	2
are now in the	2
the late sixteenth century	2
noticed in a preceding	2
until the close of	2
was given up in	2
firearms and gunlocks by	2
the barrel has a	2
the same kind of	2
chapter iii the wearing	2
that it must be	2
the gorget of plate	2
part of a suit	2
of a rigid defence	2
chapter iv plate armour	2
was used in conjunction	2
on the death of	2
in the tower weighs	2
shown on the frontispiece	2
guardia nobile of the	2
no history attaches to	2
reign of king john	2
of dress and equipment	2
from the time that	2
illustrations in the text	2
the catalogue of helmets	2
richly decorated with engraving	2
in the suit of	2
in the left hand	2
the fifteenth century we	2
the battle of auray	2
such pieces as the	2
that of the king	2
from the cast in	2
in the shape of	2
larger on the left	2
russell street new york	2
this portion of the	2
cast in the crystal	2
double thickness of mail	2
curator of the tower	2
the maximilian fluted armour	2
the early fourteenth century	2
of the development of	2
part of the ornament	2
to have been used	2
the inventory of piers	2
with strap and buckle	2
the tapul of the	2