^{page 69 note 1} Archaeologia, lxxx, 117–42, ‘The Sanctuary of the Madonna delle Grazie’.

^{page 69 note 2} Ibid., lxxxiii, 285–305, ‘Notes on the Armour worn in Spain from the tenth to the fifteenth century’.

^{page 69 note 3} A Record of European Armour and Arms through Seven Centuries, 5 vols., 1920–22.

^{page 69 note 4} J. H. von Hefner-Alteneck, Trachten, Kunstwerke und Gerätschaften vom frühen Mittelalter, 10 vols., Frankfurt a/M., 1879–89.

^{page 70 note 1} See Appendix II, infra, pp. 91–7, where a select bibliography is given following a representative list of German military tombs, including all those referred to in the following pages.

^{page 70 note 2} See Appendix I, infra, p. 90, which gives a list of examples other than those described by Laking, op. cit.

^{page 70 note 3} Le Tombeau de Ulrich de Werdt à Strasbourg, Archives Alsatiennes, 1925, and supplement le Gisant de Ulrich de Werdt, ibid., 1928, a most detailed examination of the equipment of the forties.

^{page 70 note 4} Reproduced in facsimile, Leipzig, Insel Verlag, 1929.

^{page 70 note 5} A. Walcher-Molthein, Altes Kunsthandwerk, i, 268, 1927; M. Borgatti, Esercito e Nazione, ii, 806, 1927.

^{page 71 note 1} Cf. fig. 1; pl. xiv, figs. 2 and 3; pl. xvi, figs. 1 and 3. This feature is rarely found in England, but is shown on the effigies of a knight in St. Peter's, Sandwich, and of a Hilton, c, 1370, at Swine, Yorkshire. The brass of Ralph de Knevinton, †1370, at Aveley is of continental origin.

^{page 71 note 2} Several of the figures in the glass at Tewkesbury, completed by 1344, are shown with limbs completely encased in plate (Rushforth in Trans. B. and G. Arch. Soc., xlvi, 321).

^{page 74 note 1} Cf. E. A. Gessler, Die ritterliche Bewaffnung von 1386 zur Zeit der Schlacht von Sempach, Z.H.W.K., vi, 190–211, 1913.

^{page 75 note 1} It is usually shown without the visor, but there are instances, such as on the Stawell effigy at Cothelstone, and that of Thomas Bassett, †1423, at St. Hilary (Arch. Camb., 5th S., vii, 184), where the sculptor has gone to the pains of showing the pivot with its half of the empty hinge. Sometimes the Klappvisier was carved in situ on German effigies, e.g. those of Rudolf von Sachsenhausen, †1371, at Frankfurt, Eberhard Wolfskel, †1379, at Heiligental.

^{page 75 note 2} An exception is the effigy of Conrad Schenck von Erbach, †1454. formerly at Erbach (Sale, Lucerne, 1932, 65). There is an Easter Sepulchre with good fourteenth-century military detail at Schwäbisch-Gmünd, and cf. B. Engel in Z.H.W.K., ix, 43, 1921, Laufende Knechte.

^{page 76 note 1} It has been fully described by Dr. A. Neuhaus in Anzeiger des Germanischen National-museums, 1924–25, 89. The Küssnach helm by Dr. Gessler in Z.H.W.K., ix, 22–6, 1921.

^{page 76 note 2} B. Schnittger in Z.H. W.K., ix, 76–8, and Kungi. Vitterhets Histoire och Antikvitets. Akademien Monografisieren 16, ‘Aranaeus’, Stockholm, 1927, pp. 65–76.

^{page 76 note 3} B. Thordeman, Acta Archaeologica, iv, 1933; Z.H.W.K., xi, 129, xii, 201; cf. also Post, Z.H.W.K., xiv, 41. Dr. Thordeman uses the English words ‘plate armour’ and 'splint armour’ to distinguish between the body defence of hoops and that of small plates, but in view of the customary use of these words in armour terminology it will cause less confusion if the former is called ‘splints’ or ‘hoops’ and the latter ‘brigandine’, although this last belongs to an Asiatic variety.

^{page 76 note 4} J. von Hefner and J. W. Wolf, Die Burg Tannenberg und ihre Ausgrabung, 1850.

^{page 76 note 5} E. Gessler in Z.H.W.K., x, 211–25; F. M. Kelly, ‘Pre-Gothic Cuirasses of Plate’ in Apollo, July 1930.

^{page 77 note 1} P. Post in Z. W.H.K., xi, 156.

^{page 77 note 2} For instance, on the standing figure of St. Wenzel in Prague Cathedral. Weigert, Marburger Jahrbuch für Kunstwissenschaft, iii, 88.

^{page 77 note 3} Stothard, Monumental Effigies of Great Britain, 1876 edition, note by J. Hewitt.

^{page 77 note 4} This type of defence can be seen in the engraving by the Master of the Boccaccio Legend, The Death of Regulus (Passavant, ii, 276, 8) and The Death of Brunhilde (ibid., 276, 8). Cf. on this point Archaeologia, lxxxiii, 290, note 1.

^{page 77 note 5} There are two English instances on the brasses of Thomas Cheyne, †1368, at Drayton Beauchamp, and Sir Miles de Stapleton, †1364, formerly at Ingham, Norfolk. Compare also the relief of Sir Giles Daubeny, †1346, at Brize Norton, Oxon.

^{page 78 note 1} An early instance of the bouched shield in England appears on a misericord of two knights jousting on the stalls of Worcester Cathedral. M. D. Anderson, The Medieval Carver, 1935, pl. iv b.

^{page 79 note 1} Cf. F. M. Kelly, ‘Some Early “Crested” Armours’ in Apollo, Sept. 1930.

^{page 79 note 2} K. Gerstenberg, Hans Multscher, 1928, passim.

^{page 80 note 1} Archaeologia, lxxix, pl. Lxvii, fig. 1.

^{page 80 note 2} Compare the fragment in the Landesmuseum Nassauischer Altertümer at Wiesbaden, W. Wilbrand, in Z.H.W.K., vii, 270, and that in the Kuppelmayr Sale 1895, 72, said to have been found in the Isar above Munich.

^{page 80 note 3} Z.H.W.K., xi, 25; and P. Post, ibid. vii.

^{page 81 note 1} Laking, op. cit., figs. 331 and 333.

^{page 82 note 1} Laking, op. cit., figs. 366, 367, 368, 375, 376 are German. Fig. 361, also called French, bears a Milanese mark.

^{page 82 note 2} His two figures of St. George and St. Florian on the great altar-piece at St. Wolfgang, 1481, are excellent representations of German Gothic armour. Bernt Notke's great figure of St. George (1489) in the Storkyrkan at Stockholm is another striking example, but overloaded with jewels, which tend to obscure the lines of the harness.

^{page 84 note 1} It is to be noted that, although English effigies and brasses of the middle years of the fifteenth century usually show armours of Italian lines, there are many of the alabaster tombs which show rippled and fluted surfaces clearly influenced by German-made armour, as for instance that of Sir J. Chidiock, †1446, at Christchurch Priory.

^{page 84 note 2} The order was founded by Frederick II, Margrave of Brandenburg and Ansbach, in 1440, and in 1485 a separate South German branch was established by the Elector Albert Achilles at Ansbach. The order came to an end in 1525. The insignia of the order is illustrated in Heideloff's Ornamenlik des Mittelalters, 1843–55, Heft ix, pl. vii. There is a specimen in the treasury of the Cathedral at Basle, and one was in the possession of the ex-German Emperor.

^{page 84 note 3} Dr. Stöcklein has suggested that the mark on the chanfron is that of Matthes Deutsch of Landshut. The bard G. 545 mounted with the Gothic harness G. 1 in the Musée de l'Armée does not belong to it, and came originally from the arsenal at Strasbourg. There is a bard in the Rathaus at Vienna which bears the same mark ‘Inocens’ as the chanfron no. 67 in the Churburg Armoury. Complete Gothic bards are of the greatest rarity.

^{page 85 note 1} A. Closs, Z.H.W.K., xi, 97.

^{page 85 note 2} Böheim has ascribed it, but on no definite evidence, to Hans Griinewalt, c. 1440–1503.

^{page 85 note 3} Cf. C. Buttin, Les Bardes articulées au temps de Maximilien I^er, 1929, pp. 41–7.

^{page 86 note 1} A. Nägele, Die Heilig-Kreuzkirche in Schwäbisch-Gmünd, 1925. It is interesting to note that, at the laying of the foundation-stone of the Cathedral of Ulm, Heinrich Schreiber, armourer, contributed an armour which was sold for the building fund for six florins.

^{page 86 note 2} E. Motta, Archivio Storico Lombardo, 1914, p. 207 et seqq.

^{page 87 note 1} Motta, op. cit., pp. 218–19.

^{page 88 note 1} Heidrich, Alt-Deutsche Malerei, p. 44.

^{page 88 note 2} Op. cit., v, pl. 296.

^{page 88 note 3} Archaeologia, lxxx, pl. xxx.

^{page 88 note 4} Bertolotti, Archivio Storico Lombardo, xv, 1888, 125.

^{page 89 note 1} Archaeologia, lxxix, 219.