it still retains the vervilles, or small staples, which wore used in lacing on the mailed camail to the head-piece, at that period.
These, which may be noticed on many of our sepulchral effigies, are wanting in the specimens preserved in the Musée de l'Artillerie, at Paris, but the curious Neapolitan bacinet in the armoury at Goodrich court still retains them. The visor was removed whenever the grand heaume was worn over the bacinet, surmounted by the stately crest, the pendant lambrequin, and other accessory ornaments which were introduced with such picturesque effect in German heraldry. As an occasional defence a kind of nasal was devised, of which no example has hitherto been noticed in England. Of this the monumental figure of Ulrich Landschaden, knight, who died 1369, and was interred in the church of Neckarsteinach, near Heidelberg, has supplied a very curious illustration, as seen in the woodcut here given. It will be perceived that to the mailed throat-guard, a small piece of plate, of a shape fitted to the nose, was attached; this, when brought up into place as a nasal[1], was fastened to the forepart of the bacinet, by means of a staple and pin which passed through it. It is remarkable to find at so late a period in the fourteenth century so small an admixture of plate, as appears in the armour of this figure. With the exception of the bacinet, the gauntlets and the genouillères, the defences are wholly of mail, and the shape of the body is expressed in such a manner as to make it evident that no plastron, or breastplate, was worn in this instance with the hauberk. The close-fitting jupon, called in Germany Lendner, the arm-holes of which are singularly jagged or foliated, is buttoned down the front, an uncommon fashion, of which a very curious example is to be found at Abergavenny, in Monmouthshire. It is the effigy of a knight of the De Hastings family, now placed under one of the arches on the south side of the choir, opening
- ↑ Another specimen of this curious nasal is given by Müller, in his plate of Johan von Falckenstein, 1365. Beiträge zur Kunst, p. 59.
