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  If it was not perfectly straight when it was withdrawn, it was beaten into shape, more sand being first put upon it.  After this the remaining fifth of the blade was subjected to the fire, and was rubbed with suet while red hot; the final polish of the whole sword was produced by emery powder on wooden wheels.

[Illustration:  DAMASCENED HELMET]

Damascening was a favourite method of ornamenting choice suits of armour, and was also applied to bronzes, cabinets, and such pieces of metal as lent themselves to decoration.  The process began like niello:  little channels for the design were hollowed out, in the iron or bronze, and then a wire of brass, silver, or gold, was laid in the groove, and beaten into place, being afterwards polished until the surface was uniform all over.  One great feature of the art was to sink the incision a little broader at the base than at the top, and then to force the softer metal in, so that, by this undercutting, it was held firmly in place.  Cellini tells of his first view of damascened steel blades.  “I chanced,”