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 the hilt, and a circular panel half way down the blade is semé de lis; but these emblems are so placed that only when the blade is carried point upwards are they in their correct position, an arrangement which shows the sword to be one of ceremony. The proportions of the sword are, however, those of a fine single-handed fighting weapon, a circumstance which furnishes the reason for its being described here and not among those grouped together under the heading of swords of ceremony. The scabbard is of leather upon which are applied fleurs-de-lis; it has a ferrule and deep locket mount which are also decorated with fleurs-de-lis and supplied with six rings at the sides, for the purpose of attaching it to the belt. The method of wearing the sword throughout the XVth century was naturally influenced by the fashion of the costume with which it was worn. Vagaries and eccentricities in the nature of belts and hangers are seen in association with civil costume; but when it was a question of arming a knight clad in full steel, the simplest methods of slinging on the sword were employed. M. Viollet-le-Duc, in his Dictionnaire, vol. v, pp. 189-207, gives, under Baudrier, some admirable drawings and details of sword belts and hangers.

< sc>Fig. 644. Sword and scabbard}}

Second half of XVth century. Known as the sword of the Constables of France

T 26, Musée d'Artillerie, Paris

Before we turn to those swords in the outline and decoration of which the Renaissance of classical art and taste began to make itself felt, we will allude briefly to the curved and falchion bladed swords of the XVth century which are extant, and which find a rightful place in this chapter. There can be but little doubt that it was the intercourse with the Orient which led to the