The remarkable armour-smith family of Kolman of Augsburg occupied a similar position in Germany, during the reign of the Emperor Maximilian I., to that held by Antonio da Missaglia in Italy. Lorenz, surnamed Helmschmied, is perhaps best known to-day for the beautiful “Gothic” harness, made about 1490 for the Emperor Max, which now adorns the collection at Vienna. It resembles the Sigmaringen example somewhat closely, the points of difference lying mainly in the form of the sallad, the shape of the tuilles (square-cut at the bottom in the Vienna example), and the Vienna harness has an extra plate on the breastplate. That Lorenz Kolman was employed during the later portion of his career as Court armour-smith to Maximilian in making fluted armour, as he had been engaged earlier in turning out “Gothic,” is shown by an early and interesting example of fluted “Maximilian” armour at Berne. This harness compares closely with that represented in Fig. 24, though the Swiss example shows pikeguards, which the other one does not. The early character of both suits is shown by the swelling out of the breastplate over the abdomen. The figure sits on horseback, and the horse is fully barded contemporaneously with the figure. The saddle has the deep seat of the “renaissance.” Lorenz Kolman died in 1515. The armourer’s mark of this family is a helmet surmounted by a cross. The mark of Hans Grünewalt of Nuremberg has not been fully determined, so that his work cannot be identified with absolute certainty; but a breastplate that belonged to Philip the Fair, and a shield at Vienna, have been attributed to him. They are of exquisite workmanship, and the mark on these specimens is a stag on a shield, which clearly refers to the “greenwood.” He was the great rival of Tomaso da Missaglia, and died in 1503. [Illustration: Fig. 18.--Gothic Suit at Berlin.] The Gothic armour at the Rotunda, Woolwich, is especially valuable from its direct association with the Knights of Rhodes. It is fragmentary in character, consisting mainly of isolated plates and portions of plates. There are several sallads of the Italian type, a beautiful breastplate in two plates, a backplate, some gardes-de-reine, a cuisse with a small butterfly genouillière guard, rounded flutings radiating from the centre of the upper thigh, several broken gauntlets, besides other fragments, and a tilting helm of the end of the fifteenth century, on which fifteen of the staples remain; the helm is perforated on one side only. The last Gothic suit given is one in the author’s collection, and an illustration of it is here given (Fig. 19). GOTHIC SUIT IN THE AUTHOR’S COLLECTION, 1460–1500.