^{page 217 note 1} Musie de Tzarskoe-Selo, ou Collection d'Artnes de S. M. I'Empereur de toutes les Russtes, St. Petersburg and Carlsruhe, 1835–53Google Scholar.

^{page 218 note 1} Record of European Arms and Armour through seven centuries, 1920-1922, vol. iii, chapter xxivGoogle Scholar.

^{page 219 note 1} Excluding the armours of the monarchs, there are twenty-three suits at Vienna ascribed to persons who took an active part in the Italian wars, 1494-1529. Most of them are clearly of later date, but eight come within our province, viz. no. 11 G. M. Fregoso, no. 124 Fr. Gonzaga, m. of Mantua, no. 146 Matthias Lang, no. 149 Marx Sittich v. Hohenembs, no. 175 A. v. Sonnenburg, no. 178 Ch. de Bourbon, no. 207 G. v. Freundsberg, no. 226 C. v. Bemelberg. We mention below the armours at Paris ascribed to Galliot de Genouillac, Robert Comte de la Marck, and others who fought in Italy. The 1849 catalogue of the R. Armeria at Madrid attributes armours to Antonio de Leyva, the marquis of Pescara, and Juan de Aldana, but these titles are omitted from the later. catalogue as unfounded. It is believed that Lautriec's sword was until recently preserved in a country church in N. Italy.

^{page 220 note 1} There are five armours attributed to Maximilian himself in the K. H. Museum, Vienna: No. 43 in the guide of 1889 is a Gothic armour similar to the Archduke Sigismund's and bears the Nurnberg mark. No. 62, believed to have been made in 1493, is still Gothic in outline and bears the Augsburg fir-cone and a mark attributed to Lorenz Colman. No. 67 is a composite suit, part Gothic, part of later style; its gauntlets are dated 1511. No. 7, the ‘saltire’ suit, is ‘Maximilian’ in outline with laminated tassets and mitten gauntlets in the new style. It has no armourer's mark. Compare also the armours of his son Philip (no. 9), G. Maria Fregoso (no. 11), Francesco Gonzaga (no. 124), and the anonymous armour (no. 60).

^{page note 2} Tomb of Leonhard Count von Görz, 1500, at , Lienz, K. H. Atlas, 1892, Pt. X, pl. LXVIIIGoogle Scholar. English brasses begin to show this feature about 1490, e.g. John Evans, ti4-88, at Murston, Kent; Henry Covert, 11488, at North Mimms, Herts.; Sir W. Pecche, †1487, Lullingstone, Kent. These three might belong to the early sixteenth century, except that they all carry the sword slung in front like the earlier Gothic examples.

^{page note 3} , Hefner-Alteneck, Trachten, 1840-1854, vol. iii, pl. XXIIGoogle Scholar . There is an interesting example of a transitional armour on a tomb in the Franziskaner Kirche at Wiirzburg, dated 1513. The effigy wears a Gothic sallet with laminated tassets and high neck-guards of early Maximilian style.

^{page 221 note 1} ‘Dz ist die Rustung zw der Zeit im Tewtzschlantgewert.’

^{page note 2} ‘Un' armatura bianca fatta a canelini all'Elemanna’ Inventory of the Ducal Armoury at Mantua, 1602.

^{page 222 note 1} The Armoury of the Castle of Churburg, by Trapp, Oswald Graf, 1929, nos. 69 and 70 Google Scholar .

^{page note 2} For an examination of Fideli's style see Ch. , Buttin, La Cinquedea de la Collection de Mme Goldschmidt, 1906 Google Scholar . The date of his birth is unknown, but he was working as a goldsmith at Ferrara n i 1487, and about 1500 transferred himself to the Court of Mantua. He died in 1518 or 1519. The signed cinquedea of Cesare Borgia in the possession of the Duke of Sermoneta is inscribed with Cesare's title CAR. VALEN (Cardinal of Valencia) which enables us to date it between 1492 and 1498, as in the latter year he left the Church to be free to make a political marriage.

^{page 224 note 1} The elbow cop is illustrated in Lensi's catalogue of the Museo Stibbert, pl. CCXXIII. Leonardo worked on this statue for sixteen years and a number of his studies for it are preserved in the Royal Library at Windsor. See Courajod, L., Leonard de Vinci et la statue de Francesco Sforza, 1879 Google Scholar .

^{page 229 note 1} Lorenz Colman of Augsburg is known to have supplied armour through the merchant-bankers the Fuggers to the Court of Mantua about 1506. He received 4,000 florins for a harness which so delighted his patron that he sent him a bonus of another 4,000 fl.— Bertolotti, , Arti minori alia Corte di Mantova, 1889, p. 129 Google Scholar .

^{page note 2} Others are at Frankfort, Vienna, Paris, Brussels, and Dijon.

^{page 230 note 1} In the Histoire du Chevalier Bayard, chap, xl, there is an interesting account of how he had to divest himself of his armet and cuisses, and escape on hands and knees. Later he was concerned by the loss of his armet—‘mats il luy faschoit qu'il n'avoit point d'armet. Car en tels affairesfaict moult dangereux avoir la tete nue’—and managed to borrow one.

^{page 231 note 1} But compare the steel cap D. 23 in the Real Armeria at Madrid.

^{page 232 note 1} It is worth noting that his thaler struck in 1505 showed him still wearing a cusped placate of Gothic form. Peter Vischer's famous tomb of Hermann VIII von Henneberg at Romhild is believed to have been cast about 1508, after the death of his wife in 1507, as the date of the Graf's decease has clearly been filled in at a later date by an unskilful hand. It shows an early fluted armour of ‘Maximilian’ form with a rondel armet. Vischer's earlier tombs at Cracow show unfluted armour with round sabatons, but are still in the main Gothic. That of Marshal Kmitas, 11505, shows a fine Gothic sallet.

^{page note 2} It has been made the subject of an article in Berichte aus den Preussischen Kunstsammlungen, 1929, pp. 75–9, by Dr , Binder, Director of the Zeughaus, to whose courtesy I owe the photographsGoogle Scholar .

^{page 233 note 1} Angellucci, , Turin Cat., 1890, p. 37 Google Scholar . See also footnote 2 on p. 221.

^{page note 2} Cosson, de, Cat. of Tudor Exhibition, 1890, p. 162 Google Scholar .

^{page note 3} We have already mentioned the Romhild example of 1508. The Oppenheim tomb is dated 1522, and there are even later examples of tombs with sparse fluting. The picture by Matthias Grilnewald at Munich of St. Maurice and St. Erasmus shows the latter in a Maximilian armour with high neck-guards and sparse fluting. It was painted to the order of the elector of Mainz for the church of St. Maurice and St. Magdalen, which he built at Halle in 1518.

^{page 234 note 1} Not to be confused with the original Ambras collection of the Archduke Ferdinand, which is now at Vienna.

^{page note 2} Graf Trapp in his catalogue of the Churburg Armoury under no. 66 describes a remarkable armet of about 1500, probably made at Innsbruck: it retains the pendent labels which are illustrated in Freydal and on the Valenciennes tapestry. It is complete with its wrapper, is of the finest workmanship, and in perfect preservation.

^{page note 3} The late Baron de Cosson suggested that the bellows form was a feature of Nülrnberg make, and that the ‘monkey-face’ type was favoured by Augsburg, but the monkey-face helmet on Armour 11. 2 in the Tower of London bears the Nurnberg mark.

^{page 235 note 1} , Cripps-Day, Armour Sales, 1884-1924, p. 250 Google Scholar .

^{page 236 note 1} The practice of engraving the date on an armour was introduced in our period, and is most useful when it occurs. Besides the Genouillac and other armours mentioned in our text, the following are also dated: Vienna no. 141 Otto Heinrich von der Pfalz 1523, no. 200 Fr. Graf von Fursten-berg 1531, no. 330 Fr. Maria della Rovere 1532 (by Negroli), no. 197 Ph. Landgraf v. Hesse 1534; Madrid no. A 108, 1531; Nurnberg, plain half-armour with arms of Steinau 1522; Musee de l'Armee no. G. 179, I. dei Medici 1515; no. G. 40 Bavarian armour 1533; Wallace collection, no. 851 Bavarian armour 1532.

^{page note 2} Other armours at Vienna which are signed, but by engravers at present unidentified are: no. 69 Louis of Hungary, signed ‘E. S.’, no. 141 Otto Heinrich von der Pfalz ‘H’ on one pauldron and ‘M’ on the culet, no. 64 Georg von Puchheim ‘LA’, no. 68 Federico Gonzaga ‘A.T’ and ‘M’.

^{page 237 note 1} Such as the Churburg armour no. 97, which from internal evidence was probably built shortly after 1529.

^{page 239 note 1} Among others one might mention the effigies of Sir John Spencer, 1522, at Great Brington ( , Crossley, English Church Monuments, p. 221)Google Scholar , Sir W. Smythe, 11525, at Elford (ibid., p. 224), and compare also pis. XLVI-LIII in Mr , Gardner's article on ‘English Alabaster Tombs’ in Arch. Journal, vol. lxxx Google Scholar . The effigy of Sir John Peche, †1522 (Stothard, pi. 142), is an exception in that it shows fluted and laminated tassets.

^{page 240 note 1} Ganz, Paul, Klassiker der Kunst Series, Holbein, p. 77 Google Scholar .

^{page note 2} Illustrated in R. C. on Hist. Mons. Essex, vol. i, p. 50.

^{page note 3} Hall's chronicle (1904 edition, vol. i, p. 65) states that Henry VIII when he landed at Calais in 1513 ‘was appareilled in almaine ryvet crested and his vanbrace of the same, and on his hedde a chapeau montabyn with a rich coronal’, and ibid., vol. ii, p. 288, 1539, ‘the Lord Maier himself was in a fayre Armour, the crests thereof were gilt’.

^{page note 4} Henry VIII was buying armour in Italy in 1510 (Cal. of State Papers, no. 434) and in Flanders i n December of the same year (ibid., no. 635). In 1512 Wolsey and John Daunce made an agreement with Guido Portynari, merchant of Florence, for the delivery of ‘2,000 complete harness called Almayne rivets according to a pattern in the hands of John Dauncy, accounting always a salet, a gorjet, a breastplate, a backplate and a pair of splints’ at sixteen shillings the set (ibid., no. 1382). Under the same year Sanuto records a purchase by Henry of 12,000 suits of armour from ‘certain staplers’ (ibid., no. 1385), and Wolsey and John Daunce purchased through Robert Bolte of London, mercer, 3,000 harnesses at sixteen shillings (ibid., no. 1385). In 1513 there is recorded an indenture with John Cavalcanti, ‘merchant stranger’ for 1,700 ‘complete armours for footmen’ (ibid., no. 1920), and in 1514 we find Edward Gylleford, master of the armouries, purchasing 100 Milan harnesses from Guido Portinari (ibid., no. 2843). There are further entries too numerous to mention.

^{page 241 note 1} Gay in his Glossaire Archeologique quotes a very full description ofthe painting of a bard taken from an inventory of 1488. Gille described an actual specimen ornamented with gilt stars and roses and coats of arms which was to be seen in his day at Naples. As is to be expected, very few leather bards have survived the course of centuries. At the Tower of London one leather crupper remains of the sixty-six leather bards mentioned in the inventory of 1561 (ffoulkes, vi, 87). There are the interesting leather horse-armour of Matthias Stockl at Salzburg, Z.H.W.K., ix, p. 221, and instances at Turin (B. 2 and D. 69). M. Pauilhac possesses a crupper and two flanking pieces of cuir-bouilli, one of two sets, of which the other is now in America.

^{page 243 note 1} Since writing the above, I understand that M. Buttin is engaged upon a monograph on this subject, which all students will await with great interest.