plate; an iron
spear was raised on high in his left hand, his right always rested
on his unconquered iron falchion.... His shield was all of iron,
his charger was iron coloured and iron hearted.... The fields and
open spaces were filled with iron; a people harder than iron paid
universal homage to the hardness of iron. The horror of the dungeon
seemed less than the bright gleam of iron. 'Oh, the iron! woe for
the iron!' was the confused cry that rose from the citizens. The
strong walls shook at the sight of iron: the resolution of young
and old fell before the iron."

By the end of the fourteenth and early fifteenth centuries, whole
suits of armour were almost invariable, and then came the opportunity
for the goldsmith, the damascener, and the niellist. Some of the
leading artists, especially in Italy, were enlisted in designing
and decorating what might be called the _armour-de-luxe_ of the
warrior princes! The armour of horses was as ornate as that of
the riders.

The sword was always the most imposingly ornamented
part of a knight's equipment, and underwent various modifications
which are interesting to note. At first, it was the only weapon
invariably at hand: it was enormously large, and two hands were
necessary in wielding it. As the arquebuse came into use, the sword
took a secondary position: it became lighter and smaller. And ever
since 1510 it is a curious fact that the decorations of swords
have been designed to be examined when the sword hangs with the
point down; the earlier ornament was adapted to being seen at its
best when the sword was held upright, as in action. Perhaps the
later theory of decoration is more sensible, for it is certain
that neither a warrior nor his opponent could have occasion to
admire fine decoration at a time when the sword was drawn! That
the arts should be employed to satisfy the eye in times of peace,
sufficed the later wearers of ornamented swords.

Toledo blades have always been famous, and rank first among the
steel knives of the world. Even in Roman times, and of course under
the Moors, Toledo led in this department. The process of making a
Toledo blade was as follows. There was a special fine white sand
on the banks of the Tagus, which was used to sprinkle on the blade
when it was red hot, before it was sent on to the forger's. When
the blade was red hot from being steeped four-fifths of its length
in flame, it was dropped point first into a bucket of water. If it
was