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 are composed are restricted in their play by a strip of leather nailed under the ridge of the foot; the nail-head of each plate being concealed from view by the overlapping of the plate succeeding. The spurs are fastened to the sollerets by rivets, an innovation of this half-century, originating about 1420. The jambs enclose the whole leg, from the ankle to the top of the calf, turning on hinges outside, buckled within. The knee-cops and cuisses seem to have all their pieces locked together. The cuisses have lateral additional plates attached to the sides by hinges. The knee-cops have pointed plates above and below them, which appear to move upon sliding rivets. On the left leg is the Garter. The pommel of the sword is ornamented with one of the Earl's 'beasts,' a 'Musled Beare.' The dagger is lost."

It is a strange circumstance that, apart from the Warwick effigy, which, as we think, was copied directly from a fine Italian harness, none of the existing suits of armour of the latter part of the XVth century present quite the characteristics which we note on our English effigies of contemporary date. We are therefore forced to come to one of two conclusions; either that the sculptors of the effigies took certain liberties with the armour they had to represent, which is possible, despite the fact that much of the detail is so very accurately rendered; or that there exists no actual English-made armour of that time, and that that which we see to-day is essentially Continental, and so a trifle divergent from that shown on our English monuments. It is only in the bascinet head-pieces of the latter part of the XIVth and of the commencement of the XVth century that we find an actual resemblance between the sculptured example and the real thing. The continental sculpture, we find, affords us a very much more accurate record; that is to say, certain illustrations of effigies could be given, for the details of the armaments of which we can find exact counterparts in extant armour. Take, for instance, that fine bas-relief representing a knight wearing armour in the fashion of about 1470-80, in the church of Salsburg (Fig. 203). Almost their counterpart, as regards proportion and formation of its plates, can be seen in that fine composed suit formerly in the Hefner Alteneck collection (Fig. 204), or the carved statuette of German origin which was at one time in the collection of the late Mr. T. B. Hardy (Fig. 204A).

Or, again, take the case of the justly famous statue by Peter Vischer from the tomb of Count Otto IV of Henneberg in the Church of Römhild, Saxe Meiningen, commissioned in 1487 (Fig. 205): the armour represented on this statue is almost duplicated in the equestrian harness in the Wallace Collection (Chapter XXII). The resemblance may be seen in the forma