The great interest and beauty of the Parham suit, Fig. 3, lies in the particularly elegant and finely laminated and engrailed breast and back-plates. Like Sir Noël's German suit, it has no tuilles and retains the staple for fastening the collar and the lance-rest. The sollerets and perhaps some other pieces are restorations. It is without armourer's marks, but resembles Nuremberg work in general form and detail. [Illustration: FIG. 6.--_Gothic Armour. Probably Italian. Sir Noël Paton's Collection._] Two magnificent Nuremberg Gothic cap-à-pie suits are in the Wallace Collection, at present inaccessible. One is on foot, partly fluted, consisting of sallad with movable visor, mentonnière, jointed breast and back-plate, and quite complete body armour with pointed-toed sollerettes, and skirt of riveted mail. The other, for man and horse, is equally complete and ornamented with brass bands, the sallad with visor and mentonnière being of fine form and contemporary. [Illustration: PLATE IV.--Gold damascening on russet ground. Late Italian suit. Tower of London.] [Illustration: FIG. 7.--_St. Michael. By Perugino. National Gallery._] For suits of Gothic armour which have belonged to known wearers, and have been handed down with unbroken pedigree, we must go to the great collections of Europe, and especially to those which, like the Viennese, were commenced while armour was still worn. Of sculptured representations of Gothic armour none surpass the Beauchamp effigy at Warwick. A no less accurate figure is that by Peter Vischer, also in gilt bronze, of Count Otto IV. of Henneburg, 1490, from the Church of Romhild in Thuringia. There is a cast of this in the South Kensington Museum, as well as one of the gilt bronze effigy of Count Weinsberg at Munich, in armour which is remarkable in several respects. Italian Gothic armour of different periods can best be studied in the National Gallery. A suit (Fig. 7) of about the close of the century is from one of the compartments of the famous altar-piece by Perugino, removed from the Certosa at Pavia in 1786, and painted according to Vasari about 1490. It represents St. Michael in full armour, except the head. The underlying mail shows, as usual in Italian pictures, at the elbows, the skirt, and below the knees, and has a deep edging of brass rings. The breast-plate, though in two, is arranged so that the body could not easily be bent. The shoulder-guards are less exaggerated than in contemporary French and English armour, but the elbow-guards seem large, angular, and loosely fitting. The sollerets are well made, unpointed, and leave the red stocking exposed at the toe and heel. The sword, on the left hip, is in a velvet scabbard with a beautifully and simply worked steel hilt and cross quillons slightly curved towards the blade. The shield is fine in form and typically Italian, bearing a Medusa's head and other classic ornaments, boldly embossed. The hands are bare, the right holding a slender staff or wand.