Towards the close of the thirteenth century the Chausses are most commonly accompanied with a Chausson of leather or quilted-work, the purpose of which was probably to obviate the inconvenience of the long chausses of metal in riding. It is found plain, gamboised in vertical lines, and sometimes richly diapered. The plain chausson is well shewn in Stothard's Plates XXII. and XXVI., effigies at Gloucester and in the Temple Church, London. The gamboised chausson is seen in this drawing of an ivory chess-piece preserved in the Ashmolean Museum. See also the effigy of a De Vere at Hatfield Broadoak, (Stothard, Pl. XXXVI.) An excellent example of the pourpointed chausson worked in a rich diaper is offered by the brass of De Bures, 1302 (Waller, Pt. 2, and Boutell's "Brasses and Slabs"). A curious variety of the chausson and chausses is found in the figure of a knight from Roy. MS. 2, A. xxii. fol. 219, given in our woodcut, No. 62; the chausson here being of chain-mail, while the chausses appear to be of rivetted plates. A chausson of chain-mail again appears in our cut, No. 86, from the Painted Chamber. To the chausson were usually attached knee-pieces of some rigid material: metal, _cuir bouilli_, or a mixture of both. See our woodcuts, Nos. 59 and 63; an effigy in Ash Church near Sandwich, and an illumination from a German manuscript, Add. MS. 17,687, both of the end of this century. Compare also the effigy at Gosberton (Stothard, Pl. XXXVII.), and those of De Vere and De Bures cited above. Among the embellishments of these poleyns are sometimes found little shields of arms; as in our woodcut, No. 70, the effigy of an unknown knight in Norton Church, Durham, c. 1300[335], and in the statue of Brian Fitz Alan, in Bedale Church, Yorkshire, engraved in Hollis's Effigies, Pt. 4, and in Blore's Monuments.
At the close of this century first appear the Greaves, of metal or _cuir bouilli_, covering the front of the leg from the knee to the instep. They were probably of German introduction, for their Latin name was _Bainbergæ_, from the German _Beinbergen_; and it seems likely that the Germans may have copied them from the examples of classic times with which they had become familiar during their wars in Italy. In the south of Europe, the greaves were already become of a highly ornamental character, as we may see from this sculpture of Gulielmus Balnis, 1289, from a bas-relief in the Annunziata Convent at Florence[336]; while in England they do not once appear among our monumental effigies or on our royal seals. Nor can a single example be found among the pictures that adorned the royal palace of Westminster. They are seen, however, among the illustrations of a manuscript of Matthew Paris' Lives of the two Offas, (Cott. MS., Nero, D. 1,) a work usually assigned to the thirteenth century, but perhaps not earlier than the next age. Our woodcut, No. 80, has an example from this manuscript, folio 7. On comparing the two engravings given by us, it will be seen that, while the vellum picture shews the defence below the knee only, the Italian figure has it both below and above. The abundance of ornament in the latter specimen seems to imply a moulded material--_cuir bouilli_? Antique examples, however, found at Pompeii and elsewhere, are of metal, highly ornamented with chasing and embossed-work. The name Bainberg occurs in several ancient documents. In the Lex Ripuaria we have: "Bainbergas bonas pro VI. sol. tribuat." And in the will of St. Everard, duke of Frejus: "Bruniam unam, helmum 1. et manicam 1. ad ipsam opus, _bemberga_ II." &c. And again: "Bruniam unam cum halsberga et manicam unam, _bemivergas_ duas." The word in the last passage being probably an error for _beinbergas_.