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The so-called ‘Tempie Pyx’ ofc. 1140-50 probably formed part ofa rcliąuary. Madę from gilt copper-alloy, the three figures carry typical long shields with simple decoration. The lattice of the central

the knight from tripping over it. He may carry javelins as well as a morę conventional spear with a sturdy blade. His iron prick spurs are of the cylin-drical type used by knights in north-western Europę. The Vikings at this datę may have sported hair with a heavy fringe but cut elear of the neck. This knight copies neighbouring warriors in having his hair cut round in a bowl crop, a style which may have been useful when a mail coif was attached to the mailcoat.

B: Armour

Mail consisted ofmany individually linked iron rings. Every ring passed through four others, and garments could be shaped by varying the number. Where armpits were formed which would bunch the mail into a knot, a ring might not be joined to all four partners, this being known today as an ‘idle’ ring. ‘Idle’ rings were also used to shape other areas.

Scalę armour, of iron, bronze, horn, bonę or leather plates, was formed by riveting the upper end of each scalę through a canvas backing, presumably with a washer on the rear to prevent the rivet working out. Overlapping each scalę downwards guarded the rivets of those below. Most illustrations suggest the rows were staggered like fish scales, though some suggest vertical lines.

Lamellar, probably only used in Italy and the east, was madę by lacing smali iron plates together in rows, the whole coat being held by interlacing. These coats were probably tied by laces at the side.

The enigmatical ‘square’ on the chest of some warriors on the Bayeux Tapestry has caused much debate but no firm conclusion has been reached. Perhaps the most popular theory is that it represents the lowered ventail or flap to guard the throat and chin, which is lifted and tied at the sides of the coif when the knight goes into action. This also enables a neck opening to be madę large enough to puli the shirt on and off easily. In support of this theory it may be pointed out that several figures on the Tapestry appear to have the sides pulled up. Moreover, in the scene before action at Hastings, a whole string of horsemen show squares on the chest, whilst those going into action only sport a single bar, presumably the lower edge when lifted. It should also be noted that several Englishmen also have this bar but sińce it appears near the neck, it may be some sort of edging in the same fashion as those shown at the sleeves and hem. Hauberks carried to the ships are depicted with squares although they show no coifs but here it may be argued that they are hanging down at the back.

Less easy to explain is an Anglo-Saxon depiction of a square on a ringed coat worn by a tiny initial figurę, where he appears to have no coif. This problem is also encountered in a few other depictions, mostly on contemporary Spanish figures. Details of a definite ventail flap have to wait until the I2th-century carved figures at Clermont Ferrand in central France. Another suggestion is that the flap guards a slit at the neck to enable the hauberk to be put on. Last, and probably least persuasive, it may be a reinforcing piece of mail over the chest, or even show the supporting straps of a piąte of iron beneath the hauberk. There is also the possibility that two or even all three of these versions may have been in use.

shicld is dotted, suggesting ri veted reinforcing strips.

Two of the helmets also harc diagonal bands.

(Glasgow Museums and Art Galleries, Burrell Collection)

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