[112] These bars of metal were attached vertically at intervals to the belt or girdle to maintain the rigidity of the material. The word bar (corresponding to the French clou) was subsequently applied to all such attachments, which were sometimes perforated to allow the tongue of the buckle to pass through them (Way, Prompt. parv., p. 24).
[113] Hartshorne (A.), “Swordbelts of the Middle Ages” (Arch. Journ., XLVIII, p. 320).
[114] Way, Prompt. parv., p. 27, n. 2.
[115] There is the possibility that bells were worn as amulets, though not necessarily intended as such by their wearers. “Le son de l’airain,” like the tinkling ornaments of the daughters of Zion (Isa. iii. 18), was thought to have a prophylactic virtue. The double-tail mermaids of silver still worn in Naples as charms against the evil eye are always hung with little bells (Elworthy, The evil eye, p. 368).
[116] Inventories of the Exchequer, III, p. 337.
[117] Symonds (J. A.), Renaissance in Italy—The Fine Arts, p. 91.
[118] Williamson (G. C.), Francia, pp. 2, 3, 21, 38.
[119] For a photograph of this jewel, and for the information respecting it and the other works of this artist, I am indebted to the kindness of Dr. Williamson.
[120] Wölfflin (H.), The art of the Italian Renaissance, p. 234.
[121] The whole of this magnificent work has been reproduced by Sijthoff, of Leyden, under the direction of Scato de Vries and Dr. S. Morpurgo.