,,the ,,spanish ,,series                
,,spanish ,,arms                        
,,and ,,armour          ,,the ,,spanish 
,,series    ,,edited ,,by ,,albert ,f4  
,,calvert      ,,seville    ,,murillo   
,,cordova    ,,the ,,prado    ,,the     
,,escorial    ,,spanish ,,arms ,,and    
,,armour    ,in preparation--           
,,goya    ,,toledo    ,,madrid          
,,velazquez    ,,granada ,,and          
,,alhambra    ,,royal ,,palaces ,,of    
,,spain    ,,leon1 ,,burgos  ,,salamanca
    ,,valladolid1 ,,oviedo1 ,,segovia1  
,,zamora1 ,,avila  ,,zaragoza           
,,spanish ,,arms                        
,,and ,,armour                          
,,being ,a ,,historical ,,and           
,,descriptive ,,account ,,of ,,the      
,,royal ,,armoury ,,of ,,madrid1        
,,by ,,albert ,f4 ,,calvert1            
,,with #chf ,,illustrations             
,,london3 ,,john ,,lane1 ,,the ,,bodley 
,,head                    ,,new ,,york3 
,,john ,,lane ,,company ,,mcmvii        
,e4 ,goodman and ,son1 ,the ,phnix      

,press                                  
,taunton                                
,,dedicated                     ,,with  
,,profound ,,respect ,,and ,,esteem     
,,to ,,her ,,majesty                    
,,queen ,,maria ,,cristina ,,of ,,spain 
,,who ,,so ,,worthily ,,and ,,for ,,so  
,,long                   ,,maintained   
,,those ,,glorious ,,traditions         
,,of ,,spanish ,,greatness              
,,which ,,are ,,symbolised ,,in ,,the   
,,treasures                             
,,of ,,the ,,royal ,,armoury            
,,preface      ,in compiling this volume
 ,i believe ,i can claim1 in a sense1 to
 have  broken new ground1 for although a
 description of the ,spanish ,royal     
,armoury finds a place in every ,guide  
and ,handbook to ,madrid1 no  exhaustive
 survey of the contents of this         
priceless treasure-house1  apart from   
the official catalogue1 is in existence4
    ,the present work is based on the   
admirable catalogue prepared in #ahih at
  the instigation of ,queen ,maria      

,cristina by the ,conde de ,valencia de 
,san  ,juan1 to whom1 with peculiar     
pleasure1 ,i desire to make full        
acknowledgment of my indebtedness4 ,to  
the formal descriptions of the          
exhibits1 which the ,conde de ,san ,juan
 has collated with invariable  accuracy1
 ,i have prefixed a brief sketch of the 
historical development  of ,spanish arms
 and armour1 which1 ,i venture to hope1 
will make the book  more acceptable1    
both to the specialist in armour1 and to
 those who  visit the ,armoury without  
any particular knowledge of the subject4
    ,though the ,armeria ,real remains  
the richest in the world1 it has        
enriched nearly all the collections of  
arms and armour in ,europe and          
,america4 ,mr4 ,g4 ,p4 ,laking1 in a    
recent number of the ,art ,journal1 has 
shown that after the fire of #ahci1 a   
very large number of pieces were        
fraudulently abstracted and sent to     
,london for sale--ultimately finding    
their way to armouries and museums as   

far apart as ,rome and ,new ,york4 ,if  
the truth were known it would probably  
be found that there was not a           
collection of any importance that did   
not include some of the spoils of  the  
great treasure house established by the 
,kings of ,spain4    ,in furtherance of 
my object1 ,i have laid under           
contribution a large  number of         
authorities1 and ,i cannot omit to      
acknowledge my obligations  to the      
standard works of ,meyrick1 ,hewitt1    
,demmin1 ,lacombe and ,clephan1  to the 
writings of ,baron ,davillier and ,don  
,juan ,riao1 to the  ,iconografia       
,espaola of ,don ,v4 ,carderera1 and to 
,dr4 ,wendelin ,boheim1 of  the         
,imperial ,armoury1 ,vienna4 ,i also    
desire to render a special tribute  of  
thanks to ,mr4 ,e4 ,b4 d',auvergne1 who 
placed his expert knowledge at my       
service1 and has rendered me invaluable 
assistance in my endeavours to  make    
this compilation both accurate and      
complete4    ,the value of a book of    

this kind must1 ,i recognise1 depend in 
a large  measure upon the selection of  
the illustrations and the excellence of 
their reproduction4 ,in this matter ,i  
have been greatly helped by ,seor  ,don 
,lacoste1 and ,messrs4 ,hauser y ,menet1
 whose photographs1 other than  those   
taken by myself1 are1 with their        
permission1 reproduced here4    ,a4 ,f4 
,c4    8,,royston10  ,,swiss ,,cottage1 
,n4,w4          ,,illustrations         
,,reference ,,no4     ,,title           
,,plate4     ,crowns and votive ,crosses
 of ,guarrazar1 ,remains of ,st4        
,ferdinand's   ,robe1 ,moorish ,spurs of
 ,st4 ,ferdinand1                       
#a     ,cloak and ,spurs of ,st4        
,ferdinand and ,visigothic ,bit1        
#a;,a     ,don ,bernardo ,guillen de    
,entenza1 #acth century1                
#b     ,don ,guillelmo ,ramon de        
,moncada1 ,seneschal of ,catalonia1 died
 circa   #abhj1                         
#c     ,don ,juan ,alphonso1 ,lord of   
,ajofrin1 died about #achf1             

#c     ,g #bb4 ,sword and ,scabbard1    
probably belonging to ,st4 ,ferdinand1  
#d     ,g #ba4 ,the ,lobera of ,st4     
,ferdinand1                             
#d     ,g #bb4 ,sword and ,scabbard that
 probably belonged to ,st4 ,ferdinand1  
#e     ,pedro ,i1 ,king of ,castile1    
#f     ,effigy of ,st4 ,ferdinand1 ,king
 of ,spain1                             
#g     ,sepulchral ,effigy of ,don      
,bernardo de ,anglesola1 circa #achd1   
#h     ,f #abc4 ,bit1 believed to have  
belonged to ,witiza1 ,king of the       
,visigoths1                             
#i     ,d #aa4 ,helmet-crest of ,martin 
,i of ,aragon1                          
#i     ,g #d4 ,pontifical ,sword        
presented by ,pope ,eugene ,,iv to ,john
 ,,ii of   ,castile1                    
#aj     ,g #ac4 ,fifteenth ,century ,war
 ,sword1 probably belonged to ,ferdinand
 the   ,catholic1                       
#aj     ,g #a4 ,ceremonial ,sword of    
,ferdinand and ,isabella1               
#aa     ,g #bc4 ,fifteenth ,century     

,sword of unknown ,origin1              
#aa     ,juan ,pacheco1 ,marquis of     
,villena1 ,grand ,master of ,st4 ,james1
 died   #adgd1                          
#ab     ,g #bi4 ,war ,sword of the ,gran
 ,capitan1 ,gonzalo ,fernandez de       
,cordoba   7#adec-aeae71                
#ac     ,g #bh4 ,sword of the ,cardinal 
,infante ,fernando1 ,brother of ,philip 
,,iv1                                   
#ac     ,g #ca4 ,war ,sword of          
,ferdinand the ,catholic1               
#ac     ,a #i4 ,armet1 early #afth      
century 7closed71                       
#ad     ,a #i4 ,the ,same 7open71       
#ad     ,a #e4 ,armet1 late #aeth       
century and beginning of #afth century1 
#ad     ,a #aa4 ,armour of ,philip the  
,handsome1                              
#ae     ,a #af4 ,tilting ,armour of     
,philip the ,handsome1                  
#ae     ,a #af4 ,tilting ,armour of     
,philip the ,handsome1                  
#ae;,a     ,a #af4 ,tilting ,armour of  
,philip the ,handsome1                  

#ae;,b     ,a #af4 ,tilting ,armour of  
,philip the ,handsome1                  
#ae;,c     ,tilting ,armour1 early #afth
 century1 attributed in the #ahdi       
,catalogue   to ,maximilian of ,austria1
                                        
#ae;,d     ,a #aa4 #8,caperuza' of      
,philip ,i of ,castile1                 
#af     ,a #ag4 ,helmet with unusually  
large ,shutter1 late #aeth century1     
#af     ,d #ad4 ,late #aeth century     
,helmet in the ,moorish ,style4 ,it is  
the only   one of its kind in the       
,armoury1                               
#af     ,c #a4 ,spanish ,man-at-arms1   
#aeth century1                          
#ag     ,c #a4 ,spanish ,man-at-arms1   
#aeth century 7back view71              
#ag;,a     ,c #d4 ,spanish ,crossbowman1
 #aeth century1                         
#ag;,b     ,c #d4 ,spanish ,crossbowman1
 #aeth century 7back view71             
#ag;,c     ,c #b4 ,spanish ,halberdier1 
#aeth century1                          
#ag;,d     ,c #b4 ,spanish ,halberdier1 

#aeth century 7back view71              
#ag;,e     ,mace-bearer of the #afth    
century1 with ,surcoat displaying the   
,arms of   ,castile and ,leon1          
#ah     ,a ,king of ,arms1              
#ai     ,a #aja4 ,royal ,tilting ,armour
 of ,charles ,v1                        
#bj     ,a #ai4 ,war ,armour of ,charles
 ,v1                                    
#bj     ,a #ai4 ,war ,armour of the     
,emperor ,charles ,v 7#aeag71           
#bj;,a     ,a #bf4 ,tilting ,harness of 
,charles ,v1                            
#ba     ,a #bg4 ,tilting ,armour of     
,charles ,v1                            
#bb     ,a #cg4 ,tilting ,harness of    
,charles ,v1 made by ,colman            
,helmschmied1      #bc     ,a #di4      
,oak-leaf ,suit with ,lamboys of        
,charles ,v1                       #bd  
,a #ef4 ,figure showing ,pieces of the  
,oak-leaf ,armour1                  #be 
,a #fe4 ,tilting ,harness of ,charles   
,v1                                  #bf
     ,a #ic4 ,foot ,armour1 with        

,lamboys1 belonging to ,charles ,v1 with
   reinforcing ,pieces for ,helmet1     
#bg     ,a #ic4 ,foot ,armour of        
,charles ,v1 made by ,helmschmied in    
#aebf1         #bg;,a     ,a #aab4      
,armour presented to ,charles ,v by the 
,duke of ,mantua1          #bh     ,a   
#aad4 ,armour presented to ,charles ,v  
by the ,duke of ,mantua1          #bi   
,a #aaf4 ,cornucopi ,armour of ,charles 
,v1                               #cj   
,a #abi4 ,war ,harness of ,charles ,v1  
#ca     ,a #aci4 ,italian ,armour of    
,charles ,v1                            
#ca     ,a #aci4 ,armour of ,charles ,v 
7work of ,negroli71                     
#ca;,a     ,a #adg4 ,foot ,armour of    
,charles ,v1                            
#cb     ,a #adi4 ,armour of ,charles ,v 
7#aeda71                                
#cc     ,a #afj4 ,armour of ,charles ,v1
 probably made by ,negroli1             
#cd     ,a #afd4 ,charles ,v at         
,mhlberg1                               
#ce     ,armour of ,charles ,v 7pieces  

of the ,mhlberg ,harness71              
#cf     ,pieces of the ,mhlberg ,harness
 of ,charles ,v1                        
#cg     ,harness composed of pieces of  
the ,mhlberg ,harness 7#aedg71          
#cg;,a     ,armour of ,charles ,v1 with 
,lamboys1                               
#ch     ,a #afe4 ,mhlberg ,armour of    
,charles ,v1                            
#ci     ,a #ach4 ,armour of ,charles ,v1
 after the ,roman style1                
#ci     ,equestrian ,armour of ,charles 
,v1                                     
#dj     ,armour of ,charles ,v1 made by 
,colman 7#ahdi ,catalogue71             
#da     ,armour of ,charles ,v41        
,augsburg or ,nuremburg make 7#ahdi     
,catalogue71                            
#da;,a     ,equestrian ,armour of the   
,marquis of ,villena1 #afth century1    
#db     ,a #ahi4 ,foot ,armour of       
,philip ,,ii1 made by ,desiderius       
,colman1          #dc     ,a #ahi4 ,foot
 ,armour of ,philip ,,ii1 made by       
,desiderius ,colman1          #dc;,a    

,a #bag4 ,armour of ,prince ,philip     
7,,ii71 of ,german make1                
#dd     ,a #bah4 ,armour of ,prince     
,philip 7,,ii71 made in ,germany in     
#aedi1        #de     ,a #bca4 ,armour  
made for ,prince ,philip 7,,ii7 by ,wolf
 of ,landshut   7#aeej71                
#df     ,a #bci4 ,parade ,armour of     
,philip ,,ii1                           
#dg     ,parade ,armour of ,king        
,sebastian of ,portugal1                
#dg     ,a #bci4 ,suit made for ,prince 
,philip 7,,ii7 at ,augsburg in #aeeb1   
#dg;,a     ,a #bci4 ,gorget of ,philip  
,,ii1 when heir-apparent1 for parade    
7#aeeb74 ,it   has the collar of the    
,golden ,fleece1                        
#dg;,b     ,a #bdb4 ,saddle-plate       
belonging to the same ,armour as the    
preceding1                              
#dg;,b     ,a #bdc4 ,equestrian ,armour 
of ,philip ,,ii1 made by ,sigmund ,wolf 
of   ,landshut1                         
#dh     ,a #bde4 ,tilting ,armour1 made 
for ,prince ,philip 7,,ii7 by ,wolf of  

,landshut   7#aeed71                    
#di     ,a #bfc4 #8,burgundy ,cross'    
,armour of ,philip ,,ii1                
#ej     ,the #8,burgundy ,cross' ,suit  
of ,philip ,,ii1                        
#ej;,a     #8,burgundy ,cross' ,armour  
of ,philip ,,ii1                        
#ej;,b     ,armour of ,king ,philip     
,,ii1                                   
#ea     ,a #bgd4 ,complete ,armour of   
,prince ,charles1 son of ,philip ,,ii1  
#eb     ,a #bhi4 ,suit presented to     
,philip ,,ii by the ,conde de ,nieva1   
#eb;,a     ,armour of ,philip ,,ii1     
engraved with the ,royal ,arms of       
,england1        #eb;,b     ,a #bij4    
,armour of ,king ,sebastian of          
,portugal1                         #ec  
,a #bij4 ,armour of ,king ,sebastian of 
,portugal 7#bnd view71                  
#ec;,a     ,a #bij4 ,armour of ,king    
,sebastian of ,portugal 7#crd view71    
#ec;,b     ,a #bij4 ,armour of ,king    
,sebastian 7details71                   
#ec;,c     ,a #bij4 ,armour of ,king    

,sebastian1 back plate 7details71       
#ec;,d     ,a #bia4 ,equestrian ,parade 
,armour of ,philip ,,iii1               
#ed     ,a #bia4 ,armour of ,philip     
,,iii1 made by ,lucio ,picinino of      
,milan1        #ed;,a     ,a #cdg4      
,armour presented by the ,archduke      
,albert to ,philip ,,iii1        #ee    
,a #ced4 ,half ,suit made at ,pamplona  
for ,philip ,,iii1                      
#ef     ,a #cef4 ,war ,armour1 early    
#agth century1 ,milanese make1          
#eg     ,a #cfj4 ,half ,armour of       
,prince ,filippo ,emmanuele of ,savoy1  
early #agth   century1                  
#eh     ,armour of ,prince ,filippo     
,emmanuele of ,savoy 7#aehf-afje71      
#eh;,a     ,a #dbb4 ,milanese ,armour of
 ,king ,philip ,,iv1                    
#ei     ,armour sent from ,flanders in  
#afbd by the ,infanta ,isabel ,clara    
,eugenia   to ,philip ,,iv1             
#fj     ,armour ascribed to ,king       
,philip ,,iv1                           
#fa     ,armour made at ,pamplona for   

the ,duke of ,savoy1 #afbj1             
#fb     ,a #bgg4 ,armour ascribed1 on   
doubtful authority1 to ,diego ,garcia de
   ,paredes1                            
#fc     ,armour ascribed to ,don ,alonso
 ,cespedes1 the ,castilian ,alcides1    
died   #aefi1                           
#fd     ,armour of ,fernando d',alarcon1
 #afth century 7#ahdi ,catalogue71      
#fe     ,half ,armour of the ,third     
,count of ,altamira 7#ahdi ,catalogue71 
#ff     ,half ,armour of ,john of       
,aldana 7#ahdi ,catalogue71             
#fg     ,half ,armour of ,alfonso       
d',avalos1 nephew of the ,marquis of    
,pescara   7#ahdi ,catalogue71          
#fh     ,milanese ,armour of the famous 
,warrior ,antonio de ,leiva 7#ahdi      
,catalogue71                            
#fi     ,half ,armour of the ,poet      
,garcilaso de la ,vega 7#ahdi           
,catalogue71       #gj     ,armour of   
,luis ,hurtado de ,mendoza 7#ahdi       
,catalogue71                  #ga       
,complete ,armour of the ,marquis of    

,pescara1 ,general of ,charles ,v 7#ahdi
   ,catalogue71                         
#gb     ,half ,armour of ,juan de       
,padilla1 beheaded by order of ,charles 
,v in #aebj   7#ahdi ,catalogue71       
#gc     ,half ,armour of ,juan ,arias de
 ,avila1 ,count of ,puonrostro 7#ahdi   
,catalogue71                            
#gd     ,coat of ,mail ascribed to      
,alfonso ,v of ,aragon and ,i of ,sicily
 7#ahdi   ,catalogue71                  
#ge     ,harness ascribed to ,charles ,v
 7#ahdi ,catalogue71                    
#gf     ,harness ascribed to ,charles ,v
 7#ahdi ,catalogue71                    
#gg     ,m #aa-ag4 ,armour of ,john     
,frederick1 ,elector of ,saxony1 taken  
at the   ,battle of ,mhlberg1 #aedg1    
#gh     ,armour of the ,elector ,john   
,frederick1 the ,magnanimous1 ,duke of  
,saxony1   taken at ,mhlberg1           
#gh;,a     ,c #aa4 ,brigantine of       
,milanese make which belonged to the    
,emperor   ,maximilian1                 
#gi     ,mark on the ,breastplate of a  

,child's ,corselet 7#agth century71     
#gi;,a     ,signature of the noted      
,engraver of ,augsburg1 ,daniel ,hopfer1
 with   date1                           
#gi;,a     ,monogram of ,guidobaldo     
,,ii1 ,duke of ,arbino1 on ,suit ,a     
#ahh1            #gi;,a     ,c #aa4     
,inside of ,brigantine of ,maximilian   
,i1 with ,arms of ,austria and          
,burgundy1                              
#gi;,a     ,milanese ,brigantine which  
belonged to ,charles ,v1                
#hj     ,milanese ,brigantine which     
belonged to ,charles ,v1                
#ha     ,b #a4 ,boy's ,half ,armour     
which belonged to ,philip ,,iii1        
#hb     ,b #c4 ,shield4 ,subject3 ,gods 
overwhelming the ,moors1                
#hb     ,b #d4 ,boy's ,half ,armour     
which belonged to ,philip ,,iii1        
#hb     ,b #a4 ,boy's ,half ,armour1    
made in ,italy for the ,infante1        
afterwards   ,philip ,,iii1             
#hc     ,b #a4 ,boy's ,half ,armour1    
made for the ,infante1 afterwards       

,philip ,,iii   7second view71          
#hc;,a     ,b #d4 ,half ,armour         
presented to the ,infante1 afterwards   
,philip ,,iii1 by   the ,duke of        
,terranova1                             
#hd     ,b #i4 ,milanese ,armour        
presented to the ,infante1 afterwards   
,philip ,,iii1   by the ,duke of        
,terranova1                             
#he     ,b #i4 ,armour of the ,infante1 
afterwards ,philip ,,iii1 ,milanese make
   7second view71                       
#he;,a     ,b #ab4 ,boy's ,half ,armour1
 with ,medallion on ,breastplate of     
,mutius   ,scaevola1                    
#hf     ,b #ah4 ,boy's ,half ,armour1   
made for the ,infante ,fernando1 ,son of
 ,philip   ,,iii1                       
#hg     ,half ,armour belonging to      
,prince ,philip1 afterwards ,philip     
,,iv1        #hh     ,boy's ,half       
,armour1 ,milanese make 7late #afth     
century71                #hi     ,boy's 
,half ,armour1                          
#ij     ,boy's ,half ,armour1 end of    

#afth century 7,italian71               
#ia     ,boy's ,half ,armour1           
#ib     ,a #dcd4 ,gorget4 ,subject3 ,the
 ,siege of ,ostend1 #afja1              
#ic     ,a #dcd4 ,gorget of ,philip ,,ii
 ,subject3 ,the ,battle of ,nieuport1   
#id     ,e #hh-hi4 ,superb pair of      
,gauntlets belonging to ,charles ,v1    
#ie     ,a #aea4 ,light ,war-,armour of 
,charles ,v1 ,corselet and ,armlet of   
rare   form1 also two ,helmets1         
#if     ,a #ge-hc4 ,armet1 with         
reinforcing ,pieces1                    
#ig     ,a #ed4 ,a curious ,bevor in two
 ,pieces1 nailed on ,leather1           
#ih     ,a #di4 ,charles ,v's ,tilting  
,helmet1                                
#ih     ,a #bi4 ,helmet belonging to the
 #8,k4,d4' ,suit1                       
#ih     ,a #bg4 ,helmet of ,charles ,v1 
#ih     ,a #abj4 ,burgonet1 by ,colman1 
#ii     ,a #aah4 ,morion of ,charles ,v1
                                        
#ii     ,cabasset and ,leg ,armour of a 
,spanish ,pikeman1 late #aeth century1  

#ii     ,a #eg4 ,tilting ,helmet of     
,charles ,v1                            
#ajj     ,a #ef4 ,helmet of ,charles ,v1
                                        
#ajj     ,a #ge4 ,helmet of ,charles ,v1
                                        
#aja     ,a #ei4 #8,dolphin' ,helmet of 
,charles ,v1                            
#aja     ,d #ab4 ,helmet made by        
,negroli of ,milan1                     
#ajb     ,a #aah4 ,burgonet of ,charles 
,v1                                     
#ajb     ,a #aea4 ,burgonet of ,charles 
,v1 with ,bevor bought from ,sir        
,richard   ,wallace1                    
#ajc     ,a #aea4 ,burgonet of ,charles 
,v1 with ,bevor not belonging to        
,helmet1                                
#ajc     ,a #aea4 ,corselet of ,charles 
,v1                                     
#ajd     ,a #ahi4 ,gauntlet of ,philip  
,,ii1                                   
#aje     ,a #aij4 ,helmet of ,philip    
,,ii1                                   
#aje     ,helmet of ,philip ,,ii1 made  

at ,augsburg in #aedi1 belonging to the 
suit ,a   #bci1                         
#ajf     ,a #bdc4 ,helmet of ,philip    
,,ii1 made by ,wolf of ,landshut in     
#aeed1       #ajg     ,a #bij4 ,burgonet
 of ,king ,sebastian of ,portugal1      
#ajh     ,a #bij4 ,burgonet of ,king    
,sebastian of ,portugal1                
#aji     ,a #bib4 ,burgonet made for    
,philip ,,iii by ,lucio ,picinino1      
#aaj     ,a #bia4 ,helmet of ,philip    
,,iii1 with three beautiful ,masks on   
,visor1   ,nape1 and ,front2 probably   
,italian1 late #afth century1           
#aaa     ,a #bib4 ,burgonet1 the missing
 parts of which are in the ,kensington  
,museum1 ,london1                       
#aaa     ,a #cej4 ,helmet for the ,duke 
of ,savoy 7front view71                 
#aab     ,a #cej4 ,helmet for the ,duke 
of ,savoy 7side view71                  
#aac     ,a #dag4 ,cabasset presented to
 ,philip ,,iv by the ,infanta ,isabel   
,eugenia1                               
#aad     ,a #cej4 ,helmet with movable  

,visor1 made in ,pamplona1 apparently   
for the   ,duke of ,savoy1 #afbj1       
#aae     ,a #chj4 ,burgonet1 early #agth
 century1 belonged to ,philip ,,iv1     
#aae     ,a #dad4 ,helmet of ,philip    
,,iv1 presented to him with other       
,armour by the   ,infanta ,isabel       
,eugenia1                               
#aae     ,a #dag4 ,cabasset presented to
 ,philip ,,iv by the ,infanta ,isabel   
,eugenia1                               
#aae     ,b #b4 ,morion1 which belonged 
to ,philip ,,iii when a ,boy4 ,subject3 
,the   ,goddess of ,plenty1             
#aaf     ,b #e4 ,morion1 given to       
,philip ,,iii when a ,child by the ,duke
 of   ,terranova1                       
#aag     ,d #c4 ,burgonet of ,charles   
,v1 designed by ,giulio ,romano1        
#aah     ,d #c4 ,burgonet of ,charles   
,v1 designed by ,giulio ,romano 7second 
side71                                  
#aai     ,d #e4 ,burgonet1 #afth        
century4 ,subject3 ,bacchus and ,ariadne
 7left   side71                         

#abj     ,d #e4 ,burgonet1 #afth        
century4 ,subject3 ,silenus supported by
   ,bacchus1                            
#aba     ,d #g4 ,burgonet1 #afth        
century4 ,subject3 ,the ,wooden ,horse  
of ,troy 7left   side71                 
#abb     ,d #g4 ,burgonet1 #afth        
century4 ,subject3 ,the ,judgment of    
,paris 7right   side71                  
#abc     ,d #ac4 ,milanese ,salade1     
#aeth century1                          
#abd     ,d #ad4 ,moorish ,salade1      
ascribed to ,philip ,i1                 
#abe     ,d #bf4 ,spanish ,morion1 early
 #afth century1 with the ,inscription1  
#8,non   ,timeo ,milia ,populi1'        
#abe     ,a #ahh4 ,roman ,helmet        
7,charles ,v71                          
#abf     ,a #ahh4 ,mask on              
,shoulder-,guard of ,charles ,v's ,roman
 ,suit1            #abf     ,d #bb4     
,cabasset which belonged to ,philip the 
,handsome1               #abf     ,d    
#af4 ,late #aeth century ,helmet1       
probably belonged to ,philip the        

,handsome1                              
#abf     ,d #be4 ,spanish               
,foot-,soldier's ,morion1 early #afth   
century1            #abg     ,d #bc4    
,parade ,headpiece of ,charles ,v1      
#abg     ,d #bi4 ,parade ,headpiece1    
middle #afth century 7origin unknown71  
#abg     ,d #cj4 ,parade ,burgonet1 made
 for ,charles ,v by the ,negrolis in    
#aede1                                  
#abg     ,d #bi4 ,helmet1 middle of     
#afth century1                          
#abh     ,d #bh4 ,steel ,cap belonging  
to ,charles ,v1                         
#abh     ,d #cj4 ,burgonet of ,charles  
,v1 made by ,negroli1                   
#abi     ,m #e4 ,helmet of ,francis ,i  
of ,france1 taken at the ,battle of     
,pavia1                                 
#acj     ,m #e4 ,helmet of ,francis ,i  
of ,france1 taken at the ,battle of     
,pavia1                                 
#aca     ,b #ba4 ,helmet which belonged 
to ,prince ,baltasar ,carlos1           
#afbi-afdf1                             

#acb     ,d #ca4 ,burgonet ascribed on  
insufficient grounds to ,antonio de     
,leyva   7#afth century71               
#acb     #aeaa4 ,satin and ,velvet      
,turban found in the ,palace of         
,mustafa1 ,bey of   ,oran1 in #agbb1    
#acc     #aecc4 ,steel ,turban of ,ali  
,pasha1 ,turkish ,admiral at ,lepanto1  
#acc     ,turkish ,helmet taken at      
,lepanto1                               
#acd     ,helmet of ,philip ,,iii1      
#acd     ,helmet of the #afth century1  
#ace     ,helmet of ,charles ,v1        
belonging to the ,cornucopi ,suit1      
#acf     ,helmet of ,charles ,v1        
belonging to the ,cornucopi ,suit1      
#acf     ,c #aa4 ,salade1 with          
detachable decorative ,pieces 7belonged 
to   ,maximilian ,i or ,philip ,i71     
#acg     ,m #ai4 ,helmet of ,ali ,pasha1
 ,turkish ,admiral1 defeated at         
,lepanto1                               
#acg     ,a #aia4 ,morion and ,arm-guard
 of ,charles ,v1                        
#ach     ,a #bg4 ,shield used in        

,tilting1                               
#aci     ,a #eg4 ,shield used in        
,tilting1 designed by ,hopfer1          
#aci     ,a #eg4 ,shield designed by    
,hopfer1                                
#adj     ,shield1 with a ,mask in       
,relief1 belonging to the ,harness of   
,charles ,v1   ,a #adi-aef1             
#ada     ,shield of ,philip ,,ii1       
belonging to the ,armour ,a #bag-bcj1   
#adb     ,shield of the ,emperor        
,charles ,v1 belonging to the ,harness  
,a   #aei-afc1                          
#adb     ,a #bfe4 ,shield of ,philip    
,,ii1                                   
#adc     ,a #bda4 ,german ,shield1 #afth
 century1 by ,desiderio ,colman3 ,war1  
,peace1   ,wisdom1 and ,strength1       
#adc     ,shield of ,philip ,,iii1      
musket-proof1 belonging to the ,harness 
,a   #ced1                              
#add     ,a #bic4 ,shield4 ,subject3    
,alexander subduing ,bucephalus1        
#add     ,a #bic4 ,shield accompanying  
armour of ,philip ,,iii1 #aegh-afba4 ,in

 the   centre1 ,alexander the ,great    
subduing ,bucephalus1                   
#ade     ,b #c4 ,shield which belonged  
to ,philip ,,iii when a boy4 ,subject3  
,jupiter1   ,neptune1 and ,mars         
overwhelming the ,moors1                
#adf     ,a #cgd4 ,shield belonging to  
,prince ,filippo ,emmanuele of ,savoy1  
#aehh-afbd 7,italian71                  
#adf     ,d #a1 ,d #b4 ,helmet and      
,shield of ,charles ,v1                 
#adg     ,d #c1 ,d #d4 ,burgonet and    
,shield of ,charles ,v1                 
#adh     ,d #h4 ,shield 7,italian7 with 
design representing the ,abduction of   
,helen1   #afth century1                
#adi     ,d #f4 ,shield of ,italian     
workmanship1 #afth century1             
#adi     ,d #fc4 ,the #8,plus ,ultra'   
,shield1 designed by ,girolamo ,romani1 
#aej     ,d #aj4 ,shield1 early #agth   
century4 ,design3 ,warriors in combat1  
#aej     ,d #fc4 ,shield called #8,plus 
,ultra1' with ,apotheosis of ,charles   
,v1                                     

#aej;,a     ,d #fd4 ,the ,medusa        
,shield1 made by ,negroli for ,charles  
,v1             #aej;,a     ,shield of  
the ,emperor ,charles ,v1 forming part  
of the ,mhlberg   armour1               
#aea     ,d #ff4 ,italian ,shield1      
,moorish style1 #afth century1          
#aea     ,d #fg4 ,italian ,shield1      
,moorish ,style1 #afth century1         
#aeb     ,shield presented to ,charles  
,v by ,don ,ferdinando de ,gonzaga1     
#aeb     ,d #fi4 ,italian ,shield1 #afth
 century4 ,design3 ,the ,triumph of     
,love1                                  
#aec     ,d #fh4 ,shield of ,augsburg   
make1 #afth century1                    
#aec     ,shield ascribed to the        
,marquis of ,villena1 #afth century1    
#aed     ,d #ga4 ,shield of the end of  
the #afth century1                      
#aed     ,shield of ,philip ,,ii1       
#aee     ,shield of the ,milanese       
,school1 #afth century1                 
#aee     ,d #gb4 ,shield1 late #afth    
century4 ,design3 ,the ,medusa's ,head1 

#aef     ,shield representing ,jupiter1 
,saturn1 ,venus and ,cupid1 ,mercury1   
and   ,mars1 #afth century1             
#aef     ,shield1 the work of ,e4 de    
,zuloaga1 #aith century1                
#aeg     ,unfinished ,shield1 the work  
of ,e4 de ,zuloaga1 #aith century1      
#aeg     ,shield1 the work of ,e4 de    
,zuloaga1 #aith century1                
#aeh     ,d #gc4 ,spanish ,shield1 #agth
 century4 ,design3 ,the ,judgment of    
,paris1                                 
#aeh     ,d #gh4 ,shield presented to   
,philip ,,iii by the ,duke of ,savoy in 
#afjc1                                  
#aei     ,d #gi4 ,shield presented to   
,philip ,,iii by the ,duke of ,savoy in 
#afjc1                                  
#afj     ,d #hf4 ,moorish ,leather      
,shield1 end of #aeth century1          
#afa     ,d #hh4 ,oval ,leather ,shield1
 late #afth century4 ,the face decorated
 with   admirable ,mexican-,indian      
,feather-work1                          
#afa;,a     ,leather ,shield1 with the  

,arms of the ,mendoza family1           
#afb     ,m #a-e4 ,arms of ,king        
,francis ,i of ,france1 taken at the    
battle of ,pavia1   #aebe1 by the troops
 of ,charles ,v1                        
#afc     ,m #f4 ,shield and ,sword of   
,francis ,i of ,france1 taken at the    
battle of   ,pavia4 ,design3 ,the       
,gallic ,cock attacking a warrior and   
putting him to   flight1                
#afc;,a     ,g #de4 ,sword of ,hernando 
,cortes1                                
#afd     ,g #dh4 ,sword of ,philip ,,ii1
                                        
#afd     ,g #bi4 ,sword of ,gonsalvo de 
,cordoba1                               
#afd     ,g #fj4 ,pistol and ,axe       
combined1 of ,philip ,,ii1              
#afe     ,g #de4 ,sword attributed to   
,hernando ,cortes1 conqueror of ,mexico1
   #adhe-aedg1                          
#afe     ,g #dg4 ,sword of ,philip ,,ii1
 worn with parade armour1               
#aff     ,g #dh4 ,toledan ,sword        
attributed to ,philip ,,ii1             

#aff     ,g #di4 ,toledan ,sword of the 
,count of ,corunna 7#afth century74 ,the
 guard   is one of the most beautiful in
 the armoury1                           
#aff     ,g #dg4 ,sword of ,philip ,,ii1
 with the mark of ,clement ,horn of     
,solingen1                              
#aff;,a     ,g #ed4 ,spanish ,sword1    
middle of #afth century1                
#afg     ,g #ei4 ,spanish ,sword1 late  
#afth century4 ,bears mark of ,juanes el
   ,viejo1                              
#afg     ,g #ee4 ,spanish ,sword1 late  
#afth century1 made by ,sebastian       
,hernandez of   ,toledo1                
#afg     ,g #fa4 ,sword of the ,duke of 
,weimar1 ,commander of the ,swedish     
,army1   defeated at the ,battle of     
,nordlingen1 #afbd1                     
#afh     ,g #hj4 ,sword attributed to   
,philip ,,iii ,it bears the date #afjd1 
,toledo   make1                         
#afh     ,g #fd4 ,sword attributed to   
,count de ,lamos1 #aegf-afbb1 made by   
,toms de   ,ayala of ,seville1          

#afh     ,g #aea4 ,persian ,sword1 #afth
 century1 probably brought from ,tunis  
by   ,charles ,v1                       
#afi     ,g #fb4 ,stradiot's ,sabre1    
early #agth century1 presented by the   
,duke of   ,savoy to ,philip ,,iii      
7#afjc71                                
#afi     ,g #dc4 #afth ,century         
,cutlass1                               
#afi     ,g #cd4 ,war ,sword of ,charles
 ,v1 ,italian make1                     
#agj     ,g #cc4 ,italian ,war ,sword of
 ,charles ,v1                           
#agj     ,g #ce4 ,sword of ,pizarro1    
,conqueror of ,peru1                    
#agj     ,g #afj4 ,knife used by the    
,carver at the ,king's ,table1 as       
required by   the etiquette of the      
,house of ,burgundy1                    
#aga     ,dagger1 early #afth century1  
#aga     #afth century ,dagger1 supposed
 to have belonged to ,charles ,v1       
#aga     ,a #bdb4 ,war ,saddle of       
,philip ,,ii1 made by ,desiderius       
,colman of   ,augsburg1                 

#agb     ,a #bdb4 ,pommel and ,cantle of
 ,saddle of ,philip ,,ii1               
#agb;,a     ,a #bdb4 ,cantle-,plate of  
same ,saddle1                           
#agb;,b     ,a #bdb4 ,burr-,plate of    
,saddle1                                
#agb;,c     ,a #bdb4 ,burr-,plate of    
,saddle1                                
#agb;,d     ,a #bia4 ,cantle-,plates of 
,saddle made by ,lucio ,picinino1       
#agc     ,a #bia4 ,cantle-,plate of same
 ,saddle1                               
#agc;,a     ,a #bia4 ,burr-,plate of    
same ,saddle1                           
#agc;,b     ,saddle 7,italian71 #afth   
century4 7,marine ,monsters71           
#agd     ,moorish ,saddle1 with short   
,stirrups1 #ahth century1               
#age     ,turkish ,saddle given to      
,charles ,,iii1                         
#agf     ,arab ,saddle1 with short      
,stirrups1 taken in the ,palace of the  
,bey of   ,oran in #agcb1               
#agg     ,military ,saddle1 late #afth  
century1                                

#agh     ,a #ceb4 ,saddle made at       
,pamplona for the ,duke of ,savoy       
7#afbj71        #agi     ,iron ,war     
,saddle of the ,emperor ,charles ,v1    
#ahj     ,f #bb4 ,italian ,saddle1 #afth
 century1 probably presented by         
,frederico   ,gonzaga to ,charles ,v1   
#aha     ,military ,saddle3 ,design in  
,berruguete style1                      
#ahb     #bcbg4 ,military ,saddle1      
#ahc     ,military ,saddle1 ,augsburg   
make1                                   
#ahd     ,saddle1 early #aeth century1  
from ,majorca1                          
#ahe     #aiac4 ,sword1 with the ,toledo
 ,blade of the ,duke of ,olivares1      
#ahf     #ahhj4 #8,flaming' ,spanish    
,sword of ,philip ,,iv1                 
#ahf     #aiag4 ,sword of ,d4 ,suero de 
,quiones1 late #afth century1           
#ahf     #ahfd4 ,dagger1 scalloped      
half-way1                               
#ahf     #aiaf4 ,sword1 with round      
,point1 of ,garcilaso de la ,vega1      
#ahf     #aibj4 ,sword1 with ,toledo    

,blade1 of the ,marquis of ,povar1      
#ahf     #fca4 ,shield representing     
,jupiter sending ,lightning on the      
,moors1                                 
#ahf     #ahgd4 ,dagger given by ,louis 
,,xv of ,france to the ,king of ,spain1 
#ahf     #agjd4 ,sword of ,isabel the   
,catholic1                              
#ahg     #aehi4 ,petronel of ,charles   
,v1 with ,battle-,axe1                  
#ahg     #aeha4 ,yataghan of ,mustafa1  
,bey of ,oran1                          
#ahg     #aefa4 ,battle-,axe1           
#aeth-#afth centuries1                  
#ahg     #aefc4 ,kriss or ,malay        
,dagger1                                
#ahg     #aehg4 ,battle-,axe1 ,byzantine
 style1                                 
#ahg     #agjb4 ,sword of the ,great    
,captain1                               
#ahg     #agfd4 ,martel-de-fer of       
,charles ,v1                            
#ahg     #aeia4 ,alfange or ,indian     
,scimitar1                              
#ahg     #afih4 ,sword1 #afth century1  

#ahg     #agai4 ,sword of the ,count of 
,corunna1                               
#ahh     #ahdc1 #ahaf4 ,pieces of the   
,barding of a ,horse1                   
#ahh     #afif4 ,sword1 #aeth century1  
#ahh     #agaf4 ,sword of ,philip ,i1   
the ,handsome1                          
#ahh     #bjde1 #bjdi4 ,pistols1        
#afth-#agth centuries1                  
#ahh     #bjgg4 ,dagger1 four edged1    
#afth century1                          
#ahh     #ahad4 ,sword1 found in the    
,tagus1 and given to ,philip ,,ii1      
#ahh     #acei1 #acae4 ,armpit ,shields1
                                        
#ahh     #agfc4 ,spurs1 in ,filigree    
,silver1                                
#ahh     #acbh4 ,lance-,shield of the   
,prince of ,parma1                      
#ahh     #agei4 ,sword of ,bernal ,diaz 
del ,castillo1                          
#ahh     #afig4 ,sword of the ,prince of
 ,conde1                                
#ahi     #afdd4 ,two-handed ,sword1     
early #aeth century1                    

#ahi     #aggg4 ,sword of ,philip ,,ii1 
#ahi     #agid4 ,sword of ,don ,john of 
,austria1                               
#ahi     #agjh4 ,german ,sword of       
,frederick ,henry1 ,count of ,nassau1   
#ahi     #ahde4 ,sword of ,john of      
,urbino1                                
#ahi     #afib4 ,magnificent ,toledan   
,blade1 unmounted1                      
#ahi     #bjfg1 #bjgf4 ,a pair of       
,pistols1 #agth century1                
#ahi     #ahbc4 ,piece of a ,horse's    
,barding1                               
#ahi     #agfi4 ,sword of ,pizarro1     
#aij     #agbf4 ,head ,stall1           
#aij     #agba4 ,very remarkable ,sword 
of the ,renaissance1                    
#aij     #agah1 #agga4 ,rondels1        
#aij     #bjdd4 ,pistols1 #afth and     
#agth centuries1                        
#aij     #ibi4 ,head ,stall for ,charger
 of the ,count of ,niebla1              
#aij     #aggj1 #agfa4 ,beautiful       
,stirrups1 with ,figures1               
#aij     #agfh4 ,unique ,spur1          

#aij     #ahgc4 ,sword1                 
#aia     #ahej4 ,german ,sword1         
#aia     #aiab4 ,sword of ,philip ,,iii1
                                        
#aia     #aiaa4 ,sword of the ,duke of  
,montemar1                              
#aia     #ahgb4 ,sword of ,charles ,,ii1
                                        
#aia     #bjcd1 #bjca4 ,pistols1        
#aia     #ebc4 ,chamfron1               
#aia     #aggc4 ,sword of ,philip ,,ii1 
#aib     #afei4 ,sword with four ,sides 
7,german71 #afth century1               
#aib     #ahjg4 ,sword of ,hernan       
,cortes1                                
#aib     #ahef1 #aheg4 ,magnificent pair
 of ,gauntlets1                         
#aib     #agbg4 ,lobera ,sword of ,st4  
,ferdinand1                             
#aib     #afde4 ,sword of ,don ,diego   
,hurtado de ,mendoza1                   
#aib     #aefb4 ,moorish ,boarding      
,gauntlet1 #adth to #aeth century1      
#aic     #afai4 ,sword presented to     
,john ,,ii of ,castile by the ,pope     

,eugenius   ,,iv1                       
#aic     #agaa4 ,halberd of ,charles ,v1
                                        
#aic     #aebi4 ,iron ,ring1 with       
,points inside1                         
#aic     #aehh4 ,bracelet of ,ali       
,pasha1 ,turkish ,admiral at ,lepanto1  
#aic     #aejb1 #aedd4 ,moorish         
,quivers1                               
#aic     #aeef1 #afje4 ,malay           
,battle-,axes1 in ,wood1                
#aic     #afbj4 ,sword of ,diego ,garcia
 ,paredes1                              
#aic     #afjf4 ,wooden ,stirrup1       
#aic     #afdd4 ,two-handed ,sword1     
early #aeth century1                    
#aic     #aeed4 ,quiver with ,arrows of 
the ,cacique ,guarimacoa1               
#aic     #bece4 ,halberd ,plate1 #aeth  
century1                                
#aic     #aehe4 ,moorish ,boarding      
,weapon1 #aeth century1                 
#aic     #aggf4 ,espadon or large       
two-handed ,sword of ,charles ,v1       
#aid     #ahgh4 ,sword of the ,count    

,lemos1                                 
#aid     #ahfb4 ,valencian ,sword of    
,ferdinand ,d',alarcon1                 
#aid     #aigf1 #aifh4 ,beautiful       
,pistols of #afth century1              
#aid     #efg4 ,chamfron which belonged 
to ,philip ,,iv1                        
#aid     #agge4 ,espadon of ,diego      
,garcia de ,paredes1                    
#aid     #ahdh4 ,flaming ,sword of ,don 
,juan of ,austria1 ,son of ,philip ,,iv1
       #aid     #aheb4 ,sword of ,pedro 
,mendez de ,aviles1                     
#aid     #agfb4 ,sword of ,cardinal     
,fernando1 ,brother of ,philip ,,iv1    
#aie     #aibd1 #ahjf1 #ahcc4 ,pieces of
 ,barding for a ,horse1                 
#aie     #ajdi4 ,sword of the ,count of 
,benavente1 made at ,zaragoza1          
#aie     #afcd4 ,espadon1               
#aie     #aeii4 ,scimitar of ,don ,juan 
of ,austria1                            
#aie     #aeih4 ,spanish-,moresque      
,sword1                                 
#aie     #agbi1 #agfg4 ,maces1 #aeth and

 #afth centuries1                       
#aie     #agfe4 ,two-handed ,sword of   
,ferdinand ,v1 the ,catholic1           
#aif     #affb4 ,sword in its ,sheath1  
studded with ,jewels1                   
#aif     #agac4 ,two-handed ,sword of   
,charles ,v1                            
#aif     #agjf1 #agja4 ,maces of the    
,constable of ,bourbon1 time of ,charles
   ,v1                                  
#aif     #agjj1 #agjg4 ,stirrups1 of    
,turkish form1 of ,charles ,v1          
#aif     #fbi4 ,gilded ,handle to       
,crossbow1                              
#aig     #aebi4 ,iron ,ring1 with       
,spikes inside1 which the ,moors used as
 an   ,instrument of ,execution1        
#aig     #eih4 ,flemish ,crossbow1 #afth
 century1                               
#aig     #fbh4 ,crossbow1 incrusted with
 ,ivory1                                
#aig     #fdj4 ,crossbow of the ,duke of
 ,alba1                                 
#aig     #aebb4 ,arabian ,spur1         
#aig     #aech4 ,shield for             

,crossbowman1                           
#aig     ,gaffles for stretching the    
,string of the ,crossbow1               
#aig     ,trophy formed of different    
,weapons1 by ,e4 de ,zuloaga1           
#aih     ,trophy formed of several      
pieces of ,armour of ,philip ,,ii1      
#aii     ,marks used by the principal   
,sword-makers of ,toledo until the      
beginning   of the #ahth century1       
#bjj     ,key to the foregoing1         
#bjj;,a     ,heads of ,spanish ,lances  
and ,pikes1 #aeth to #agth centuries4   
#8,the ,pike ,i   would have1 if it     
might be1 of ,spanish ,ash1 and between 
#bj and #bb feet   long4'--,sutcliffe1  
,practice of ,arms 7#aeic71             
#bja     ,heads of ,spanish ,lances used
 for ,tilts and ,tournaments1 #aeth to  
#agth   centuries1 pointed1 round       
headed1 or furcated1                    
#bjb     ,spanish ,knives employed by   
the chief ,carver at the ,royal ,table  
the   ,handles of which are richly      
decorated with the ,spanish ,arms of the

   time of ,philip ,,iv1                
#bjc     ,j #bh4 ,hunting ,crossbow1    
early #afth century1                    
#bjd     ,j #ah4 ,spanish ,hunting      
,crossbow of ,charles ,v1               
#bjd     ,j #cg4 ,small ,hunting        
,crossbow1 #afth century1               
#bjd     ,h #i4 ,martel-de-,fer1 early  
#afth century1                          
#bje     ,h #f4 ,battle-axe1 middle     
#afth century1                          
#bje     ,h #ad4 ,battle-mace1 late     
#aeth century1                          
#bje     ,h #ae4 ,battle-mace of        
,charles ,v1                            
#bje     #aihg1 #aiib4 ,spanish         
,arquebuses1 end of #afth century1      
#bjf     #aiee4 ,petronel1 #afth        
century1                                
#bjf     #aifa4 ,spanish ,arquebus1 with
 octagonal ,barrel inlaid with ,mother  
of   ,pearl and ,ivory1 #afth century1  
#bjf     #aigb1 #aigg1 #aidf4 ,keys or  
,cranks to cock the ,arquebuses1        
#bjf     #afjb4 ,elegant ,sabre of a    

#8,chef d',estradiots' 7,venetian7 given
 to   ,philip ,,iii1                    
#bjg     #bbdc1 #bbhe4 ,spanish ,knives1
 with ,spanish ,arms1 time of ,philip   
,,iv1                                   
#bjg     #aegg1 #aegh4 ,persian ,sabres1
                                        
#bjg     #afjd4 ,gourma1 or ,dagger1    
#bjg     #aegi4 ,sabre of unknown       
origin1                                 
#bjg     #afjj4 ,misrae or ,scimitar of 
,ali ,pasha1 ,turkish ,admiral at       
,lepanto1                               
#bjg     #aegb4 ,miserecorde1 or        
,dagger1 of ,diego ,garcia de ,paredes1 
#bjg     #aeff4 ,dagger of ,charles ,v1 
#bjg     #aehj4 ,dagger of the ,kabyles1
                                        
#bjg     #aefb4 ,manople or ,moorish    
,boarding-sword1 #adth-#aeth centuries1 
#bjg     #bafg4 ,repeating ,hunting     
,gun1                                   
#bjh     #bbif4 ,turkish ,cannon        
,tinder1                                
#bjh     #badj4 ,hunting ,gun with      

twelve ,shots1                          
#bjh     #bafd4 ,repeating ,gun1 made in
 #agje1                                 
#bjh     #becd4 ,the ,barrel of a       
,breech-loading ,gun1                   
#bjh     #bbid4 ,turkish ,gun ,tinder1  
#bjh     #badb4 ,model of a ,gun with   
fourteen ,shots1                        
#bjh     #a4 ,arquebus of ,don ,john of 
,austria 7,k #ad71                      
#bji     #b4 ,arquebus ,handle1 ,dagger1
 and ,primer combined 7,g #aea71        
#bji     #c4 ,arquebus of ,don ,john    
,joseph of ,austria 7,k #bc71           
#bji     #d4 ,arquebus ,handle and      
,primer 7,k #ab71                       
#bji     #e4 ,nuremburg ,arquebus1 #afth
 century 7,k #aa71                      
#bji     #aidj1 #aidd4 ,barrels1 #aeth  
century1                                
#baj     #fea4 ,lance1 with two little  
,barrels1 #agth century1                
#baj     #ijc4 ,spanish ,arquebus1 #aeth
 century1                               
#baa     #iagh4 ,petronel1 #aedg1       

#baa     #bjhj4 ,pistol1 with three     
,barrels1                               
#baa     #babf4 ,pistol1 with ,rifle    
,barrel1                                
#baa     #bbbe4 ,hunting ,gun of ,philip
 ,v1 breech-loading1                    
#baa     #bjbd4 ,petronel1 #afth        
century1                                
#baa     #bfce4 ,revolver1 #ahth        
century1                                
#baa     #bjde4 ,pistol1 with two       
,barrels1 #afth century1                
#baa     ,k #cj4 ,small ,arquebus of    
,charles ,v 7,italian make71            
#bab     ,k #cc4 ,small ,spanish        
,arquebus1 #aeca1                       
#bab     ,k #ee4 ,small                 
,pistol-arquebus1 middle #afth century1 
#bab     ,double breech-loading ,cannon1
 in bronze1 used in ,spain from the end 
of   the #aeth century1                 
#bac     ,a #aij4 ,tailpiece of a       
,horse's ,bard1 #aede1                  
#bad     ,a #aij4 ,chanfron1            
representing the ,head and ,neck of a   

fantastic ,dragon1   covered with       
,scales of ,gold1 #aede1                
#bad     #eca4 ,head-stall of ,philip   
,,iii's ,horse1                         
#bae     #ecd4 ,chanfron and ,mainfaire 
of a ,horse of ,philip ,,iii1           
#bae     #efg4 ,chanfron of ,horse of   
,philip ,,iv1                           
#bae     #ebe4 ,chanfron 7,moorish71    
#baf     #eeh4 ,chanfron and ,mainfaire1
 #afth century1                         
#baf     #efe4 ,chanfron1 with the      
,imperial ,arms in ,colours1            
#baf     ,f #aaj4 ,chanfron1 early #afth
 century1                               
#bag     ,f #aac4 ,chanfron1 early #afth
 century1                               
#bag     #agfb4 ,sword of ,cardinal ,d4 
,fernando1 ,brother of ,philip ,,iv1    
#bah     #afac1 #afbd4 ,christian       
,standards1 from the ,battle of         
,lepanto1        #bah     ,flag carried 
at the ,obsequies of ,philip ,,ii1      
#bai     ,standard of the               
,ex-,bodyguard1                         

#bbj     ,standard taken from the       
,english who besieged ,carthagena       
7,america7 in   #agda1                  
#bba     ,flag from the ,battle of      
,lepanto1 with a ,painting representing 
,christ   and ,st4 ,martin1             
#bbb     ,seal of ,charles ,v when      
,count of ,flanders1 showing him on     
,horseback in   ,armour1                
#bbc     ,small ,shield on ,head-stall1 
with the ,arms of ,philip ,,ii when     
,heir-apparent1 and also those of his   
,wife1 ,queen ,mary of   ,england1      
#bbc     ,salade-morion of the ,prince  
of ,asturias1 ,baltasar ,carlos of      
,austria   7#afbi-afdf71                
#bbc     ,m #ge1 #gg1 #gf4 ,lanterns    
from ,flag-ships gained by the ,marques 
de ,santa   ,cruz in various naval      
,engagements1                           
#bbd     ,sedan ,chair of ,philip ,v    
7from the ,coach-houses of the ,royal   
,palace1   ,madrid71                    
#bbe     ,sedan ,chair of ,ferdinand    
,,vi 7from the ,coach-houses of the     

,royal   ,palace1 ,madrid71             
#bbf     ,sedan ,chair of ,charles ,,iv 
7from the ,coach-houses of the ,royal   
,palace1   ,madrid71                    
#bbg     ,sedan ,chair of ,philip ,v    
7from the ,coach-houses of the ,royal   
,palace1   ,madrid71                    
#bbh     ,sedan ,chair of ,charles ,,iii
 7from the ,coach-houses of the ,royal  
,palace1   ,madrid71                    
#bbi     ,campaign ,litter of the       
,emperor ,charles ,v1                   
#bcj     ,carriage given by ,napoleon ,i
 to ,charles ,,iv 7from the             
,coach-houses of   the ,royal ,palace1  
,madrid71                               
#bca     ,gala ,coach of ,charles ,,iv  
7from the ,coach-houses of the ,royal   
,palace1   ,madrid71                    
#bcb     ,carriage of the ,president of 
the ,cortes 7from the ,coach-houses of  
the   ,royal ,palace1 ,madrid71         
#bcc     ,the ,crown ,coach 7from the   
,coach-houses of the ,royal ,palace1    
,madrid71                               

#bcd     ,wedding ,coach of ,ferdinand  
,,vii and ,maria ,christina 7from the   
,coach-houses of the ,royal ,palace1    
,madrid71                          #bce 
,carriage of the ,mace-,bearers of the  
,cortes 7from the ,coach-houses of   the
 ,royal ,palace1 ,madrid71              
#bcf     ,carriage1 with gilt ,panels1  
of ,charles ,,iv 7from the ,coach-houses
 of   the ,royal ,palace1 ,madrid71     
#bcg     ,cover of an ,album1 exterior1 
the work of ,e4 de ,zuloaga1            
#bch     ,cover of an ,album1 interior1 
the work of ,e4 de ,zuloaga1            
#bci     ,portable ,chair1 in ,leather1 
of the ,emperor ,charles ,v1            
#bdj     ,magnificent ,bureau1 in       
engraved ,iron1 belonged to ,charles ,v1
        #bda     ,wooden ,trunk1 with   
,ornaments in the ,pointed ,style1      
#bdb     ,iron ,inkstand1 embossed and  
inlaid1 the work of ,e4 de ,zuloaga1    
#bdc     ,general ,view of the ,interior
 of the ,armoury1                       
#bdd     ,general ,view of the ,interior

 of the ,armoury1                       
#bde     ,general ,view of the ,interior
 of the ,armoury1                       
#bdf     ,figure explaining various     
technical ,terms used in the ,text1     
#bdg     ,figure explaining various     
technical ,terms used in the ,text1     
#bdh          ,,spanish ,,arms ,,and    
,,armour    ,,introductory      ,the    
prominence which ,spain has enjoyed from
 the earliest times as a  manufactory of
 armour and a school of arms is         
attributable1 in the first  instance1 to
 its mineralogical richness1 and1       
subsequently1 to the part  it played in 
the military history of ,europe4 ,in the
 days of ,rome's  greatness1 ,spain     
became the chief mineral-producing      
tributary of the  ,empire4 ,its mines   
contained in perfection all the metals  
then applied to  warlike uses1 and its  
rivers were believed to possess peculiar
  properties for the tempering of       
blades4 ,bilbilis was as much a name to 
conjure with among the ,roman warriors  

as was the 8,bilbo0 among the  gallants 
and swashbucklers of ,shakespeare's day4
 ,toledo and the sword  are indissolubly
 associated in the literature of arms2  
it is impossible  to mention the name of
 the city without recalling the         
unchallenged  excellence of the blades  
it has given to the world4 ,and if      
,toledo is the  city of the sword1      
,spain is the land of swordsmanship4 ,it
 was in ,spain  that the muscular sweep 
of the broadsword was refined into the  
scientific point-play of the rapier2 it 
was there that the art of fence         
originated2 and to-day it is claimed    
that there are more books on  fencing in
 ,spanish than in any other language4   
,from the highest in the land to the    
lowest the love of arms is seen to  have
 been inherent in the ,spaniard from    
time immemorial1 and he has ever  shown 
himself quick to adopt foreign methods  
and innovations that  promised to lend  
greater efficacy to his blow and sterner
 resistance to  his defensive armour4   

,francis ,i4 beheld the youth of ,spain 
stoutly  accoutred and armed to the     
teeth1 and exclaimed1 8,oh1 happy land1 
which  brings forth and rears armed     
men40 ,the profession of arms was the   
avocation of every ,spaniard2 he left   
his mother's breast to take his  place  
at his father's side2 he was a soldier  
by birth1 breeding1 and  training4 ,only
 a nation of soldiers could have        
successfully withstood an  invasion so  
overwhelming as that of the ,saracens4  
,only a race imbued  with the traditions
 and love of war and its arts could have
 persevered  so long against enormous   
odds to the final and glorious triumph  
of the  closing years of the fifteenth  
century4    ,the ,spaniards of the days 
of ,pizarro and ,cortes1 like their     
contemporaries1 the ,english admirals1  
courted war as a mistress1 and  strove  
to meet her in their bravest array4 ,the
 devoted attention they  paid to their  
armour and the temper of their weapons  
excited the  regretful admiration of    

their determined foe1 old sea-dog       
,hawkins4 ,the  ,castilian loved the    
glint of shimmering steel and the ring  
of a true  forged blade on stout        
harness2 his was a land of iron1 and so 
long as  the issue of the battle        
depended on the sword and the lance1 he 
could  defy ,europe1 and hold two       
,continents in fee4 ,but the age of iron
 passed2  with it passed that grand old 
craftsman1 the armourer2 and the day of 
,spain also1 passed1 for a while1 into  
the grey evening of nations4 ,for       
,spain1 so faithfully wedded to its     
native arms1 and so pre-eminent in      
their use1 was slow to embrace the faith
 of explosives4 ,cervantes1 in  the     
following passage1 which he puts into   
the mouth of ,don ,quixote1 has  left on
 record the aversion of his countrymen  
to the levelling-up  influence of the   
rifle1 and their exaggerated attachment 
to the weapons  of chivalry3            
8,blessed be those happy ages that were 
strangers to the dreadful fury of  those

 devilish instruments of artillery which
 is the cause that very  often a        
cowardly base hind takes away the life  
of the bravest gentleman1  and in the   
midst of that rigour and resolution     
which animates and  inflames the bold1 a
 chance bullet 7shot perhaps by one that
 fled1 and  was frighted at the very    
flash the mischievous piece gave when it
 went  off71 coming nobody knows how or 
from whence1 in a moment puts a period  
to the brave designs and the life of one
 that deserved to have survived  many   
years4 ,this considered1 ,i could almost
 say ,i am sorry at heart for  having   
taken on me this profession of a        
knight-errant in so detestable  an age3 
for though no danger daunts me1 yet it  
affects me to think that  powder and    
lead may deprive me of the opportunity  
of becoming famous1  and making myself  
known throughout the world by the       
strength of my arm  and the dint of my  
sword40    ,the national love of the    
sword and buckler was encouraged in the 

,spaniards by many of their sovereigns1 
foremost among whom was the             
warrior-,king1 ,charles ,v4 ,in the     
beginning of the sixteenth century the  
crown of ,spain passed to this prince1  
the grandson and heir of  ,maximilian of
 ,germany1 in whose veins flowed the    
blood of the martial  ,dukes of         
,burgundy4 ,maximilian had done more    
than any other monarch to  encourage and
 advance the armourer's art1 and        
,charles ,v4's passion for  the practice
 and perfecting of arms1 and all that   
pertained to military  equipment1 was   
even greater than that evinced by his   
grandfather4 ,by a  fortunate           
combination of circumstances1           
supplemented by his lust of  conquest1  
he found himself the monarch of three   
realms1 in one of which  7,spain7 the   
love of arms was almost a mania1 while  
in the other two  7,germany and ,italy7 
the armourer's craft had attained a     
degree of  perfection that has not been 
approached in any other age or country4 

,the  sovereign that could command the  
services of the ,colmans of ,augsburg   
and  the ,negrolis of ,milan was in an  
unequalled position for one who desired 
to gratify a taste for armour1 and      
,charles did not neglect his            
opportunity4 ,he patronised liberally   
the master-craftsmen of ,italy and      
,germany1 sedulously stimulating their  
rivalry the while1 and at his  death    
left to ,spain--the worthiest of his    
realms to inherit it--the  finest       
collection of knightly harnesses that   
any monarch had ever  possessed4    ,it 
will be gathered from the following     
brief sketch that ,spain has  achieved  
distinction both as a manufactory and a 
storehouse of arms4  ,aragon1 and1 to a 
less marked extent1 ,castile1 were      
always in the van  where the improvement
 of armour was concerned2 and although  
experts  consider that ,italy set the   
fashion in the craft during the ,middle 
,ages1  it is by no means certain that  
,barcelona did not1 at some periods1    

assume the lead4 ,swords1 as in the days
 of the ,csars1 continued to be         
exported to ,italy from ,catalonia      
through the twelfth1 thirteenth1 and    
fourteenth centuries1 the traffic1      
curiously enough1 being chiefly in  the 
hands of that unwarlike race1 the ,jews4
    ,but while arms and armour have ever
 been a study in the ,peninsula which   
has engaged the closest attention of    
,kings1 soldiers1 and artificers1 no    
distinct style1 no essentially national 
type of armour was1 or could be1        
evolved4 ,nor is this fact calculated to
 cause surprise1 for it is  obvious that
 there can be no ,spanish school of     
armoury in the sense that  there is a   
,spanish school of painting1 or of      
music4 ,weapons and means of  defence   
must vary according to periods rather   
than localities1 and thus  it follows   
that while the armour of one century may
 be easily  distinguished from that of  
another1 to differentiate between a     
,german  and a ,french suit of the same 

period is always a difficult1 frequently
  an impossible1 task4 ,the warrior     
could not permit himself to be swayed   
by fanciful or patriotic prejudice in   
the fashion or make of his arms2  his   
life depended on the stoutness and      
quality of his weapons1 and he  secured 
the best that his means could command   
wherever they were  obtainable4 ,if the 
enemy were possessed of stronger1 more  
pliant1 or  better tempered weapons or  
accoutrements1 the soldier had no choice
 but  to learn the methods of his       
foeman4 ,the secrets of improvements in 
the  science of armoury could only be   
preserved in times of peace1 for1 once  
the weapons were used in the tented     
field1 the riddle of their  superiority 
was solved4 ,the harness of a vanquished
 knight became1  according to the laws  
of chivalry1 the property of his        
conqueror4 ,in  this manner a constant  
interchange of arms and armour went on  
through  the ,iron ,ages1 and the       
equipment and methods of victorious and 

vanquished nations were sooner or later 
divulged and adopted4    ,there is1     
therefore1 as has been said1 no national
 school of ,spanish  arms2 and the      
,royal ,armoury itself1 although        
admittedly the finest  collection of its
 kind in the world1 is not a gallery of 
,spanish  workmanship4 ,thanks to the   
range and extent of the dominion of its 
founder1 ,charles ,v41 the ,armoury1    
from its institution1 has assumed an    
international character4 ,here are suits
 of harness1 the choicest product  of   
native craft1 executed at the ,emperor's
 command1 interspersed with  the finest 
works of ,germany1 of ,flanders1 and of 
,italy--gifts1  purchases1 and the      
spoils of war4 ,in no other collection  
of a like  nature can be seen so many   
chefs d'uvres of the greatest masters of
  ,europe2 but while so many of the most
 important exhibits are of foreign      
origin1 the museum remains essentially  
the ,royal ,armoury of ,spain--the      
repository of the armour of its kings1  

the swords of its captains1 and  the    
trophies of its victorious armies4      
,i    ,,from ,,the ,,fifth ,,to ,,the   
,,fourteenth ,,century      ,when1 in   
the fifth century1 the ,visigoths passed
 over the ,pyrenees and  laid the       
foundations of a new nation1 they found 
a people armed for war1  as they were   
clothed in peace1 after the ,roman      
fashion4 ,the legionary's  equipment    
must have been tolerably familiar to the
 fair-haired invaders1  and it is likely
 that they had already adopted it in    
many of its  details4 ,that they did so 
on their establishment in ,spain1 at all
  events1 is proved by the descriptions 
contained in the ,etymologies of  ,st4  
,isidore1 which1 however1 make no       
mention of the lorica or  breastplate1  
and ocreas or greaves worn by the       
soldiers of the empire4  ,reference is  
made instead by the saintly chronicler  
to coats of fence1  made of chain-mail1 
or of thick quilted stuff woven in      
,silesia4    ,there was at one time a   

very general belief that chain armour   
was  introduced into ,europe from the   
,east4 ,this view is successfully       
combated  by ,hewitt--,ancient ,armour  
and ,weapons in ,europe--who proves that
 this  important article of military    
apparel was worn by the ,germans1       
,normans1  and ,anglo-,saxons at a very 
remote period4 ,varro1 indeed1 ascribes 
its  invention to the ,gauls4 ,the      
,anglo-,saxon epic1 8,beowulf0 7eighth  
century7  contains many allusions to the
 8ringed byrnie10 while in the ,volsunga
  ,saga we read that 8,sigurd's sides so
 swelled with rage that the rings  of   
his byrnie were burst asunder40 ,it is  
evident from this passage that  what was
 meant was mail-armour2 i4e41 composed  
of interlinked rings1  not merely the   
quilted tunic on which were sown metal  
discs1 such as  was1 however1           
undoubtedly worn also at that time and  
for many centuries  after4 ,both kinds  
of defensive armour may have been       
brought to ,spain by  the ,visigoths1 or

 again adopted by them subsequent to    
their settlement  in the country4    ,i 
have been unable to discover on effigies
 or in illuminated manuscripts  any     
specimens of ,visigothic armour4 ,there 
is good reason to believe that  it was  
far from being of a rude description4   
,the methods of tempering  steel which  
had made the blades of ,toledo and      
,bilbilis renowned  throughout the      
,roman world could hardly have been     
forgotten2 and ,baron  ,davillier has   
shown that a craft closely allied to the
 armourer's--the  goldsmith's--received 
liberal encouragement from the          
successors of  ,ataulfo4 ,the ,saracens1
 according to their own historians1 were
 amazed at  the splendour and richness  
of the treasure accumulated in the      
cities of  ,spain4 ,tharik ,ben ,zeyad1 
when he took ,toledo in #gab1 found     
amongst a  profusion of crowns1         
jewellery1 and plate1 8gilded armour1   
daggers1 and  swords richly mounted1    
bows1 lances1 and various arms1         

offensive and  defensive40 ,the spoils1 
as enumerated by another writer1        
included one  thousand swords for the   
use of the kings1 and one hundred and   
seventy  crowns of pure gold4    ,this  
testimony is confirmed by the priceless 
relics of ,visigothic  dominion1        
preserved in the ,cluny ,museum1 and1   
thanks to the liberality  of ,queen     
,isabel ,,ii41 in the ,royal ,armoury at
 ,madrid 7see plate #a74 ,the           
circumstances of their discovery1 as    
related by ,don ,pedro de ,madrazo1  and
 set forth by ,conde de ,valencia de    
,san ,juan1 are of almost romantic      
interest4    8,on the night of ,august  
#beth1 #aheh1 a man and a woman were    
journeying on  two small donkeys along  
the road from ,toledo to ,guadamar4 ,on 
approaching  the ,guarrazar fountain1   
they observed by the light of the moon1 
that the  rain which had fallen during a
 great storm the previous day1 had      
washed  the earth down towards the issue
 of the fountain1 and left bare what    

looked like tombs4 ,out of curiosity1 or
 necessity1 the woman got off her       
donkey1 and approached them1 and in a   
square hole1 made of stones and  lime1  
ill-concealed with two flat stones1     
between which the moonlight  penetrated1
 she saw with wonder that something     
strange was glistening4  ,on her        
exclaiming1 the man also dismounted1    
and1 putting his hand into  the hole1 he
 touched an object like a collar made of
 hearts4 ,he took it  out1 and after    
that1 other things of different shapes1 
then a cross1  then a crown1 and then a 
larger one 444 washing them with the    
water from  the adjoining fountain1 gold
 and precious stones revealed themselves
 to  their astonished eyes4 ,they       
afterwards declared that they thought   
they  were dreaming4 ,they took away the
 treasure they had found with all       
secrecy2 said nothing in the town1 and  
the following night1 with the  same     
secrecy1 and provided with a small      
lantern and the necessary tools1  they  

returned to examine the marvellous      
hiding-place1 whence they took  all that
 remained4    8,within a few days pieces
 of valuable gold and silver work of an 
unknown  period began to be seen in the 
,toledo silversmiths' shops1 and a      
goldsmith and dealer in stones and gems 
in the town1 who had his house  and     
workshop in a beautiful garden by the   
,tagus1 near the ,sword ,factory1  and  
who was distinguished among his fellows 
by his taste for archology1  had the    
patience to acquire one by one1 and to  
match together the  different pieces    
under observation2 after many           
combinations and  rectifications1       
leaving out some pieces1 and1 with      
consummate art1  supplying others that  
were missing1 he at last formed1 or     
rather  restored1 several crowns1 among 
them one very large and valuable1 which1
  by the hangings1 was found to be the  
crown of ,king ,recesvinto 7#fdi-fgb74  
8,with the same secrecy that the        
discoverers of the treasure had         

observed1 ,navarro 7for this was the    
name of the dealer in stones and  gems7 
proceeded with the difficult task of    
restoring to their original  shape those
 inestimable insignia of ,visigothic    
,royalty4 ,he took them to  ,france1 and
 they were already in a case in the     
,cluny ,museum when ,spain  heard of the
 discovery and extraction of the crowns 
of ,guarrazar4    8,but the treasure1   
taken in #aheh from ,guarrazar to       
,guadamar was not  exhausted4 ,about    
,may1 #ahfa1 a villager of ,guadamar1   
,domingo de la ,cruz1  who had found in 
the same ,guarrazar cemetery1 but in a  
different hole to  the one already      
explored1 other crowns and objects used 
for worship1  presented himself at      
,aranjuez1 where ,queen ,isabel was at  
the time4 ,this  man1 after many        
ambiguous and roundabout proposals1     
having ascertained  that no harm would  
come to him from the revelation he was  
about to make1  and1 above all1         
stimulated by the promises which1       

relying on the  generosity of the       
,queen1 the ,intendant ,don ,antonio    
,flores cleverly let  fall in the       
conversation1 said he was the possessor 
of these treasures4  ,the crafty rustic 
had them with him1 but at the moment he 
did not say  so1 and only showed them   
when ,flores1 having obtained the       
consent of her  ,majesty1 formally      
offered him1 in the ,queen's name1 a    
life-pension  #d1jjj reals a year1 which
 from that day was religiously paid to  
him40    ,the ,armoury and the ,cluny   
,museum probably contain only a half of 
the  treasure of ,guarrazar4 ,as we have
 seen1 much of it was broken up and     
melted down by the goldsmiths of        
,toledo4 ,it is said that it comprised a
  beautiful golden dove1 which came into
 the possession of a jeweller1 who  had 
so many qualms of conscience concerning 
it1 that he at last took the  drastic   
course of throwing it into the ,tagus4  
,that rapid stream must  have received a
 good deal of ,visigothic treasure since

 it first flowed  under the arches of   
,toledo4    ,the crowns preserved at    
,madrid and the ,cluny are not the      
official  insignia of royalty1 but      
offerings at the shrine4 ,this is proved
 by the  inscriptions on them1 and by   
the fringe of pendants1 which could not 
possibly have dangled over the royal    
countenance4 ,the crown of ,king        
,suintila 7numbered ,n#a in the         
catalogue71 who reigned from #fba to    
#fca1 is  formed by two semi-circles of 
double gold plate1 joined by hinges1 the
  resulting hoop being #j4bbj in        
diameter1 and #j4jfj in height4 ,the    
inside  plate is plain4 ,the outer hoop 
is encircled by three bands in relief1  
two being set with pearls and sapphires1
 and the middle and wider one  designed 
with openwork rosettes1 enriched with   
settings of the same  stones4 ,in its   
original state the crown had1 hanging   
from its lower  edge1 a cross and       
twenty-two letters1 making up the       
inscription1  ,,svinthilanvs ,,rex      

,,offeret4 ,all and each of the letters 
were actual jewels  set in a vitreous   
substance1 like enamel sockets1 attached
 to which are  brilliants1 pearls1 and  
pear-shaped sapphires hanging from each 
other in  the order mentioned4 ,though  
only twelve letters were remaining1 the 
dedication was skilfully reconstructed  
by ,seores ,madrazo and ,amador de  los 
,rio4 ,the crown is suspended by four   
chains from an ornament composed  of two
 golden lilies separated by a piece of  
rock crystal cut in facets4  ,each chain
 consists of four links1 shaped like the
 leaf of the  pear-tree4 ,hanging from  
one of these chains is a cross of       
beautiful  workmanship1 composed of     
pieces from two other crosses1 belonging
 in all  probability to two different   
crowns4    ,the exhibits ,n#d and ,n#f  
are floral ornaments similar to that    
from which  the crown of ,suintila is   
suspended4 ,the votive crown of the     
,abbot  ,theodosius 7,n#b7 is of less   
elaborate workmanship and design2 seven 

of  its eight pendants of gold1 pearls1 
and sapphires remain4 ,close to it      
7,n#c7 is the ,byzantine cross which1   
the letters stamped upon it in  reverse 
order tell us1 was offered by ,bishop   
,lucetius4 ,it has1 likewise1  seven    
pendants of gold and pear-shaped        
sapphires4 ,the various articles  in    
this collection do not differ           
appreciably in style and material1 it   
is perhaps unnecessary to observe1 from 
those of similar origin in the  ,cluny  
,museum4 ,all exhibit the traces of     
,byzantine influence4    ,to the        
,visigothic era is also ascribed 7,conde
 de ,valencia thinks with  good reason7 
a very ancient horse's bit              
7,f#abc--plate #i71 found on a          
battlefield in ,andalusia1 and said to  
have been used by ,witiza1 the          
ill-fated ,roderick's predecessor4 ,the 
mouthpiece does not differ greatly  from
 the modern pattern1 but in place of    
rings it has four oblong  pieces pierced
 with holes for the reins and halter4   

,these apertures form  dragons' heads   
and crosses1 alternating with cruciform 
monograms4 ,the  bit is of unusual      
thickness1 and the roughness of the     
work1 together  with the silver         
incrustation1 complete its resemblance  
to other relics  classified as ,gothic  
or ,scandinavian4    ,during the three  
centuries that followed the dreadful    
days of the  ,guadalete1 the ,spaniard  
must needs have looked well to his      
armour and  his weapons3 8,in native    
swords and native ranks1 the only hope  
of  courage dwelt40 ,the sword industry 
of ,toledo had passed under the  control
 of the invaders1 and we read that      
,abd-ur-,rahman ,,ii4 7#hbb-heb7        
regulated and reformed it4 ,one of the  
numerous friendly passages between      
,moor and ,christian was marked by a    
gift of ,toledan blades from ,al ,hakim 
,,ii4 to ,sancho1 ,count of ,navarre    
7#hfe74 ,meanwhile1 among the fastnesses
  of ,asturias and the ,pyrenees1 the   
hard-pressed ,spaniards were forging    

for themselves arms and armour against  
which the sword of the doughty  ,roland 
was shivered1 and which successfully    
withstood the swift strong              
lance-thrusts of ,saracen chivalry4 ,cut
 off though they were from the  rest of 
the ,christian world1 the early         
defenders of ,spanish liberty do  not   
seem to have arrayed themselves for war 
in a fashion very different  from that  
of their contemporaries4 ,in the        
cathedral of ,oviedo is  preserved the  
,libro ,gotic1,a a curiously illuminated
 codex1 where we  see 8armigers0        
carrying circular and kite-shaped       
shields1 and wearing1  in one case1 what
 seems to be a hauberk of mail4 ,the    
sepulchre of the  three daughters of    
,ramiro ,i4 of ,aragon1 dating from the 
last years of  the eleventh century1 is 
sculptured with the forms of three      
knights1 two  mounted and about to      
engage in combat1 while the third1      
,samson-like1 is  forcing open the jaws 
of a monstrous beast4 ,the cavaliers    

wear  close-fitting caps1 seemingly     
fluted1 and very much like the          
chapelles-de-fer of a later age2 long   
surcoats reaching below the  knee1 and  
decorated with ornamental borders at the
 neck1 cuff1 and  openings2 one is armed
 with a spear1 the other with spear1    
sword1 and  kite-shaped shield with     
bosses2 and both wear greaves or        
leg-armour of  plate or leather4 ,the   
horses are not provided with any        
defensive armour2  the custom of        
8barding0 chargers not being introduced 
till a much later  date4    ,there is an
 extremely interesting manuscript in the
 ,british ,museum  called the           
,comentario ,apocaliptica1 said to have 
been executed between  #ajhi and #aaji4 
,it is frequently referred to by        
,hewitt1 and throws much  light on the  
armour of the period4 ,we have reason to
 be grateful for the  absurd practice   
persisted in by ancient illuminators and
 painters of  depicting persons1        
supposed to have lived in ,greek and    

,roman times1 in  the costume of their  
own day4 ,one of the illuminations shows
 four  knights mounted4 ,they wear long 
coats of mail1 reaching below the knees1
  with sleeves1 which1 in two cases1    
reach only to the elbows4 ,in one case  
the coat of mail is shown as composed of
 blue scales1 with red studs1  and here 
we seem to have an instance of jazerine 
armour 7from the  ,italian ghiazerino74 
,it seems clear that the designer did   
not mean to  represent chain-mail in    
this way1 for when the body of the      
garment is  obviously of mail he has    
taken care to distinguish a different   
pattern  on the chausses or leg armour4 
,still in this class of illustration it 
is  always a moot point what kind of    
armour the artist actually did mean to  
represent4 ,possibly a shirt of         
chain-mail was sometimes worn1 with     
stockings of leather set with scales of 
metal1 as more flexible and  allowing   
greater freedom to the limbs4 ,the      
shirts of mail are edged  with wide     

borders1 which may or may not represent 
the under tunic or  gambeson showing    
beneath4    ,on fol4 #aid1 we have the  
full-length picture of a warrior armed  
cap--pie4 ,he wears a long hauberk of   
mail1 chausses or leg-armour of  the    
same material1 and a conical helmet1    
with a 8nasal0 or  nose-protector1      
exactly the same as that worn by        
,william the ,conqueror  and his        
knights4 ,hewitt calls attention to the 
knop1 or button1  surmounting the       
helmet1 as a peculiarity4 ,the knight is
 armed with sword  and spears1 and1 like
 the four others just mentioned1 carries
 a circular  target4 ,this is a         
noteworthy detail1 as kite-shaped       
shields were almost  universally in     
vogue at this epoch1 over the rest of   
,europe4 ,that they  were to some extent
 in use in ,spain also1 is attested by  
the specimen  7,o#ei7 in the ,armoury4  
,this is a kite-shaped war shield1      
probably of cedar wood4 ,on both sides  
it is covered with parchment1 and has   

strong straps of skin1 lined with  red  
velvet1 for the grasp of the holder1 and
 part of the strap by which  it hung    
from his neck4 ,inside it seems to have 
been painted black2 the  outer side is  
slightly convex1 and was adorned with   
stripes and other  designs in colour and
 gilding on a red ground4 ,this         
description of  decoration was common in
 the twelfth century1 but had no        
heraldic  signification1 the science of 
blazonry not being at that time well    
understood4 ,nothing definite is known  
as to the original owner of this        
shield1 but it is not unlikely that it  
belonged to ,don ,gonzalo  ,salvadores1 
surnamed 8,four ,hands10 or to ,don     
,nuez ,alvrez1 both of whom  were buried
 at the spot where it was found4 ,ramon 
,berenguer ,,iv41 ,count  of ,barcelona 
7#aaca-aafb7 is represented on an       
engraved seal1 reproduced  in ,m4       
,auguste ,demmin's work on armour1      
carrying a kite-shaped shield4 ,he      
wears the conical helmet with nasal and 

hauberk of mail1 with camail or  hood of
 mail1 such as was generally worn1 and  
the absence of which is  worthy of      
remark in the warriors of the           
,apocaliptica4 ,thus early we  are able 
to distinguish certain differences      
between the knightly  harnesses of      
,aragon and ,leon4    ,such armour as is
 shown in the illuminated codex referred
 to1 was no  doubt worn by the          
redoubtable ,cid1 ,ruy ,diez de ,bivar1 
whose stormy  career extended from #ajbi
 to #ajii4 ,the ,poema del ,cid1 which  
relates  his great achievements1 was    
written unfortunately at least one      
hundred  and eight years after his      
death1 and therefore we cannot place    
absolute  reliance upon the few details 
it contains as to his equipment4 ,the   
following passages are of special       
interest to the student of arms and     
armour3        8,with bucklers braced   
before their breasts1 with lances       
pointing low1       ,with stooping      
crests1 and heads bent down above the   

saddle bow1       ,all firm of hand and 
high of heart1 they roll upon the foe4  
,and he that in good hour was born1 his 
clarion voice rings out1       ,and     
clear above the clang of arms is heard  
his battle-shout3       #8,among them1  
gentlemen6 strike home for the love of  
,charity6       ,the ,champion of ,bivar
 is here--,ruy ,diez--,i am he6'        
,then bearing where ,bermuez still      
maintains unequal fight1       ,three   
hundred lances1 down they come1 their   
pennons flickering white2       ,down go
 three hundred ,moors to earth1 a man to
 every blow2       ,and when they wheel1
 three hundred more1 as charging back   
they go4       ,it was a sight to see   
the lances rise and fall that day3      
,the shivered shields1 the riven mail1  
to see how thick they lay40    8,riven  
mail0 in the original is loriga1 a word 
obviously derived from  the ,latin      
lorica2 but ,mr4 ,ormsby1 whose         
translation ,i give1 is  undoubtedly    
right in his rendering of the word1 as  

cuirasses1 or  breastplates1 were not   
worn in ,spain for one hundred and fifty
 years  after the date of the poem4     
,here is another passage of some        
technical  interest3    ,the ,cid       
beholds approaching the army of the     
,count of ,barcelona1 and  encourages   
his own followers4        8,on with your
 harness1 cavaliers6 quick saddle and to
 horse6       ,yonder they come--the    
linen-breeks--all down the mountain     
side4       ,for saddles they have      
,moorish pads1 with slackened girths    
they ride3       ,our saddles are       
,galician make1 our leggings tough and  
stout3       ,a hundred of us gentlemen1
 should scatter such a rout40    ,i am  
inclined to think that the linen-breeks1
 so scornfully alluded to1  were the    
trousers or shalwars worn by ,moorish   
auxiliaries of the ,count4  ,the word   
8leggings0 in the original is 8huesos0  
7,french houseaux71  which seems to mean
 the same things4 ,but they are         
described as being  worn on the chausses

 or stockings of mail1 and may not      
impossibly have  been greaves or        
defences of plate after the ,roman      
pattern4 ,these would  seem to be an    
anachronism at the end of the eleventh  
century2 but ,don ,v4  ,carderera y     
,solano 7,iconografia ,espaola7 says    
that there are in ,spain  several       
bas-reliefs of the twelfth century1     
which represent knights  wearing pieces 
similar to the ,roman ocreas4 ,it is1 on
 the whole1 more  likely that the huesos
 that protected the stout legs of the   
,cid were  of the jazerine pattern--of  
leather faced with metal discs and      
strips4    ,the ,armoury at ,madrid was1
 till lately1 believed to contain many  
relics  of the great national hero1     
among them the ,colada1 a sword which   
the  ,conde de ,valencia is satisfied   
belongs properly to the thirteenth      
century4 ,the sword blade numbered      
,g#ahj may1 however1 be ascribed1 in the
  opinion of the same authority1 to the 
eleventh century4 ,it is  double-edged1 

and ends in a round point4 ,down the    
greater part of its  length runs a      
groove1 on the sides of which are       
engraved and inlaid with  gold certain  
letters and hieroglyphics1 the meaning  
of which no one has  so far deciphered4 
,this blade was included in the treasury
 of ,ferdinand  and ,isabel at ,segovia1
 and corresponds closely enough with the
  description in the inventory of that  
collection of 8a sword called  ,tizona1 
which belonged to the ,cid40 ,there is1 
therefore1 a strong  probability that   
the weapon before us is actually that   
with which ,ruy  ,diez de ,bivar carved 
out a kingdom for himself in fair       
,valencia4    ,during the twelfth       
century the conical helmet with nasal   
began to fall  into disuse1 though it   
was worn in ,germany as late as #aaie4  
,about the  last quarter of the century 
the flat-topped1 cylindrical heaulme1 or
  helm1 was generally adopted4 ,it was  
nearly always cast in one piece1  had   
two horizontal clefts for the vision1   

and was strengthened by bands  crossing 
each other over the face4    ,the ruined
 monastery of ,benevivere1 in the       
,province of ,palencia1  contains the   
tomb and effigy1 reproduced in the      
,iconografia ,espaola1  of ,don ,diego  
,martinez de ,villamayor1 sometime      
,chamberlain to ,alfonso  ,,iii4 of     
,castile1 who died in the odour of      
sanctity in the year #aagf4 ,the  knight
 is clothed in a long and ample white   
tunic2 over this is thrown a  voluminous
 red mantle4 ,thus we cannot very well  
judge whether or not he  wears armour2  
but as he is girt with a broad baldric1 
ornamented with  studs1 and clasps a    
cross-hilted sword1 we may not          
unreasonably infer  that he is in       
knightly gear1 and that his spurs are   
buckled round  leg-armour1 which appears
 to be of plate4    ,if this assumption 
is warranted--and it is supported by the
 evidence of  the bas-reliefs mentioned 
by ,carderera--it would seem that the   
,spaniards  had progressed more rapidly 

in the armourer's craft than their      
contemporaries4 ,greaves1 jambs1 or     
leg-armour of plate1 were unknown in    
,northern and ,central ,europe till the 
fourteenth century4 ,hewitt thinks  they
 were of ,german origin because they are
 sometimes referred to in  documents of 
that age as beinberga1 from the ,german 
beinbergen4 ,he  admits that they might 
have been copied from the examples of   
classical  times with which their wars  
in ,italy would have familiarized the   
,teutons4 8,in the ,south of ,europe the
 greaves were already become of a       
highly ornamental character1 as we may  
see from the sculpture of  ,gulielmus de
 ,balmis 7#abhi71 from a bas-relief in  
the ,annunziata at  ,florence40 ,the    
greaves are ornamented with floral      
devices and  cussons1 and are strapped  
on to chausses of mail4 ,but in ,spain  
we  get a yet earlier example1 even     
supposing the leg-armour on the ,jaca   
and  ,benevivere effigies was not of    
this sort4    ,don ,bernaldo ,guillen de

 ,entenza was major-domo of ,aragon1 and
 one of the  bravest knights in the     
train of ,king ,jaime ,i4 the           
,conqueror4 ,he died a  few days after  
the victory over the ,moors at ,enesa in
 #abcg1 and was  buried at the          
,monastery of ,puig1 near ,valencia4    
,his sculptured figure  reveals every   
detail of his apparel 7see plate #b74   
,he wears a hauberk of  mail reaching to
 the middle of the thigh1 and to the    
finger-tips1 the  fingers of the glove  
being separated2 the face is framed in  
the hood of  mail 7camail71 and the head
 protected by a round chapelle-de-fer1  
ornamented with studs1 and a            
strengthening band4 ,over the hauberk is
  worn a sleeveless surcoat1 embroidered
 at the breast and reaching below  the  
knee2 it is split up at the sides to    
allow greater freedom to the  limbs4    
,both surcoat and hauberk are bordered  
with a fringe1 except at  the neck1     
where the surcoat seems to be edged with
 a setting of stones  or studs4 ,a      

baldric encircles the lower body1 and   
supports a short1  broad cross-hilted   
sword on the left hip1 and a dagger or  
misere-corde  on the right4 ,the pommel 
of the dagger is carved into the        
resemblance of  a grotesque human face4 
,the legs are protected by greaves of   
plate armour1 with ornamental  lengths  
up the middle4 ,the knees appear to be  
furnished with  genouillres or knee-caps
 of iron4 ,the sollerets1 pointed shoes1
 are of  mail4    ,here1 then1 in       
,aragon1 in #abcg1 we find a knight     
armed with those  defences which did not
 become common in ,europe for another   
century4 ,the  circumstance1 though it  
may not in itself appear to be of much  
importance1 is interesting1 as proving  
how quick was the ,spaniard of  that day
 to avail himself of the latest         
appliances and inventions of the  age4  
,aragon1 at least1 seems to have kept   
pace with ,italy1 which is  generally   
allowed to have set the fashion in      
military equipment4 ,and we  find that  

the armourer's craft was sufficiently   
important at ,barcelona  to constitute a
 guild1 which was existing in #abeg4    
,in the citadel of ,lerida there is a   
fine sepulchral monument showing us     
that valiant knight1 ,don ,guillelmo    
,ramon de ,moncada1 ,seneschal of       
,catalonia1 armed cap--pie 7see plate   
#c74 ,he died about the middle of  the  
thirteenth century4 ,like his           
brother-in-arms1 at ,puig1 he wears the 
camail and hauberk4 ,over the forehead  
he wears a coronet1 with shields  and   
studs and gilt fleurs-de-lys4 ,the      
surcoat1 which shows the hauberk        
beneath1 is tastefully embroidered with 
pearls1 and is charged with  eight      
cussons1 or shields1 each supported by  
two doves4 ,the garment  must have been 
a beautiful work of art4 ,the ,seneschal
 wears jambs  7leg-armour7 and cuisses  
7thigh-armour7 of plate1 and what are   
unmistakably genouillres of the shell   
pattern4 ,his shoes are likewise  of    
plate4 ,the armpits and elbows are      

protected by pieces new to us--the      
round plates1 called palettes or        
rondels1 elsewhere rarely found before  
the end of the century4 ,here again1 and
 in the articulated fingers of  the mail
 glove1 we have evidence of the advanced
 condition of the  armourer's art in    
,spain4 ,this is also demonstrated by a 
comparison of  this effigy with one of  
identical date--that of a knight in     
,haseley  ,church1 ,oxfordshire         
7,hewitt1 ,vol4 ,i41 plate #df47 ,here  
the armour is  entirely of mail1 neither
 jambs nor coudes 7coudires1            
elbow-plates7  being shown4 ,nor are    
there any traces of the rich            
ornamentation seen on  the ,aragonese   
warriors' surcoats and mantles4         
,these were the spacious days of        
,ferdinand of ,castile and ,james of    
,aragon1 when province after province1  
city after city1 were wrested from  the 
,moor1 and the defeat of ,roderick was  
wiped out on the very spot  where he had
 endured it five hundred years before4  

,cordova1 ,valencia1  ,murcia1 ,seville1
 fell in turn before the ,christian     
arms4 ,the  armourer-sergeants1         
wandering through the bazaars of the    
captured  ,moorish cities1 and curiously
 examining the products of their dusky  
fellow-craftsmen1 must doubtless have   
gleaned many new ideas and scraps  of   
useful knowledge4 ,ibn-,said1 born at   
,granada in #abad1 has left it on       
record that in his time ,murcia was     
renowned for its coats of mail1 its     
cuirasses1 and for every description of 
iron armour incrusted with gold2  it was
 likewise celebrated for its saddles and
 harness richly gilt4 ,in  fact1        
continues the ,moorish chronicler1 for  
all articles of military  equipment1    
such as bucklers1 swords1 quivers1      
arrows1 and so forth1 the  workshops of 
,andalus surpassed those of any other   
country4 ,he boasts the  beautiful      
inlaid swords of ,seville1 which were   
not inferior to those of  the ,indies4,b
 ,cordova1 the great centre of industry 

and refinement in  the ,peninsula1 never
 achieved fame for its steel            
manufactures1 but its  oval leather     
shields 7adargas7 were known as early as
 the tenth century1  and used all over  
,europe1 but more particularly in       
,spain1 in the  fourteenth and fifteenth
 centuries4    ,some interesting relics 
of ,saint ,ferdinand are enshrined in   
the ,royal  ,armoury4 ,the remains of   
the cloak in which the saintly ,king was
 buried  7,n#i7 are thus described in   
the ,catalogue 7see plate #a74 8,its    
texture is  of silk and gold1 made like 
an ,oriental tapestry1 checkered1 the   
first  of the squares being crimson and 
a dirty white1 with gold castles1 and   
the second with red lions rampant1 like 
those of the ,spanish arms1 but  turned 
to the left of the shield4 ,the border  
is woven in horizontal  bands1 a wide   
one in the centre1 composed of graceful 
floral designs1  blue and red1 on a gold
 ground2 two narrow ones1 yellow1 on the
 outer  edges of the former1 and outside

 these other two bands of ,arab lacework
  of gold on a crimson ground40    ,the 
azicates 7long-necked ,moorish spurs7 of
 ,st4 ,ferdinand 7,f#ahi and  #afj7 are 
of easily-worked iron4 ,what remains of 
the incrustation of gold  is adorned    
with little silver castles1 similar     
heraldic devices in gilt  being         
distinguishable on the springs of the   
straps4    ,the ,conde de ,valencia de  
,san ,juan endeavours to prove--and1 ,i 
think1  with success--that the sword    
numbered ,g#ba1 believed at one time to 
be  the ,cid's famous blade 8,colada10  
is no other than the 8,lobera0 of ,st4  
,ferdinand4 ,how the name 8,lobera0 came
 to be applied to a sword is  unknown4  
,the ,conde hazards a conjecture that it
 was named after a  gentleman called    
,guillen ,lobera1 who is referred to in 
the memoirs of  ,jaime ,i4 of ,aragon4  
,the word was first used in this        
connection by the  ,saint himself1 who1 
on his death-bed1 bequeathed to the     
,infante ,manuel  for all his           

inheritance1 8his ,lobera sword1 which  
was of great virtue1  and by means of   
which ,god had greatly helped him40     
,not less interesting is the passage in 
the chronicle of ,alfonso ,,xi41        
referring to the famous battle of       
,salado3 8,then the ,king sent word to  
,don ,juan1 son of the ,infante ,manuel 
7grandson of ,ferdinand71 by a          
gentleman1 to ask why he and those in   
the front did not pass the river4  ,and 
an esquire1 called ,garci ,jofre        
,tenoryo1 son of the ,admiral killed by 
the ,moors1 who was a vassal of the     
,king and in the front1 said to ,don    
,juan1 that his ,lobera sword1 which he 
said had virtue1 would do the  most work
 that day40    ,the blade 7see plate #d7
 is smooth1 double-edged1 and           
round-pointed2 on  both sides for       
two-thirds of its length it is grooved1 
like most swords  of that time4 ,inside 
both grooves are certain signs or       
letters1 engraved  and gilded1 which the
 ,conde de ,valencia reads as the       

words--,si1 si1  ,no1 non4 ,this        
somewhat cryptic inscription1 the       
learned antiquary  explains as being    
part of the motto of ,st4 ,ferdinand1   
which may be  roughly translated--8,let 
your yea be yea1 and your nay be nay40  
,the hilt  is of the sixteenth century1 
and was the work of ,salvador de ,avila1
 a  swordmaker of ,toledo1 who died in  
#aeci4    ,next to this sword is another
 of the same era 7,g#bb71 erroneously   
attributed to ,roland1 the famed        
,paladin of the eighth century4 ,it is  
not  impossible that this also was one  
of ,st4 ,ferdinand's weapons4 ,it is    
very  long and broad1 thin and flexible1
 double-edged1 scallop-pointed1 and     
grooved for two-thirds of its length4   
,the groove is engraved with rings  or  
circles1 and ends in an elaborate       
cruciform device4 ,the guard1 of        
massive silver-gilt1 has quillons       
drooping and curving inward1 and bears  
the arms of ,castile on one side and    
those of ,leon on the other4 ,the hilt  

is of wood1 plated with silver2 the     
pommel is of iron1 and is plated  with  
silver-gilt4 ,the plates were once      
covered with filigree work4 ,the        
scabbard is of wood1 sheathed in        
silver-gilt plate1 and covered with     
lace-work1 essentially ,morisco in      
character4 ,of the seventy-five stones  
originally set in this filigree1 only   
the half remain1 including a large      
amethyst and three engraved stones of   
the classical style and period  7plate  
#e74    ,shields had not changed much   
since the preceding century to judge    
from  the specimen numbered ,d#fj4 ,like
 the twelfth century shield next to it1 
it is of wood covered with parchment1   
and has grips of skin4 ,on the  obverse 
may be traced the design of a hood1     
which has led ,don ,leocadio  ,salazar  
to conclude that the shield was the     
property of the ,conde de  ,bureba1 four
 hoods being on his coat of arms4 ,the  
epitaph on that  illustrious personage's
 tomb declares that 8he filled ,spain   

with the  fame of his name1 as          
,themistocles did ,athens40    ,our last
 instance of a ,spanish suit of armour  
of the thirteenth century  illustrates a
 curious fashion in military attire that
 often has occupied  the attention of   
experts4 ,the statue of ,don ,berenguer 
de ,puigvert1 in  the suppressed        
,monastery of ,poblet1 represents him   
clothed in a full  and richly           
embroidered surcoat1 confined at the    
waist by a baldric1  beneath which he is
 wearing a complete suit of banded      
armour of a very  elaborate pattern4 ,on
 the forearm the mail seems to be       
composed of rings  placed end to end    
vertically instead of horizontally4 ,the
 gauntlets and  leg-armour are composed 
of alternate horizontal bands1 some     
showing a  zig-zag pattern2 the others1 
perhaps rings set vertically4 ,banded   
mail  of various designs seems to have  
been fashionable all over ,europe at the
  close of the thirteenth century4      
,hewitt enumerates four examples in     

,english statuary4 ,he expounds the     
various theories advanced to explain    
the nature of this armour1 and finally  
confesses that the riddle is  still     
unsolved4 ,as ,aragon seems in all      
improvements in armour to have  kept    
well ahead of the rest of the world1 we 
need not be surprised to  find there an 
example of what was evidently a         
fashionable style in  ,europe generally4
    ,the headpiece universally worn at  
this time was the heaulme or helm4      
,about the middle of the century the    
aventail1 or hinged opening for the     
face1 was introduced1 and accordingly we
 find ,st4 ,ferdinand 7represented  in  
the windows of ,chartres ,cathedral7    
wearing a casque with an aventail  cleft
 with three vertical slits4 ,the camail 
was still generally worn  under the     
heaulme1 which rested not only on the   
head but on the  shoulders of the       
wearer1 and was secured by a chain4 ,it 
was too heavy to  wear habitually1 and  
was1 therefore1 carried at the saddle1  

or by the  esquire1 to be put on at the 
approach of an enemy4 ,steel caps also  
were  often worn underneath2 but much   
must obviously have depended on the     
degree of strength and foolhardiness    
possessed by the individual4    8,from  
the collection of medival #8,proverbs1'0
 remarks the author we have  so often   
quoted1 ,mr4 ,hewitt1 8we learn that    
,spain was the favourite mart  for the  
knightly charger4 ,denmark and ,brittany
 had also a celebrity for  their breeds 
of horses of a different character4 ,the
 fiat of popular  approval is given to  
the--        8#8,dextriers de ,castille1
        ,palefrois ,danois1             
,roussins de ,bretagne4'    8,such was  
the nature of the high-bred dextrarius  
that1 when two knights  had dismounted1 
and were continuing the fight on foot1  
their horses1  left to themselves1      
instantly commenced a conflict of their 
own of the  most gallant and desperate  
character40 ,bucephalus and ,pegasus    
were  inferior steeds in comparison4    

,,note    ,the representation of armour 
on tombs and sepulchral effigies was    
subject1 during the ,middle ,ages1 to   
regulations1 which throw light on  the  
rank and the circumstances of the death 
of the deceased4 ,in  ,carderera's      
,iconografia we find the following      
ordinances ascribed to  the ,emperor    
,charles ,v4 ,they are probably merely a
 recapitulation of  enactments which had
 been in force several centuries3--     
8,if any person during his life shall   
have accomplished any notable feat  of  
arms1 or gained honour in the lists1 he 
shall be shown armed de  pied-en-cap1   
helmet on his head1 visor raised1 and   
hands joined4 ,his  sword shall be at   
his side1 and his spurs on4 ,these shall
 be of gold if  he shall have been an   
armed knight2 otherwise he shall have   
none4    8,if he shall have gained no   
honours in the lists1 he shall have the 
visor lowered1 and his helmet shall be  
placed beside him4    8,if he shall not 
have distinguished himself in the       

tourney1 but shall  have died on the    
field of battle1 contributing to the    
victory1 he shall  be represented armed 
de pied-en-cap1 visor lowered1 naked    
sword in his  hand1 the point upwards1  
and his shield in his left hand4 ,if he 
shall  have been of the vanquished1 he  
shall be represented armed de           
pied-en-cap1 his sword in its sheath1   
visor raised1 his hands joined1  and his
 spurs put on4 ,if he shall have been   
made prisoner and died on  the field or 
in captivity1 he shall be represented as
 in the preceding  article1 but without 
spurs and with empty scabbard4    8,all 
these personages may be represented in  
their surcoats1 if they  shall have     
taken part in a pitched battle1 at which
 the ,prince in whose  pay they shall   
have been1 shall have been present2     
otherwise1 they shall  not be thus      
represented1 unless they be of the rank 
of ,king1 ,prince1  ,duke1 ,marquis1    
,count1 or ,baron4    8,no man1         
howsoever noble1 shall be represented in

 his surcoat unless he  be the ,lord and
 ,proprietor of the ,church or ,chapel1 
or the successor 78  descendant7 of the 
,lord and ,proprietor4    8,if any      
person shall have followed the wars as a
 man-at-arms1 he may be  represented    
armed1 but without surcoat and helmet4  
8,no one shall be represented with a    
fringe to his surcoat1 unless he be  of 
the rank of ,baron40    ,it should be   
said in conclusion1 that these rules    
were not always  strictly observed1 and 
cannot be relied upon in the absence of 
corroborative testimony from other      
sources4          ,,ii    ,,the         
,,fourteenth ,,and ,,fifteenth          
,,centuries      ,the fourteenth century
 witnessed a notable transformation in  
military  equipment4,c ,the introduction
 of firearms and the marked improvement 
in  weapons of offence led to the almost
 complete abandonment of the coats  of  
mail which had served the chivalry of   
,europe so long and so well1 and  to the
 substitution of plate armour for at    

least the more vital points  of the     
harness4 ,in ,spain we have seen the    
transition began considerably  earlier  
than in ,northern ,europe1 but the      
adoption of the new fashion in  its     
entirety did not proceed quite so       
rapidly as this early start might  lead 
one to expect4    ,aragon1 thanks to its
 intercourse with ,italy--to which      
country1 as has  been noted1 swords were
 exported from ,barcelona--led the van  
in  armourership4 ,the                  
companions-in-arms of ,jaime el         
,conquistador are nearly  always        
represented wearing a considerable      
weight of plate armour4    ,don ,ramon  
,folch1 ,vizconde de ,cardona1 surnamed1
 on account of his  commanding          
personality and abilities1 el ,prohom1  
is shown on his tomb  at ,poblet wearing
 jambs1 or greaves of steel 7it is      
difficult to say  which71 and at the    
neck a high mentonnire1 which must have 
been worn  with a heaulme1 or visored   
salade4 ,the close-fitting              

chapelle-de-fer  is adorned with cardon 
flowers1 the arms of his house4 ,so also
 is the  long and tastefully-embroidered
 surcoat with sleeves1 which descends   
below the knees4 ,beneath this was worn 
a hauberk of mail1 with  articulated    
gloves4 ,a broad decorated baldric      
supports a short sword4  ,this monument 
dates from #acbb4    ,no greaves or any 
plate armour1 on the other hand1 appear 
on the  sepulchral monument1 executed   
about twenty years later1 over the      
remains  of ,don ,rodrigo de ,lauria1   
son of the famous ,admiral4 ,the warrior
 is  clothed entirely in a suit of mail1
 with hood and camail1 a graceful       
coronet with fleurs-de-lys encircling   
the forehead4 ,the surcoat or tunic  is1
 as in the other examples1 charged with 
the armorial bearings of the  deceased1 
and has three openings--at the sides1   
and in the middle--with  a gilt         
fringe--8a fashion10 remarks ,don       
,valentin ,carderera1 8which we  have   
observed in ,spain only on the statues  

of ,aragonese knights40 ,the  sword is  
much longer and narrower than usual1 and
 reveals fine  workmanship4 ,the spurs  
are of the goad shape4    ,the ,historia
 ,troyana1 executed in ,castile about   
#acej1 represents  warriors clad in     
similar suits of mail1 with pointed     
heaulmes with  visors1 but no           
chin-pieces4 ,greaves and genouillres   
are worn with the  chausses4 ,in one    
instance a surcoat is shown of scaled   
and studded  pattern4 ,this may have    
been some rare sort of gambeson1 or     
again may  have been made of the        
cuir-bouilli--boiled leather--common all
 over  ,europe and the ,east then and   
for centuries after4 ,banded armour is  
also  shown4    ,the statue of ,don     
,alonso ,perez de ,guzman1              
,captain-,general of ,jerez1 who        
distinguished himself at the taking of  
,algeciras in #acdd1 is interesting     
technically as showing several new      
pieces of plate-armour4 ,the jambs      
7leg-plates7 are closed1 and coudires   

are worn on the elbows and  vambraces on
 the forearm4 ,defences of plate for the
 arm were coming into  use about this   
time4 ,the earliest examples date from  
#acbh1 but they  occur very rarely prior
 to #acfj4 ,yet this monument is        
believed to have  been executed some    
years before the knight's death in      
#acea4 ,it is  evident that the         
,castilians were not lagging behind in  
the arts and  appliances of warfare4    
,don ,alonso wears pointed sollerets of 
six  plates1 and the hauberk of mail    
beneath a surcoat4 ,he clasps a long    
cross-hilted sword4    ,a decided       
impetus was given to the movement       
towards plate armour by the  influx of  
,english and ,french troops into        
,castile1 incidental to the  restoration
 and final deposition of ,pedro the     
,cruel4 ,almost for the  first time the 
,spaniards were brought face to face on 
the tented field  with a foreign        
,christian soldiery1 and that under     
leaders no less  formidable than ,edward

 the ,black ,prince and ,bertrand       
,duguesclin4 ,against  such doughty     
foemen stouter defences were needed than
 against the  light-armed1              
leather-and-mail-clad chivalry of       
,islam4 ,though in ,aragon  the cuirass1
 or coracina1 had already been worn1 its
 introduction into  ,castile is         
generally ascribed to ,bertrand ,claquin
 and those who with him  entered the    
service of ,don ,enrique de ,trastamara4
 ,this tradition seems  to be warranted 
by a sepulchral effigy of ,don ,pedro1  
described in  ,carderera's ,iconografia 
7see plate #f71 though it should be said
 that  this was not executed till       
seventy-six years after that ,king's    
death4  ,the components of the armour   
are3 a hauberk of mail1 reaching        
half-way  down the thigh2 a coracina or 
cuirass2 vambraces1 rere-braces1,d      
coudes1 and genouillres4 ,the surcoat   
and mantle which hide so much of  the   
armour1 are brocaded with gold flowers  
on a blue field4    ,the monument of one

 of ,don ,enrique's partisans1 ,juan    
,alfonso1 ,lord of  ,ajofrin 7see plate 
#c71 was erected a year or two after his
 death on the  field of ,aljubarrota1 in
 #ache4 ,he wears a short hauberk with a
 sleeved  surcoat1 which probably       
concealed a cuirass4 ,the               
leg-armour--jambs1  genouillres1        
cuisses--is entirely of plate4 ,the     
gauntlets are of  extraordinarily       
delicate workmanship4 ,the cuff and hand
 are of plate1  richly chased2 the      
fingers are articulated and composed of 
small annular  plates1 which must have  
allowed perfect freedom to the joints2  
the tips  are shaped to imitate the     
nails2 and the knuckles are furnished   
with  gads or spikes1 which served as   
offensive as well as defensive armour4  
,gauntlets of beautiful workmanship were
 not1 of course1 peculiar to  ,spain1   
but were adopted there as early as in   
any other country4 ,the ,lord  of       
,ajofrin wears laminated sollerets1 and 
carries a sword of unusual  length1 with

 drooping quillons1 and a shield or     
escutcheon on the  pommel4    ,castile  
owed1 not only the corselet1 but an     
improved headpiece to the  ,white       
,company1 which crossed the ,pyrenees to
 support the claims of ,don  ,enrique in
 #acff4 ,it should1 however1 be said    
that ,don ,pedro in his will1  dated    
#acfb1 bequeaths his bascinet to his    
son1 ,don ,juan4,e 8,the  heaulme10 says
 ,m4 ,mathieu ,prou1 8having become too 
heavy1 was from #acjj  onwards little   
more than a headpiece for parade4 ,in   
action the knights  preferred to combat 
with uncovered face1 the head protected 
by a casque  called bassinet or         
bascinet1 which was without a nasal1    
round1 at  first rather low1 but towards
 #accj assuming an ovoid form4 ,from the
  beginning of the fourteenth century it
 became the custom to fix to the  iron  
cap a visor moving on pivots1 or        
attached to hinges1 and opening  like a 
shutter4 ,this visor was ordinarily     
pointed and elongated in  muzzle form1  

and provided with two horizontal slits  
for the vision  7occularia71 and        
numerous holes for respiration4 ,as this
 helmet did not  protect the throat1 to 
the lower part was soon added the piece 
called  beavor1 over which the visor    
fell when it was lowered40    ,the      
celada or salade was also worn in ,spain
 about this time4 ,the  collection of   
,don ,jos ,estruch1 at ,barcelona1      
contains such a headpiece  of somewhat  
peculiar shape4 ,the crest is very high 
and the brim very  broad4 ,to it is     
fastened a beavor in three plates1 to   
which again is  laced a covering of mail
 for the back of the neck4 ,the bascinet
 is worn  by the ,lord of ,ajofrin's    
contemporary1 ,don ,bernardo de         
,anglesola1 of  ,aragon 7see plate #h74 
,it is encircled by a double band of    
ornaments and  precious stones1 and is  
worn over the camail1 which falls like  
an ample  tippet over the breast4 ,the  
harness is composed of hauberk of mail1 
rere-braces1 vambraces1 coudes1         

gauntlets1 cuisses1 genouillres1 jambs1 
and sollerets4 ,the brocaded surcoat may
 be intended to conceal a  corselet4    
,froissart throws some light on the     
military equipment and peculiarities  of
 the ,castilians of his day4 ,from more 
than one passage in the  ,chronicles it 
is evident that the sling1 a weapon long
 discarded by  other ,western nations1  
was still esteemed in ,spain1 where the 
javelin  also was a favourite weapon4   
,we read1 8#8,by my faith1' said the    
,duke of  ,lancaster1 #8of all the arms 
the ,castilians and your countrymen make
 and  use1 ,i love the dart best1 and   
love to see it used2 they are very      
expert  at it2 and ,i tell you1 whoever 
they hit with it1 he must be indeed     
strongly armed1 if he be not pierced    
through and through4' #8,you say        
truly1' replied the squire1 #8for ,i saw
 more bodies transfixed at these        
assaults than ever ,i saw before in all 
my life4 ,we lost one whom we much      
regretted1 ,senhor ,joao ,loureno da    

,cunha1 who was struck with a dart  that
 pierced through his plates and his coat
 of mail and a gambeson  stuffed with   
silk1 and his whole body1 so that he    
fell to the ground4'0    ,the address of
 the ,castilians with the dart or       
javelin is again referred  to at the    
attack on ,vilha ,lobos in #achf2 while1
 at the battle of ,najara1  8the        
,spaniards and ,castilians had slings1  
from which they hurled stones  and      
crushed heaulmes and bascinets2 in which
 manner they wounded many40  ,in another
 passage we are told that the troops    
were armed according 8to  the usage of  
,castile1 with darts and archegayes     
7assegais7 and  throwing stones from    
slings40    ,there is a tendency among  
certain historians to exaggerate the    
influence  exercised by the ,moors on   
the applied arts in ,spain4 ,so far as  
armour  was concerned1 it is clear that 
the ,christians of the ,peninsula1 where
  they did not originate fashions1      
followed those of ,italy1 or in later   

times of ,france4 ,they certainly did   
not look to ,granada for a lead4 ,and   
if the ,spanish ,moors had been such    
skilful armourers as some would have  us
 believe1 it is hardly likely that their
 kinsmen and neighbours1 the  ,moors of 
,barbary1 would have gone so poorly     
equipped as they seem to  have gone in  
,froissart's time4    8,for10 says      
,messire ,froissart1 8they are not so   
well nor so strongly  armed as the      
,christians2 for they have not the art  
nor the method nor  the workmen to forge
 armour as the ,christians do4 ,neither 
is the  material1 that is1 iron and     
steel1 common with them4 ,their armour  
is  usually of leather1 and at their    
necks they carry very light shields1    
covered with cuir-bouilli of            
,cappadocia1 which1 if the leather has  
not  been overheated1 no weapon can     
penetrate40    ,on the other hand there 
can be no doubt that the conquest of    
,andalusia  had let the ,castilian      
artificers into the secrets of many new 

methods1  such as damascening and       
enamelling1 by which they were not slow 
to  profit4 ,the traditions of the      
goldsmith's craft1 handed down from     
,visigothic times1 had never been lost2 
and certain it is that in the           
fourteenth century1 when the conquerors 
had had time to assimilate the  arts of 
the conquered to their own1 armour and  
metal work of all kinds  began to assume
 a rich and elaborate character4 ,the   
goldsmiths of  ,barcelona1 ,toledo1     
,valladolid1 and ,seville enjoyed a     
,european  reputation4 ,they worked in  
close co-operation with the             
armour-smith4 ,in  the example of a     
fourteenth-century harness we have just 
considered--that of ,don ,bernardo      
,anglesola--not only bascinet1          
gauntlets1 coudes1 and genouillres are  
chased1 and in some cases set  with     
precious stones1 but the hauberk has a  
rich fringe of gilt1 and  each plate of 
the rere-braces has a decorative band at
 the lower border4  ,the baldric is     

adorned with studs and fleurs-de-lys4   
,in the statue1 at  ,seville1 of ,don   
,alvaro de ,guzman1 ,admiral of         
,castile1 who died in #acid1  the same  
elaboration may be noticed in the roped 
edges of the  genouillres1 the          
gauntlets1 and the tasteful floral      
devices1  alternating with rows of      
studs1 in the ornamentation of the      
baldric4 ,the  pommel of the sword1 as  
was customary1 is emblazoned with the   
arms of  the owner4 ,according to       
,froissart1 the bascinet of the ,king of
 ,castile  7#ache7 was encircled by a   
fillet of gold and precious stones--8qui
 bien  valoient vingt mille francs40    
,helmets at the close of the fourteenth 
century were not only richly1  but1 as  
was often the case in preceding ages1   
fantastically decorated4  ,we have an   
excellent illustration in the ,armoury  
7plate #i7 in the crest  of ,king       
,martin of ,aragon 7#acie-adab71        
formerly attributed to ,jaime el        
,conquistador1 and carried for many     

years in the procession of the          
8,standart10 at ,palma 7,,oii74 ,it     
represents the head1 neck1 and wings of 
a  dragon--the ,drac pennat1 the device 
displayed in field and tilt-yard  by the
 ,princes of the ,house of ,aragon from 
,pedro ,,iv4 to ,fernando ,,ii4         
7#accf-adgi74 ,as was generally the     
case1 it is made of boiled parchment    
and gilded plaster1 and was set on the  
crest of the helmet1 encircled by  the  
crown or coronal1 amid dancing plumes4  
,the cap on which the ,drac  pennat is  
mounted was added in the first years of 
the fifteenth  century1 that it might be
 worn by the man who carried in the     
procession  the standard of ,jaime ,i4  
,at the renowned and honourable passage 
of arms  of ,don ,suero de ,quiones     
7#adcd71 the crest of one of the        
knight's  helmets was in the shape of a 
golden tree1 with green leaves and      
golden  fruit2 round the trunk was      
coiled a serpent1 and in the middle was 
a  naked sword with the device--,le vray

 amy4 7,true friend74    ,to the last   
year of the fourteenth century belongs  
the effigy of a  knight of the ,anayas  
family in the ,cathedral of ,salamanca1 
described by  ,carderera4 ,french       
influence is attested by the corselet   
and by the  brigantine or hauberk of    
metal discs which was in very general   
use and  esteem in ,france at that time4
 ,the legs and arms are1 as now         
customary1  sheathed in plate1 the      
coudes being of tasteful design and     
sharply  pointed4 ,the transition from  
mail to plate is well illustrated by a  
medallion which represents ,alfonso ,v4 
of ,aragon1 when a youth 7about  #adaf71
 in a coat of mail1 and a bas-relief    
portraying him as a man of  mature years
 in a complete harness of plate1 mail   
only appearing as  gussets at the       
armpits4    ,the reign of ,juan ,,ii4 of
 ,castile 7#adjf-aded7 is extolled by   
,spanish  writers as the golden age of  
chivalry4 ,knighthood was in flower1 in 
fact1 somewhat later in the ,peninsula  

than in the rest of ,europe1 though  ,i 
can find no adequate reason for         
ascribing the introduction of  chivalry1
 as an institution1 to the ,black       
,prince and ,duguesclin4 ,such          
enactments as that of ,jaime ,,ii4 of   
,aragon 7#abia-acbg71 which ordained    
that any cavalier escorting a lady      
should be secured from any kind of      
molestation or hindrance1 and given a   
free passage from one end of the        
kingdom to the other1 show that the     
spirit of chivalry was certainly        
understood ,south of the ,pyrenees many 
years before the battles of ,najara  and
 ,montiel4 ,but it is likely enough that
 warfare with a ,christian foe  may have
 put a finer edge on the ,spaniards'    
sense of honour--blunted1  perhaps1 by  
their relations with the infidel1 to    
whom it was deemed  unnecessary to      
extend all the courtesies of war4 ,the  
lull1 too1 in that  long conflict caused
 men to find an outlet for their        
energies in tourney  and tilt-yard1     

where the atmosphere was more favourable
 to the generous  emotions than was the 
field of actual battle4 ,juan ,,ii4 and 
his  all-powerful minister1 ,alvaro de  
,luna1 ,constable of ,castile1 delighted
  in jousts and tournaments1 and        
encouraged the sentiment and exercise of
  chivalry by all the means in their    
power4 ,the ,constable himself often    
appeared in the lists as a mantenedor   
7or challenger71 or aventurero 7or      
respondent74 ,the spirit of the age is  
exemplified by the famous passage  of   
arms1 to which ,i have already made     
reference4 ,in #adcd1 ,don ,suero de    
,quiones1 a knight of good family1      
besought the ,king to grant him  release
 from a vow he had made to his lady1 by 
allowing him to hold the  ,bridge of    
,orbigo1 near ,leon1 with nine friends1 
for thirty days against  all comers4    
,his ,majesty convoked the ,cortes to   
deliberate upon this  grave proposal1   
with the result that a large sum of     
money was voted to  defray the expenses 

of the tournament1 and invitations were 
sent to all  the ,courts of ,europe4    
,knights flocked from all parts of the  
,continent4  ,nothing was omitted that  
could lend dignity and splendour to the 
scene4  ,there were in all sixty-eight  
competitors1 and seven hundred and      
twenty-eight courses were run4 ,one     
,aragonese knight having been killed1   
and several champions seriously wounded1
 among them ,suero de ,quiones  himself1
 the latter was adjudged to have        
fulfilled his vow1 and to have          
honourably discharged his duty to his   
lady4 ,this memorable contest was       
considered to have reflected immortal   
lustre on ,castilian arms1 and ,king    
,juan no doubt felt prouder of himself1 
his knights1 and his kingdom than  if he
 had driven the ,moors from ,spain4 ,the
 ,honroso ,paso de ,don ,suero de       
,quiones is set forth in minute detail  
in a special chronicle1 and is          
frequently and lovingly referred to in  
,spanish history4    ,stimulated by such

 public displays of prowess and knightly
 address1 and  despite severe sumptuary 
laws1 armour and military gear became   
more  ornate and costly every year4 ,in 
the chronicle of ,don ,alvaro de ,luna1 
in  the account of the battle of ,olmedo
 in #adde1 we read3    8,so long had the
 wars in ,castile lasted1 that the      
greatest study of  everyone was to have 
his armour well decorated and his horses
 well  chosen2 so much so that it would 
scarcely have been possible in all the  
,constable's host to find one whose     
horse had no covering1 or the neck of   
whose horse was without steel mail4     
,thus all those noble young gentlemen   
of the ,constable's house1 and many     
others1 were very richly adorned4  ,some
 had different devices painted on the   
coverings of their horses1 and  others  
jewels from their ladies on their       
helmet-crests4 ,others had gold  and    
silver bells1 with stout chains hanging 
to their horses' necks4  ,others had    
badges studded with pearls or costly    

stones around the  crests4 ,others      
carried small shields1 richly           
embellished1 on which were  strange     
figures and inventions4 ,many different 
things were put on the  helmet-crests1  
for some had insignia of wild beasts1   
others plumes of  various colours1 and  
others had plumes both on their         
helmet-crests and  on the face-covering 
of their horses4 ,some horsemen had     
feathers that  spread like wings against
 their shoulders2 some affected simple  
armour2  others wore plated coats over  
the cuirass2 others rich embroidered    
tunics40    ,the increased popularity of
 tilting and similar martial exercises  
brought about a demand for heavy        
reinforcing pieces of armour1 such as   
could not be worn habitually except by  
men of the strongest physique1 in  the  
field4 ,henceforward we find a          
distinction made between war harness    
and tilting harness4 ,as a specimen of  
the latter1 belonging to the time  of   
which ,i am now speaking 7middle        

fifteenth century71 we have in the      
,royal ,armoury1 a ,spanish tilting     
breast-plate 7,e#ei71 thus described in 
the #ahih ,catalogue3    8,spanish      
tilting ,breastplate1 middle fifteenth  
century1 composed of  breastplate and   
over-breastplate1 screwed together4 ,the
 breastplate1  tin-plated to avoid      
oxidation1 preserves the nails of the   
brocade with  which it was covered4 ,the
 over-breastplate was also called #8the 
volant'--a defence much used in tilts in
 the fifteenth and sixteenth  centuries4
 ,it was strengthened with iron1 as     
stated in the description  of the       
honourable passage of ,don ,suero de    
,quiones4 ,it is doubtful if  this      
second piece was also covered with rich 
cloth1 like others of a  later period2  
it has its original hollow lance-rest1  
for tilt1 fastened  with a bolt and four
 staples4 ,it has also a piece of iron1 
which we call  flaon1 used as a wedge   
between the shield and the breastplate1 
and  forming a resisting whole against  

the adversary's lance4 ,this flaon1  the
 only iron one we have seen1 serves also
 to fasten the helm to the  breast0--in 
the manner shown on the piece ,a#af4    
,the flaon was nearly  always of wood4  
,the headpiece was correspondingly      
strengthened4 ,referring more           
particularly to the tilting helm that   
forms part of the suit 7,a#af7          
belonging to ,felipe ,i4 of ,castile    
7#adgh-aejf71 from which the casque     
worn by ,don ,suero probably did not    
differ1 the ,conde de ,valencia says3   
8,the tilting helm1 or round closed     
almete1 as it was called1 appeared  at  
the end of the fourteenth century1 and  
continued in use1 with slight           
modifications in each country1 until the
 beginning of the sixteenth4  ,designed 
to resist the impact of a lance in      
front1 the part around the  vizor1 or   
the horizontal opening between the crest
 and the face1 was  strengthened1       
attaining a thickness of nine           
millimetres in some places2  in others1 

as the sides and occiput or back of the 
helmet1 it gradually  diminishes4 ,its  
vertical and almost cylindrical length1 
is such that it  might rest on the      
shoulders1 so that1 fastened to the     
breastplate by the  hinge1 and to the   
backplate by a strong strap1 it might   
protect the  tilter's head without      
inconveniencing his movements4 ,in      
certain tilts1  this resource was       
insufficient against the violence of a  
lance-thrust at  full gallop of two     
horses going in an opposite direction1  
and then the  horsemen protected the    
head with a stiffened cap1 which in     
,german was  called harnisch kappe40    
,the armet1 the most graceful form of   
steel headpiece1 also seems to have     
been introduced into ,spain about the   
middle of the fifteenth century4 ,a     
fresco in the ,escorial1 copied from a  
painting of the first half of that      
century1 representing the battle of     
,higueruela1 depicts men-at-arms        
wearing this species of helmet4 ,it     

superseded the bascinet for use in  war1
 and will be described further on in    
these pages4    ,the sword continued1 as
 during the preceding centuries1 to be  
two-edged1 of rhomboidal or             
almond-shaped section1 intended much    
more  for cutting and hacking than      
thrusting4 ,the grip now tended to      
lengthen1  and the pommel1 which was    
usually pear-shaped1 became lighter4 ,to
 this  period belongs ,g#d1 the sword   
presented by ,pope ,eugene ,,iv4 to     
,juan ,,ii41  in the sixteenth year of  
his pontificate 7#addf71 as the         
inscription  engraved with aqua fortis  
on the ricasso records4 ,the blade is   
wide and  grooved4 ,in the groove are   
inscribed the words ,,piervs ,,me       
,,fece4    8,the guard1 notable for its 
elegant simplicity1 is all of silver1   
gilded  over and chased1 with the cross 
of straight arms with fleurs-de-lys at  
the ends4 ,the hilt is a festooned      
ballister1 i4e41 a small pillar         
swelling in the centre or towards the   

base1 and the pommel1 covered with      
leaves1 also festooned1 is pear-shaped4 
,the description in the inventory  of   
this ,treasury 7,king ,juan's7 makes us 
aware that the hilt has lost  much of   
its most beautiful decoration3          
#8,another sword with a groove in  the  
middle and the words pierus me fece1    
gilded1 has the cross one  hand in      
length1 the pommel1 hilt1 cross1 and all
 the sheath of gilded  silver1 and on   
this are some open leaves soldered to   
some trunks2 and  the cross is a serpent
 with wings enamelled green2 the rim1   
which is the  first piece of the sheath1
 is enamelled blue with its quirimi'    
7from  quiris1 a spear or javelin71 c40 
,g#e4 ,blade of a ,pontifical sword1    
sent to ,henry ,,iv4 of ,castile by     
,pope  ,calixtus ,,iii4 in #adeh4 7,this
 ,spanish pontiff1 ,alfonso ,borgia1 of 
,valencia1 was elected in #adee1 and    
died in #adeh47    ,it has four         
surfaces1 with false guard and long     
ricasso1 sloped on both  edges2 gilded  

and engraved on both sections4 ,length1 
#a4ahj2 width1  #j4jci4    ,the history 
of this weapon leads us to suppose that 
the mark is that of  an unknown ,italian
 swordmaker4 ,on each side of the blade 
is a circular  shield with the arms of  
the ,pontiff 7a bull on a ground        
composed of  bezants1 surmounted by the 
tiara and keys71 and this inscription3  
,,accipe  ,s ,c ,m ,,gladivm ,,mvnvs ,a 
,,deo ,i ,,qvo ,,dei ,,cies 7sic7       
,,adversarios ,p ,p ,,li ,,mei          
,,xpiani4    ,according to the note in  
the ,cronicon of ,valladolid1 this sword
 was  sent to ,enrique ,,iv4 of ,castile
 by ,calixtus ,,iii41 to encourage him  
to  fight unremittingly against the     
,moors4 ,the ornamentation has gone2 but
  we may judge of its richness and      
artistic value by the sketch of it in   
the ,inventory of the alcazars of       
,segovia3 it says--04444 ,a sword1 all  
gilded1 nearly to the last third        
section1 with large letters in each     
portion1 and the mark consists of seven 

spots on a small shield2 the  pommel1   
the hilt1 and cross are all of gilded   
acucharado silver1 and  in the middle of
 the pommel are the words ,calistus     
,papa ,tercio2 the  sheath of gilded    
silver1 engraved with evergreen         
oak-leaves and acorns1  has four round  
enamels on the middle portion2 on one is
 ,st4 ,peter with a  cross in his hand1 
in a ship1 and on each of the other two 
7sic7 is a  coloured cross and four     
small ones2 the rim is enamelled with   
coats of  arms of the ,pope1 and a      
shield with an ox in each quarter and   
some blue  letters 4441 c4 ,this work of
 art was by the artificer of ,zaragoza1 
,antonio ,prez de las ,cellas1          
established in ,rome1 who worked almost 
exclusively for ,calixtus ,,iii4 during 
his brief pontificate40 7,muntz1  ,les  
arts  la cour des ,papes47    ,the name 
falsaguarda1 or dummy guard1 was given1 
in an ,inventory of  arms of the        
sixteenth century1 to the two small     
pieces or wings on the  blades of       

broadswords1 a third of the way from the
 guard1 where the  grooving on the blade
 ends4    ,these1 of course1 were       
presentation swords4 ,the blade 7,g#bd71
 which is  traditionally ascribed to the
 ,conde de ,haro1 of ,juan ,,ii4's      
reign1 is  gilded and engraved at the   
upper end1 the design representing on   
one  side the ,annunciation1 on the     
other1 ,st4 ,john in the ,desert4 ,it   
has a  groove down its entire length1   
and is diamond-pointed4 ,the sword      
7,g#bc--plate #aa7 is of similar make1  
and is engraved in ,gothic character  on
 a field of gold with texts1 which1     
translated1 run as follows3    ,,the    
,,lord ,,is ,,my ,,help2 ,i ,,will ,,not
 ,,fear ,,what ,,man ,,can ,,do ,,unto  
,,me1 ,,and ,i ,,will  ,,despise ,,my   
,,enemies2 ,,superior ,,to ,,them1 ,i   
,,will ,,overthrow ,,them4 ,on a        
circle1 part of verse #h1 chapter xviii4
 of the ,gospel of ,st4 ,john3 ,,if ,,ye
  ,,therefore ,,seek ,,me1 ,,let ,,these
 ,,go ,,their ,,way1 ,,but ,,jesus      

,,passed ,,through 7the  midst of them71
 and also in the centre1 ,,mary         
,,virgin4 ,in another circle1  part of  
the anthem of the ,purification of ,our 
,lady3 ,,make ,,me ,,worthy ,,to        
,,praise ,,thee1 ,,blessed ,,be ,,the   
,,sweet ,,virgin ,,mary1 and1 in the    
centre1 the  monogram of ,jesus ,christ4
    ,the guard consists of an iron      
crosspiece with traces of gold3 the     
guard  curved towards the blade and     
twisted at the ends2 circular pommel    
with  two faces with a cavity 7round7 in
 the centre1 which was frequently       
incrusted with the shield of arms of the
 owner4    ,the two-handed sword was    
introduced in the late fourteenth or    
early  fifteenth century4 ,the ,armoury 
contains a specimen 7,g#ae--plate #aj7  
belonging to the first half of the      
latter era4 ,it comes from ,mallorca4   
,the blade is almond-shaped1 metre      
#j4iij long1 by #j4jch broad2 it has a  
long ricasso1 counter-guard             
7falsaguarda71 and three grooves4 ,the  

guard is of copper1 once gilded1 with   
quillons drooping very slightly2  the   
grip1 of corded wood1 covered with      
leather2 the pommel pear-shaped  and    
facetted4    ,before the century was    
three-quarters gone1 complete suits of  
plate-armour were worn in ,castile1     
though the hauberk was still  retained1 
in some cases1 as an additional defence4
 ,the powerful and  ambitious ,juan     
,pacheco1 ,marques de ,villena and      
,grandmaster of ,st4 ,james1  who died  
in the same year as his sovereign       
,enrique ,,iv4 7#adgd71 is shown  7plate
 #ab7 wearing1 in addition to the pieces
 which had now become a  regular part of
 the harness1 espaliers in five pieces1 
and tassets or  armour for the hips1 of 
five pieces1 in the graceful oak-leaf   
pattern1  which endured till the time of
 ,charles ,v4 ,the opening between the  
tassets is defended by the skirt of the 
hauberk1 worn beneath the  cuirass4     
,that piece1 and the vambraces1 are     
exquisitely chiselled with  floral      

designs4 ,the armour of ,don ,iigo      
,lopez de ,mendoza1 ,conde de           
,tendilla1 who died five years after    
,villena1 is very similar4 ,his coudes  
are very large1 chased1 and set with    
gilt studs round the borders4    ,we    
have now reached the beginning of the   
most glorious and prosperous  epoch in  
the history of ,spain4 ,the chivalric   
spirit1 which had been  sedulously      
fostered in the nation during the two   
preceding reigns1 in  the age of the    
,catholic ,kings1 ,ferdinand and        
,isabel1 found its genuine  and loftiest
 expression in enterprises of supreme   
national importance4  ,this was         
essentially a martial age--the era of   
the ,conquest of ,granada  and of the   
,discovery and ,subjugation of the ,new 
,world4 ,everything  connected with the 
profession of arms became the subject of
 close study  and a matter for          
improvement4 ,farseeing men might have  
predicted1 even  as early as the taking 
of ,granada1 that the armourer's craft  

was a  doomed industry4 ,considering the
 productions of its latest ages1 we     
might be tempted to impute its          
extinction to its having reached a point
  beyond which progress was             
impossible--where the artificer saw that
 all  attempts to improve on existing   
models must be vain4    ,an interesting 
relic of this period is the sword       
7,g#ac7 which the ,conde  de ,valencia  
thinks may be safely ascribed to        
,ferdinand the ,catholic  7plate #aj74  
,the blade is rigid1 of rhomboidal      
section1 and without  ricasso2 the      
crosspiece is of gilded iron1 very      
plain2 velvet-bound  grip2 the pommel is
 pear-shaped and facetted4 8,like nearly
 all the  swords for the saddle-bow of  
the fifteenth and sixteenth centuries1  
which were fastened by the scabbard to  
the front bow of the man-at-arms'       
saddle1 this blade has a hilt of the    
kind then called #8a hand and a  half1' 
because its length allowed of its being 
used with one or both  hands without    

disturbing the equilibrium necessary for
 the proper  handling of the            
weapon40--,valencia1 ,catlogo4    ,g#a  
7plate #aa7 is the ,ceremonial ,sword of
 ,ferdinand and ,isabel4 ,the blade  is 
metre #a4jgj long by #j4jej broad1      
almond-shaped1 and without ricasso4     
,the crossguard is of gilded and        
engraved iron1 the ends of the arms     
cusped4 ,on the cusps are the           
inscriptions ,,tanto ,,monta,f and      
,,memento ,,mei  ,o ,,mater ,,dei ,,mei4
 ,the grip is wire-bound and covered    
with red velvet4 ,the  pommel is        
disc-like and cut and perforated into a 
cruciform device2 it  bears on one side 
the yoke1 the emblem of ,ferdinand1 on  
the other1 the  sheaf of arrows1 the    
emblem of ,isabel4    ,g#b is the sheath
 of the preceding sword4 ,it is of wood1
 covered with  crimson silk1 minus the  
rim and the ferrule2 it bears the       
,spanish shield  of arms as charged     
after the taking of ,granada1 and the   
devices of the  two ,sovereigns4        

8,this ,royal sword is extremely        
interesting in every way1 as it was the 
same that ,ferdinand and ,isabella and  
their grandson the ,emperor1 used in    
the ceremony of conferring knighthood4  
,this statement is in the  ,relacion    
notarial de ,valladolid1 thus3 #8a wide 
sword1 old1 for making  knights1 with   
flat pommel with holes and gilded       
cross'--a description  which agrees with
 the illustration of the same sword in  
the ,illuminated  ,inventory of ,charles
 ,v4    8,in our opinion1 it is the     
,royal sword which1 during the rule of  
the  ,house of ,austria1 and in         
accordance with the etiquette of the    
,houses of  ,castile and ,burgundy1 in  
the solemn entries into cities and on   
,princes  taking the oath1 was carried  
bare by the ,chief ,equerry of the      
,king1 in  the absence of the ,count of 
,oropesa1 #8whose privilege it was in   
,castile1  and the ,count de ,sstago's  
in ,aragon4' ,in support of this opinion
 we may  instance picture #ghg in the   

,museum of ,paintings in ,madrid1 called
 the  ,pacification of ,flanders1 where 
,philip ,,iv4 is represented crowned by 
the  goddess ,pallas1 assisted by the   
,count-,duke de ,olivares1 who has the  
sword referred to in his left hand40    
7,g#ca--plate #ac74 ,the battle sword of
 ,ferdinand the ,catholic is thus       
described3 8,the blade is hexagonal1    
fluted ricasso with scallop for the     
index finger1 and narrow groove down to 
the middle1 in the centre of  which are 
the words--,,antonivs ,,me ,,fecit4     
7,this must have been the famous        
swordmaker mentioned by ,diego ,hurtado 
de ,mendoza in the ,vida del  ,lazarillo
 del ,tormes47 ,length1 #j4ijj2 breadth1
 #j4jdj4    8,the whole of the hilt is  
of gilded iron1 delicately chiselled2   
the arms  of the cross1 which broaden at
 the ends1 are flat and curve towards   
the  blade2 it has branches curving to  
the ricasso2 the grip is also gilded    
and chiselled2 pommel disc-like1 with   
four crescent-shaped indentations       

equidistant from each other2 around both
 faces1 in monachal letters1 are  these 
octosyllabic verses3        8#8,,paz    
,,comigo ,,nvnca ,,veo        ,y        
,,siempre ,,gvera 7sic7 ,,deseo4'       
7,there is never peace with me1 and my  
desire is always for  war47    8,both   
the author of the #ahdi ,catalogue and  
,jubinal attribute this sword  to ,queen
 ,isabel the ,catholic1 but without     
giving their reasons for so  doing4 ,we 
find that the great ,queen in the year  
#aejj owned several  cuirasses of ,milan
 plates1 covered with gold1 which she   
doubtless wore  to defend herself from  
attacks like that at ,velez-,malaga4    
,she also had a  small dagger1 the gold 
and enamelled handle of which was formed
 like a  sheaf of arrows 7which was her 
badge72 a sword with hilt of silver and 
enamel1 with strapwork of gold2 and     
another with #8iron hilt1' possibly  the
 one we are now describing4 ,as these   
words are not sufficient of  themselves 
to dismiss all doubt1 we may refer to   

the document which  proves that the arm 
in question belonged to ,ferdinand the  
,catholic4 ,this  does not prevent its  
having belonged to his illustrious wife 
previously40    ,the ,hispano-,moresque 
sword 7,g#bg7 was long cherished as the 
sword of  ,boabdil4 ,the ,conde de      
,valencia and other antiquaries have    
rudely  dispelled this tradition--like  
that which ascribed the blades numbered 
,g#ba and ,g#bb to the ,cid and to      
,roland respectively4 ,the blade comes  
from  the ,berber district1 and the hilt
 is certainly modern4    ,at this point 
the remarks of ,don ,juan ,riao         
7,industrial ,arts in ,spain7  on the   
manufacture of the ,toledo blade cannot 
fail to be of interest4  8,the celebrity
 of ,toledo blades has excited the      
curiosity of many who  wished to        
ascertain the cause of their great      
excellence and renown4 ,some  supposed  
the sword manufacturers of ,toledo      
possessed a secret for  tempering their 
arms4 ,it was not so1 however1 their    

only secret being  the waters of the    
,tagus1 and the fine white sand on its  
banks4 ,this sand  was used for cooling 
the steel3 when the steel was red-hot   
and began to  give forth sparks1 it was 
uncovered a little1 sprinkled with sand1
 and  sent on to the forgers4 ,as soon  
as the blade was ready1 it was tempered 
in the following manner3 a line of fire 
was made1 and the blade placed  in it   
for four-fifths of its length4 ,as soon 
as it was red-hot1 it was  dropped      
perpendicularly into a bucket of ,tagus 
water4 ,when cold1 if it  was found to  
be bent1 a small portion of sand was    
poured on the yoke1  the blade placed   
upon it1 and beaten until properly      
straightened4 ,after  this1 the         
remaining fifth part of the blade was   
fired2 and when red-hot1  was seized    
with tongs and rubbed with suet4 ,after 
this1 the blade was  sent to the        
grinding stones1 and finished by being  
polished on wooden  wheels with         
emery-powder40    ,the armour worn in   

the latter half of the fifteenth century
 is  remarkable for its symmetry1       
simplicity1 and graceful line-forms4    
,from  the beginning of the century the 
,missaglias1 a family of famous         
armourers1 had been settled at ,milan1  
and the style they designed soon  became
 fashionable all over ,europe4          
,fortunately for art1 a rival  appeared 
in ,nuremberg1 in the person of ,hans   
,grnwald1 who died in #aejc4  ,the      
competition between the ,italian and    
,german masters of the craft  resulted  
in the production of what are1 perhaps1 
the most beautiful  pieces of armour    
ever forged4    ,the suits numbered ,a#a
 to ,a#h in the ,catalogue of the       
,armoury belong to  the last decade of  
the fifteenth century1 and were the     
ordinary  war-harness of the ,spanish   
man-at-arms of the period4 ,they do not 
differ  materially1 and consist of the  
following pieces3 armet1 breastplate and
  backplate1 taces1 tassets1 espaliers  
or espalier-pauldrons1 hauberk of  mail 

with short sleeves reaching to elbows   
and showing at the armpits1  coudes1    
vambraces1 gauntlets--in most cases     
without articulated  fingers--cuisses1  
genouillres1 jambs1 and square-toed     
sollerets1 or  shoes of mail4 ,in some  
cases heavy reinforcing pieces only used
 for the  tilt have been added1 such as 
heavy elbow-gauntlets and the           
8grande-garde10 or extra piece for the  
left arm4 ,the armets or helmets  merit 
close attention 7plate #ad74 ,that of   
the suit ,a#a has a comb and a          
reinforcing piece over the forehead2    
visor sharply pointed2 large side  or   
cheek-pieces covering the chin1 hinged  
above the ears1 and secured at  the nape
 of the neck by a small rondel2 and     
beavor of two plates1 with  attachment  
to breastplate4 ,in ,a#e the armet has1 
in addition to the  beavor1 a tippet or 
skirting of mail2 the beavor is of one  
plate only2  and the neck is protected  
by a gorget4 ,the helmet ,a#i1 belonging
 to the  early part of the sixteenth    

century1 and worn by the ,duque del     
,infantado has no beavor1 and is of the 
8sparrow-beak0 type1 like that of  ,a#g1
 where the occularium is the interval   
between the crownpiece and  visor4      
,the horses' bards1 for the most part1  
belong to a later period than the       
riders' suits4 ,the barding 7,a#c7      
probably dates from the last years of   
the fifteenth century4 ,it is composed  
of large plates of burnished  steel1 and
 comprises3 chanfron1 mainfaire         
7mane-covering71  croupire--with wide   
hangings attached by thick tags of      
silk--flechires1 and poitrel with hinges
 and pins1 allowing free play  to the   
horse's shoulders4    ,the marriage of  
the third child of the ,catholic ,kings 
with ,philip1 heir  to the houses of    
,habsburg and ,burgundy1 in #adif1 drew 
closer the  relations of ,spain with the
 rest of ,europe4 ,the going and coming 
of  foreign princes1 ambassadors1 and   
statesmen rapidly familiarized the      
,spaniards with the customs1 fashions1  

and products of other countries4        
,native art had new models1 and began to
 lose some of its individuality4  ,the  
earliest example of foreign armour we   
find in the ,madrid ,collection  is the 
half-suit 7,a#aa-ae--plate #ae74 ,it is 
of ,flemish make1 and1 thanks  to the   
investigations of the ,conde de         
,valencia1 may be attributed with       
certainty to ,philip the ,handsome1     
afterwards ,philip ,i4 of ,castile4 ,the
  constituent pieces are the following3 
,breastplate1 with lance-rest1 and      
over-breastplate2 taces1 placed over    
the last-named to prevent the           
adversary's lance finding an upward     
opening2 backplate with garde-rein      
7loin-guard7 placed under it2 hauberk   
of mail with short sleeves covering     
rere-braces2 espaliers2 rondels         
protecting armpits2 coudes2 vambraces2  
gauntlets2 mentonnire1 or               
beavor-gorget1 in three plates2 peculiar
 steel hat1 or caperuza1 with  wide     
brim1 turned upwards and outwards1 of   

the shape of the cloth or  velvet caps  
worn in ,flanders at the period 7plate  
#af74 ,the neck defences  are           
strengthened with mail4    ,the suit is 
decorated with gilding and engraving4   
,on the breastplate we  note the emblem 
of the ,order of the ,golden ,fleece1 of
 which ,philip was  ,grandmaster1 and   
the inscription1 ,,jesvs ,,nasarenvs    
,,rex ,,jvdeorvm4 ,on the  backplate1 ,o
 ,,mater ,,mei ,,memem2 on the left     
rondel1 the angelic salutation  in old  
,flemish1 ,,weest ,,ghegrvt ,,maria     
,,vol ,,van ,,gracien ,,de ,,her ,,es   
,,metv 444  ,,gheben ,d2 on the right   
rondel1 the same in ,latin4 ,on the     
right coude1  ,,ihes ,,nasarenvs ,,rex2 
on the left1 ,o ,,mater ,,mei ,,memento 
,,mei4 ,on the right  gauntlet1 ,,ave   
,,maria 444 ,,gr4444 ,,ihes ,,nasar 4441
 and on the left1 ,,ihs  ,,maria ,,renvs
 ,,rex ,,jvd 444 ,on the brim of the    
caperuza1 ,,jesvs ,,maria ,,gracia      
,,plena ,,dominvs ,,tecvm ,,benedicta   
,,tv-,,in ,,mvlere 7sic74    ,the       

two-handed sword bears the device of    
,philip1 and the decoration is  in      
,german style2 but the mark is the same 
as that of the sword ,,gi1  belonging to
 ,ferdinand and ,isabel1 proving that   
the blade is of ,spanish  make4    ,the 
,armoury contains a variety of pieces   
dating from the end of the  fifteenth   
century 7plate #ag et seq74 ,by using   
odd pieces of the  ancient stock in the 
,armoury1 others from the dispersed     
collection of  the ,dukes of ,osuna1 and
 particularly a series of ,aragonese    
brigantines1  acquired1 like the        
preceding1 by ,alfonso ,,xii4 in #ahhb1 
various types of  ,spanish soldiers have
 been formed1 such as pike-men1         
mace-bearers1 and  other infantry of the
 fifteenth century--copying at ,c#a and 
,c#b1  sculptured figures decorating the
 portal of the ,church of ,st4 ,paul at 
,valladolid1 and the choir seats of     
,toledo ,cathedral carved by the        
master1 ,rodrigo 7#adie71 representing  
the then recent victories gained by  the

 ,catholic ,kings over the ,moors of    
,andalusia4    ,d#hf is a leather       
,moorish light cavalry shield1 probably 
a trophy of the  ,conquest of ,granada  
7plate #afa74 ,the inside is bound in   
linen1  embroidered1 especially the     
clasp1 with floral and other devices in 
coloured silk4 ,forming a band1 which   
extends round the circumference1  and   
repeated on eight oval medallions1 is an
 ,arabic inscription which  reads1 8,and
 only ,god is conqueror40 ,on a like    
number of circular  medallions1 smaller 
than those mentioned1 may be read1      
8,happiness for my  master40    ,the    
more interesting of the other objects of
 the same period are of  foreign make4  
,the helmet ,d#ab 7plate #abc71 formerly
 attributed to  ,boabdil1 is certainly  
the work of the famous ,missaglias of   
,milan1 who  began to be known by the   
name of ,negroli about this time4 ,the  
decoration  exhibits a skilful blending 
of the ,renaissance and ,oriental       
styles4    8,this helmet is of one      

piece1 and is strengthened with         
supplementary  pieces that can be taken 
off and put on at will1 being1 by its   
rare  make1 a complete head armour for  
two distinct purposes4 ,without the     
added pieces1 it is a simple helmet for 
war1 similar to those on the            
low-reliefs of the triumphal arch of    
,alonso ,v41 of ,aragon1 in ,naples2    
with the reinforcing pieces1 it is      
transformed into parade armour of       
surprising beauty and good taste4 ,these
 extra pieces are of plated  steel1     
chiselled with the outlines of leaves   
and arabesques in niello1  and the whole
 design beautifully shaded4 ,the crest  
is defended by a coif  like that used   
for combat on foot4 ,the plume-holder is
 placed over the  forehead4 ,it is to be
 regretted that a piece of so much merit
 and value  has been deprived of much of
 the crest-work that once enriched it40 
,the next piece 7,d#ac7 is a salade 7or 
helmet covering the nape of the  neck71 
of ,german fashion1 but made by one of  

the ,negroli family4 ,it is a  pure1    
vigorous piece of work1 cast1 except the
 visor1 in one piece4 ,the  decoration  
exhibits the same happy combination of  
the ,italian and  ,oriental styles that 
characterises ,d#ab4 ,the design inside 
the circles on  the skull might easily1 
at a cursory glance1 persuade one of the
 ,moorish  origin of the helmet4    ,the
 headpieces ,d#ad to ,d#bb emanate from 
,flanders4 ,the ,salade ,d#ad 7plate    
#abe71 worn by ,philip ,i41 has the     
skull-piece of octagonal shape and      
ending in a knop1 surmounted by a       
pomegranate4 ,it seems to have been     
suggested by the ,moorish helmet and    
turban2 and we read1 in fact1 that      
,philip appeared before ,ferdinand and  
,isabel in the tilt-yard at ,toledo  in 
,moorish dress4 ,d#bb is a ,flemish     
cabasset--an ungraceful                 
head-covering--forged in one piece4     
,,iii    ,,the ,,age ,,of ,,charles ,v  
,armour reached its highest point of    
development at a time when it had       

become at least highly probable that the
 use of fire-arms would drive it        
altogether from the field4 ,yet the     
armour-smith's craft1 so far from       
languishing1 seemed to renew its youth1 
and flourished exceedingly in  the early
 sixteenth century4 ,that was an age of 
mighty ,kings--of  ,maximilian and      
,charles ,v4 of ,germany1 of ,henry     
,,viii4 of ,england1 of  ,francis ,i4 of
 ,france1 and of ,ferdinand of          
,aragon--,sovereigns who loved  8the    
pomp and panoply of glorious war10 and  
who were keenly alive to the            
potentialities of the knightly harness  
as a medium for display and             
ostentation4 ,this1 too1 was the age of 
the ,renaissance1 when the setting  of a
 gem or the moulding of a goblet was a  
matter that would occupy a  grave       
potentate to the exclusion of affairs of
 state4 ,the armourer's art  came in for
 a large share of the interest taken in 
all the applied arts4  ,but as in the   
latter half of the fifteenth century1   

armour had already  arrived at a purity 
of line and adaptability to its purpose 
which could  not be improved upon1 the  
energies of the ,renaissance artists    
were  perforce expended upon            
ornamentation and enrichment4 ,this     
tendency was  naturally the more freely 
indulged as the inefficiency of armour  
as a  defence for life and limb became  
more generally recognized4    ,the      
8,maximilian0 style of armour1 which    
superseded the 8,gothic0 or late        
fifteenth century style1 seems to have  
originated at ,milan1 probably in  the  
workshop of the ,negrolis of ,missaglia4
 ,it was modelled on--or  suggested     
by--the civil costume of the time1 and  
derives its name from  the approval it  
received from the ,emperor ,maximilian  
7#adic-aeai74 ,that  monarch was        
distinguished above all the princes of  
his age for his  fondness for warlike   
exercises1 and for his skill and courage
 in the  lists4 ,the armour named after 
him is fluted1 and is usually           

characterised by heavy-shoulder         
defences1 and skirts of plate or        
lamboys4    ,the earliest pieces        
introduced into ,spain by the ,emperor's
 son1 ,philip  ,i41 do not belong to    
this style2 nor does the handsome suit  
7,a#af--plate  #ae71 believed to be of  
,spanish make1 and worn by the ,prince1 
possibly at  the tilt organised in his  
honour in the ,zocodover in #aejb4 ,of  
the heavy  tilting heaulme forming part 
of the harness1 the ,conde de ,valencia 
says3    8,this handsome helm1 to judge 
by the dimensions of the shutter1 might 
be  thought either ,spanish or ,italian2
 but in forming a definite opinion it   
must be remembered that it is marked    
with a fleur-de-lys1 very similar  to   
that of a ,chapeau de ,montauban1 which 
we have seen in the ,hefner  collection 
at ,munich40    ,the cuirass1 decorated 
with gold brocade1 is composed of two   
stout  plates of steel1 tin-plated to   
prevent oxidation1 the lower defending  
the body to the waist1 and the upper or 

over-breastplate only protecting  the   
breast down to a horizontal line of     
gilded nails4 ,they are fastened        
together by a screw in the centre of a  
rosette of gilded and engraved  metal4  
,the cuirass is completed by a third    
plate1 which covers the                 
shoulder-blades1 connecting with the    
backplate1 and protects the  shoulders  
from the pressure of the helm4 ,it is   
all lined with brocade  over strong     
canvas1 and fits close with cords and   
tags like a corset4    8,this remarkable
 breastplate for tilting is evidently   
,spanish4 ,in  addition to the ,moorish 
character of the engraving and openwork 
adorning  the central rosette1 inside   
the plates is a mark which shows its    
,valencian origin4 ,it is the tetragon  
with the ,aragon bars1 given as a       
shield of arms by ,james ,i4 to the city
 he had conquered40    ,the lance-rest  
is of the hollow kind1 peculiar to      
,spain and ,italy4 ,note  on the right  
hip the pocket1 cork-lined1 on which the

 butt-end of the  lance was rested      
before being couched4 ,above the left   
breast is a large  ring1 to which1 by   
means of a bolt1 the target was fastened
 and held in  position4 ,the leather    
ball1 filled with tow1 hanging to this  
ring1 was  to deaden the effect of a    
blow on the shield4 ,we are ignorant of 
the use  of the four rings hanging from 
the central ridge of the breastplate4   
,the  tassets are of three lamin4 ,the  
left hip is protected by a strong       
reinforcing piece in two plates4 ,the   
left arm being defended by the  target  
has no espalier or pauldron1 but only   
coude1 vambraces1 and  gauntlets4 ,the  
right arm1 in addition to these pieces1 
has a sort of  espalier-pauldron1 called
 paule-de-mouton1 with a fluted         
pikeguard4  ,the lance is of pine-wood1 
and has the point blunted4 ,the next    
suit  7,a#ag7 differs only in a few     
unimportant particulars from the one    
just  described4    ,the body-armour    
7,c#aa7 may have been brought to ,spain 

by ,philip4 ,it is  the work of a       
,milanese armourer1 ,bernardino ,cantoni
 7who lived in #adib71  and consists of 
a brigantine with tassets and sleeves1  
8,greek breeches0  or chausses for the  
thigh1 and brayette4 ,these pieces are  
composed of  scale armour1 overlaid with
 canvas and crimson silk4 ,the borders  
and  joints are garnished with fine     
steel mail4 ,on the rivets is stamped   
the  ,imperial eagle1 which goes to     
prove that the armour belonged to       
,maximilian4 ,no less than #c1hbg pieces
 of plate and more than #g1jjj  rivets  
have been used to make this wonderful   
harness4 ,the armourer's  mark1 the     
heraldic devices of ,austria and        
,burgundy1 and the plates cut  in the   
form of dolphins on the backplate1 are  
worthy of attentive  inspection 7see    
plates #gi and #gi;,a74    ,attached to 
the salade shown with this body-armour1 
are beautiful wings  of steel1 inlaid   
with gold and other decorations1 which  
could be assumed  or removed according  

as the helmet was required for war or   
tilting  7plate #ada74    ,the most     
remarkable exhibits in the ,armoury are 
the eighteen superb  suits that belonged
 to the ,emperor ,charles ,v4 ,they are 
the work of the  greatest armourers of  
that or any age1 and illustrate the     
transition  from the 8,gothic0 to the   
more elaborate style of ,maximilian4    
,the suit ,a#ai 7plate #bj7 was made for
 ,charles when he was a youth by        
,koloman ,colman1 surnamed ,helmschmied1
 the famous armour-smith of  ,augsburg4 
,it is known as the ,k4 ,d4 suit from   
the enormous monogram  stamped on the   
pike-guard of the left-shoulder4 ,the   
letters stand for  ,karolus ,dux1       
,charles being at that time 7about      
#aead7 only ,duke of  ,burgundy and     
,prince of the ,spains4 ,the whole suit 
conforms to the  elegant simplicity of  
the earlier fashion1 but the size of the
 left  pauldron or shoulder-guard and   
the shape of the sollerets show the     
influence of the new4    ,the armour is 

of burnished steel1 8soberly gilded and 
engraved40 ,the  borders are adorned by 
diamond-shaped reliefs4 ,the armet is of
 the  pattern described under ,a#a1 but 
the side-pieces close in front of the   
chin2 the visor has five rows of holes  
and slits for ventilation4 ,there  is no
 gorget1 the interval between the helmet
 and the upper edge of the  breastplate 
being defended by chain-mail4 ,the      
breastplate has a ridge or  tapul down  
the middle2 it is roped at the edges1   
and decorated with the  ,collar of the  
,golden ,fleece4 ,strong lance-rest1    
with the ,imperial eagle  and armourer's
 mark4 ,attached to the taces are       
tassets of three plates4  ,the space    
between them is incompletely defended by
 a narrow skirt of  mail4 ,at the       
armpits are gussets of mail4 ,the right 
arm has an espalier1  palette1          
rere-braces1 coude1 vambrace1 and       
gauntlet2 the left1 the four  last      
pieces1 but instead of espalier and     
palette1 a large pauldron with          

pike-guard1 on which is engraved the    
monogram ,k4 ,d4 ,the coudes are very   
beautiful4 ,the remaining pieces are3   
backplate1 open cuisses1  genouillres1  
jambs1 and laminated sollerets1         
approximating to the  bear's-paw pattern
 that afterwards became fashionable4    
,this harness belongs to the best period
 of armour4 ,the decoration is  chaste  
and tasteful1 and there is nothing      
superfluous or exaggerated in  the whole
 suit4 ,the armet could be strengthened 
by the usual reinforcing  pieces4 ,the  
other tilting-pieces1 which might have  
been worn with this  suit1 are shown    
separately on the equestrian figure     
,a#bf 7plate #ba74 ,here  we notice the 
armet with cheek-pieces opening at the  
sides1 according to  the system which   
now became general2 laminated gorget2   
the enormous  pauldron1 elbow-guard1 and
 gauntlet of the right arm2 and the     
handsome  garde-de-rein attached to the 
backplate4 ,the cuisses have a fringe of
  mail at the knee1 and the houghs are  

defended by decorated shields or        
rondels4 ,the junction of the jambs and 
sollerets is similarly  strengthened by 
mail4    ,the horse's barding appears to
 have been the work of ,daniel ,hopfer  
of  ,augsburg1 who co-operated in many  
instances with ,colman4 ,all the        
component parts are gilded1 and etched  
by means of aqua-fortis1 the  decoration
 consisting of imbrications or          
overlapping of festoons1 in  open-work  
or relief4    ,each imbrication encloses
 two cherubim in the attitude of        
striking with  sparkling flint bars1 and
 in each festoon is a rose and three    
pomegranates surrounding it4 ,the first 
are emblems of the ,golden ,fleece2  the
 rose alludes to one of the seigneuries 
of the ,emperor2 and the  pomegranates  
are a favourite device adopted by the   
children and  grandchildren of          
,ferdinand and ,isabel1 in memory of the
 triumph over the  ,moors at ,granada4  
,the iron borne by the horseman weighs  
thirty-six kilos41 and the horse's  bard

 and saddle as much more3 if the weight 
of an average man be added  the result  
is about #aej kilos1 carried by the     
horse4    ,the most notable features of 
the suit ,a#bg 7plates #bb1 #ih1 #adc71 
which is  mainly composed of extra or   
reinforcing pieces1 are the helmet1     
called  celada de infante1 with serrated
 comb1 decorative bands1 deep pointed   
visor forming a strong reinforcing      
piece1 beavor 8bellows-pattern0 with    
alternate ridges and rows of            
perforations1 and laminated gorget      
plates2  and the target screwed to the  
left shoulder4 ,this defence was only   
used  at tilts and tournaments4 ,it is  
concave and trellised1 and is           
beautifully engraved by ,daniel ,hopfer4
    ,on it may be seen several birds of 
the same kind 7herons87 in the act of   
attacking an eagle in the centre1 which 
has one of them a prisoner in  its      
talons--possibly an allusion to the     
alliances promoted by ,francis ,i4  of  
,france against ,charles ,v41 after the 

former refused to comply with  the      
,treaty of ,madrid4    ,the suit        
,a#cg-db 7plate #bc7 is a tilting       
harness of burnished steel1  probably   
that in which the ,prince appeared in   
the lists at ,valladolid in  #aeah4 ,the
 most important piece is the            
tilting-helm1 which weighs more  than   
nineteen kilogrammes4 ,divided          
vertically at the sides in two  halves1 
which are joined by means of six sliding
 springs1 it was put on  by screwing the
 back part to the backplate and the     
front part to the  over-breastplate1 the
 tilter remaining thus between walls of 
steel1 with  the weight shared between  
the shoulders and the waist4    ,the    
lance is of the kind called ,bordonasa1 
hollow and fluted4 ,the larger  variety 
was used to mark the limits of the lists
 at tournaments4 ,in an  account of     
,charles's doings 7#aebc7 we read1 8,le 
jour que sa dite ,majest  jousta  la    
targette1 qui'il courut par diverses    
fois arm  la  bourdonasse40    ,the     

heavy bard that covers the horse1 like  
the suit1 comes from the  ,imperial     
,armoury4 ,it is of ,german make2 but   
has no mark to show its  origin4 ,its   
make and size remind us of those of the 
,triunfo de  ,maximiliano ,i41 and the  
beautiful etchings are in the style of  
the  celebrated engravers ,burgmair1    
father and son2 the latter1 as is known1
  worked with the armourers of the      
,imperial ,house of ,austria4    ,it    
includes3 large chanfron with arched    
outline1 lateral plates1  ear-coverings 
like sheeps' horns1 and on the crown a  
small shield with  the two-headed eagle2
 collar of steel scales2 poitrel with   
sliding  embossed hinges1 in the shape  
of lions' heads2 flechires and croupire1
  all covered with pearls1 pendants1 and
 reliefs4 ,on the croupire1 which       
finishes at the crupper in a sheep's    
head1 ,biblical subjects are  engraved3 
,david with the sling1 and ,samson      
fighting the ,philistines4 ,the  whole  
is one of the most beautiful bardings   

known4    ,the horse armour at ,a#ch is 
also remarkable1 and probably belonged  
to the  ,emperor ,maximilian4 ,note the 
double-headed eagle on the chanfron1 the
  motto1 8,plus ,oultre0 on the         
forehead1 and the ,st4 ,andrew's crosses
 and  bars of the ,golden ,fleece on the
 collar4    ,at ,a#dc the upper limbs   
are defended by 8a pair of narrow       
armlets to be  used with sleeves of     
mail0 7,valladolid ,inventory74 8,they  
are specially  worthy of mention as they
 are very rare1 there being none like   
them in  any other ,museum1 while in the
 collection at ,madrid there are four   
sets  belonging to as many suits of     
armour of the ,emperor4 ,on tapestries  
and  some sepulchral effigies of the    
fifteenth century they are worn over the
  sleeves of the coat of mail1 to defend
 the outside part of the arm from  the  
shoulder to the hand1 being divided in  
articulated lamin4 ,those of  ,charles  
,v4 have their own garniture of mail and
 straps to go round the  arm40          

,between #aeai and #aeci1 five complete 
suits1 almost identical in design1  were
 made for ,charles by the ,colmans of   
,augsburg4 ,they are all decorated  with
 ornamental vertical bands1 and differ  
mainly in the distances  between these  
and in dimensions4 ,two are             
distinguished1 however1 by  lamboys or  
bases1 the ugly kilting of armour added 
to the harness about  this time to      
gratify the craze for novelty and       
ornamentation4 ,it may  also have been  
suggested by the prevailing fashion in  
civil dress4    ,the most ancient of    
these suits is that known as the        
oak-leaf harness  7tonelete de hojas de 
roble7 ,a#di-fd4 ,it could not have been
 made  earlier than #aeai1 the year in  
which ,charles ascended the throne of   
the  ,holy ,roman ,empire1 as the       
,imperial ,eagle is engraved on the     
coudes4 ,it  was made by ,colman        
,helmschmied4    ,the armour is shown on
 three separate figures4 ,the first     
7,a#di--plate #bd7  is a harness for    

jousting on foot1 with the two-handed   
sword1 mace1 or  half-pike4 ,the helmet1
 of the kind ,spanish writers call the  
celada de  engole1 has a serrated comb  
and pointed visor ridged horizontally2  
the  cheek-pieces open at the sides2 and
 the nape covering or colodrillo is     
forged separately from the helmet1 and  
fastened with rivets4 ,this  headpiece  
has six reinforcing pieces1 which are   
placed at the side of  the figure4      
,among these is a curious beavor1       
composed of two plates1  nailed on      
leather1 which clasp on the helmet and  
close at the chin4 ,the  rest of the    
suit consists of3 laminated gorget2     
globose breastplate1  roped at the      
edges1 and decorated with ornamental    
lengths2 taces1 to the  lower edge of   
which is attached the lamboy1 composed  
of two bell-shaped  halves1 each of     
eight semi-circular plates1 across which
 the lengths are  continued1 and the    
lowest or outermost of which is         
decorated all round  with embossed      

oak-leaves intertwined round a trunk4   
,the espaliers are  small and           
beautifully decorated with the device of
 the ,golden ,fleece in  relief4 ,the   
coudes show the ,imperial ,eagle        
embossed on a gold ground4  ,the        
leg-armour does not properly belong to  
this suit4    7,a#ef74 ,the second      
figure 7plates #be1 #ii7 has a helmet   
for jousting on  foot1 which opens at   
the sides1 and has a large visor in one 
semi-spherical piece perforated2 slight 
crest1 and stripes of gold which  unite 
at the back to form two fantastic       
figures1 and1 lastly1 eight  holes on   
each side1 guarded with metal1 for      
hearing4 ,undoubtedly it was  altered at
 a very remote period by cutting        
horizontally at the neck1 at  the back  
of which the ,golden ,fleece is         
engraved2 and doubtless it was  cut in  
order to add the neck-plates1 which1    
screwed on to the cuirass1  serve       
instead of a gorget4    ,note the heavy 
tilting elbow-guards and gauntlets2 the 

brayette1 rarely  shown in ,english     
pieces of armour2 and the close-fitting 
tassets1  resembling breeches1 in which 
we may recognise the beginnings of the  
lobster-tail armour1 worn so much during
 the seventeenth century4 ,the  back of 
the espaliers is beautifully designed to
 resemble the wings of  an eagle4       
7,a#eg47 ,the third figure has tilting  
pieces of the same armour4 ,the helm  in
 two pieces1 united at the side by means
 of seven sliding rivets1 is            
magnificent1 with pointed visor1 very   
stout at the edges2 it has a  shutter on
 the right side2 two groups of          
perforations for breathing1 and  eight  
others1 guarded with metal1 for hearing2
 in front the decoration  only consists 
of lightly engraved feathers1 on the    
crest1 of a centaur  fighting a serpent1
 in relief1 on a gold ground 7plate     
#ajj74    ,the superb shield 7plate     
#adc;,a71 screwed to the                
over-breastplate1 bears  the signature  
of ,daniel ,hopfer1 and the date #aecf4 

,its surface is  divided into           
twenty-eight compartments of different  
sizes1 in each of  which are engraved   
groups of nymphs1 satyrs1 amorini1      
winged horses1  griffins1 and other     
fanciful creations on a gold ground4    
,the groups are  all different4 ,some of
 the female figures appear to have been 
intentionally made grotesque4 ,the whole
 design reminds one of ,albrecht        
,durer's school and the ,german         
,renaissance4    ,the beautiful burgonet
 or helmet 7,a#ei--plate #aja71 shaped  
like a  dolphin's head1 was made in the 
workshops of ,colman1 and almost        
certainly designed by ,daniel ,hopfer4  
,the scales are damascened on a  black  
ground1 and the visor is formed by the  
snout above the open jaw4    ,we come   
now to the harness made for ,charles ,v4
 at ,augsburg about #aeba1  and         
distributed like the last suit among    
three figures4 ,it presents no  very    
interesting points of difference from   
the armour just described  7plate #bf74 

,the barding of the horse 7,a#fe7 is    
exquisitely engraved with  fanciful     
figures1 in which we recognise the hand 
of ,daniel ,hopfer4 ,the  armet of the  
third figure 7,a#ge--plate #ajb7 is of  
the shape already shown  at ,a#ai4 ,the 
reinforcing piece over the crown is cut 
to resemble an  eagle1 and bears such   
devices as the ,golden ,fleece and      
,pillars of  ,hercules1 and the motto   
8,plus ,oultre40 ,it has also the most  
complete set  of reinforcing pieces in  
the ,armoury4 ,these are shown on plate 
#ig4    ,the harness numbered ,a#ic-ajg 
is the third of the suits decorated with
  vertical bands and the second with    
lamboys made for ,charles by ,colman    
,helmschmied4 ,the ,conde de ,valencia  
fixes its date at #aebf1 and has        
elicited from various archives the      
following interesting historical        
details concerning it3    8,so long as  
the young ,prince ,charles resided in   
,flanders under the  tutelage of his    
grandfather1 the ,emperor ,maximilian   

,i41 it would be easy  for the armourer 
,colman ,helmschmied to take and certify
 personally his  measurements1 without  
neglecting the large clientle that came 
to his  workshops2 but when his patron  
was obliged to go to ,spain1 he wished1 
and expressed this wish through his     
agents1 that the armourer should  remove
 to ,toledo4 ,colman demurred1 alleging 
that he was fully occupied1  and from   
this it has been inferred that he never 
crossed the ,pyrenees4  ,we1 more       
fortunately1 are able to assert that the
 celebrated artificer1  at last obeying 
the express command of his ,sovereign1  
went to ,toledo in  ,december1 #aebe1   
and returned to ,germany the following  
month4    8,a bill ordering the payment 
of the expenses of his journey1 found in
  ,simancas1 states1 among other curious
 details1 that he left ,augsburg in     
,december1 accompanied by ,ludovico     
,taxis1 an official of the ,imperial    
,post1 and two servants1 and passed     
through ,lyon in ,france4 ,he was       

summoned to ,court chiefly to rectify   
measurements1 before executing  fresh   
orders1 as may be gathered from the     
extremely curious charge in an  ancient 
account of the ,emperor's ,armoury1 the 
date of which coincides  with the       
artificer's stay in ,toledo4 ,the       
,french text begins thus3 #8,pour  trois
 livres de cire et de plomb pour faire  
les patrons que maitre  ,colman1        
armoyeur1 a fait1' c4    8,the          
,emperor's bill1 dated ,toledo1 ,january
 #aeth1 #aebf1 arranging for the        
payment of expenses from and to         
,augsburg to ,colman and his companions 
is  so interesting in its details that  
it ought to be known4 ,it runs thus3    
8#8,notre ,secretaire ,m4 ,jehan        
,lalemand1 depechez nos lettres patentes
 par  les quelles soient mand a notre   
,argentier ,jehan d' ,adurza et des     
deniers de son entremise payer1 bailler 
et delivrer comptant  4441  ,colman     
matre armoyeur de notre cit d'          
,augsbourg en ,allemaignes et           

,ludovico de ,taxis serviteur du matre  
des postes estant au dit ,augsbourg  la 
somme de #a1abe ducats d'or de ,,xxxvii4
 s4 ,,vi4 d4 pice1  savoir2 au  dit     
,colman #gce1 les #ejj en don gratuit   
pour une fois pour aucunement des       
peines et travaux qu'il a eu et support 
venant par notre expresse  ordonnance au
 mois de decembre dernier en poste ds sa
 maison etant au  dit ,augsbourg1 jusque
 par devers notre dite majest en notre  
cit de  ,tolede2 les #aej pour ses      
depenses tant de venir que de retourner 
en sa  dite maison2 les #cj ducats pour 
convertir et employer en ung            
acoustrement pour sa personne1 de nos   
couleurs et livres et les #ee  autres   
ducats pour une mulle que lui avons fait
 ce jourd-huy acheter et  presenter     
aussi en don de par nous2 et au dit     
,ludovico de ,taxis #chj  semblables    
ducats1 les #bjj pour ses peines et     
frais par lui pays d'etre  aussi par    
notre dite ordonnance venu accompagner  
par poste le dit  ,colman1 ds le dit    

,augsbourg  quatre chevaux jusqu'  ,lyon
 sur ,rhone en  ,france et ds le dit    
,lyon jusqu' en notre cit de ,tolede    
trois  chevaux1 a cause qu' un serviteur
 d' icelle ,colman tait demeur malade   
par chemin2 les #aej ducats aussi pour  
ses dpenses et autres frais que  lui    
conviendra faire accompagnant le dit    
,colman et portant une montre de        
harnais pour notre personne ds le dit   
,tolede jusqu' au dit ,augsbourg et  les
 autres #cj ducats aussi en don gratuit 
pour un acoutrement pour sa  personne   
aussi de notre dite livre2 revenant     
ensemble toutes les dites  parties  la  
dite somme de #a1abe ducats d'or1'0 c4  
7,simancas4 ,casa  ,real74    ,the      
figure ,a#ic 7plate #bg7 shows the      
armour as worn for combat on foot in    
champ-clos4 ,the helmet has a complete  
set of reinforcing pieces4 ,the  roped  
edge of the breastplate is placed over  
the gorget4 ,the pauldrons  are large1  
and furnished with pike-guards4 ,the    
lamboys are in  bell-shaped halves1     

joined by sliding rivets4 ,the lowest or
 outermost  plate can be detached at    
will1 and is decorated with bas-reliefs 
of  bears and deer pursued by dogs on a 
gilded ground4 ,beneath is a  8baticol10
 or kind of breeches1 of burnished      
steel1 8articulated with  great skill   
and precision1 so as to defend the body 
without hindering  its movements40      
,cuisses1 genouillres1 and jambs        
complete the suit4    ,the tilting      
pieces attached to the harness are shown
 on the second  figure 7,a#aja--plate   
#bj74 ,the helm1 similar to that of     
,a#cg1 is decorated  with gold bands1   
and is fifteen millimetres thick at the 
visor4 ,it is  screwed on to the        
over-breastplate4 ,the arm defences are 
very handsome1  being gilded1 embossed1 
and engraved so as to resemble the civil
 dress  of the period4 ,the right coude 
bears the emblem of the ,golden ,fleece1
  and would appear from the ,relacion de
 ,valladolid to have been a prize  won  
or competed for at tournaments4 ,the    

armour on the left arm will only  permit
 the arm to be bent towards the pommel  
of the saddle4    ,the cuisses are      
laminated1 and the influence of the     
civil dress is seen  once more in the   
genouillres which are composed of strips
 of metal  placed vertically1 so as to  
give the 8slashed0 appearance common to 
the  trunk-hose and sleeves of the      
period4 ,the jambs are engraved with    
floral  devices4 ,the sollerets are of  
mail4    ,the third figure 7,a#ajc71    
described as including the pieces       
necessary for  war or hunting1 does not 
call for special notice4    ,a#ajh is a 
light harness for war1 made by ,colman  
,helmschmied4 ,the emblem  of the       
,golden ,fleece predominates in the     
scheme of its decoration4 ,of  this suit
 the ,conde de ,valencia says3    8,time
 has dimmed the effect of its sober and 
severe ornamentation of  gold on a black
 ground1 confined to a few narrow       
longitudinal stripes  engraved and      
gilded4 ,it has the #8bars' of the      

,golden ,fleece on the  helmet1 the     
guards1 and the shield2 two winged      
griffins1 supporting the  ,pillars of   
,hercules on the backplates of the      
pauldrons1 and the image of  ,our ,lady 
on the breastplate4 ,according to the   
,emperor's inventory1 the  backplate1   
which does not exist1 bore the image of 
,st4 ,barbara4    8,it is the last      
armour the famous ,colman made for      
,charles ,v4 ,this is  easily proved by 
the date 7#aeca71 engraved on the left  
tassets--a date  which agrees with that 
given us some years ago by the learned  
,german  professor1 ,carl ,justi1 to    
whom it was communicated by ,canon      
,braghirolli  on his finding it in the  
,mantua archives4 ,it is contained in a 
letter  from ,duke ,federigo di ,gonzaga
 to the ,duke of ,urbino on the #ith    
,november1  #aecb1 in which he says that
 the ,emperor had shown him his armour1 
among  which was a beautiful suit by    
,colman1 the last one he made for him1  
for  shortly after he had died4 ,the    

statement was confirmed by the payment  
lists of the ,municipality of ,augsburg1
 from which the name of the  armourer   
disappeared in the year #aecb40    ,the 
helmet is a celada de infante1 and has a
 visor with wide gratings  fastening    
over the beavor4 ,the evolution of      
leg-armour is well shown by  the tassets
 extending1 in several plates1 below the
 knee where they  overlap the           
demi-jambs4 ,there are no genouillres4  
,the lower plates of  the tassets were  
detachable1 those pieces being thus     
convertible into  tassets of ordinary   
length4    ,the shield 7,a#aji71        
embossed with the devices of ,burgundy  
and the ,golden  ,fleece1 was found in  
the province of ,burgos1 where it was   
bought for  seven pesetas4 ,it was      
purchased for the nation by ,alfonso    
,,xii4 at a cost  of #a1bej pesetas4    
,the suit ,a#aab1 plate #bh1 though of  
the same pattern as those just          
described1 is the work of the ,italian  
artificer1 ,caremolo ,mondrone1 of      

,milan4 ,it is one of two suits         
presented to the ,emperor by the ,duke  
of  ,mantua1 in gratitude for favours   
received and anticipated4 ,the gift     
elicited the following letter of thanks 
from ,charles 7,bertolotti1 ,arti       
minori73    8,carolus ,augustus ,d4 ,f4 
,c4 ,romanorum ,imperator4 ,,iii4       
,princeps consange4  ,carissima3        
8,las armas q4 nos truxo ,caremolo nos  
ha parescido muy bien y estamos  muy    
contento dellas porque son muy bien     
acabadas ya nostra voluntad1 y  lo      
quedamos del animo con que se embiaro   
porque lo tenemos bien  conoscido y     
habemos lo que en el hay para nostras   
cosas4 ,el nostro para  las vestrases de
 la misma manera como es razon4         
,caremolo dira  particularmente lo demas
 q4 toca a las armas4 ,dat4 ex ,palencia
 a quatro  de ,septembre an4 de         
,,mdxxxiiij4--,carolus40    ,the harness
 was made in #aecd specially for the    
,african expedition which  the ,emperor 
was planning at that time1 and was worn 

by him on his  triumphal entry into     
,tunis4 ,the decoration has disappeared1
 all but a  band of embossed leaves     
round the border of the tassets4 ,the   
closeness  of the fit and the flowing   
lines recall the best days of the       
armourer's  art4    ,the helmet has a   
pointed visor and beavor in one piece1  
with  perforations on each side4 ,the   
breastplate is moderately globose1 the  
espaliers composed of narrow lamin      
bolted on to the breast and  backplates4
 ,rondels defend the armpits4 ,the      
coudes are large4 ,the  genouillres are 
composed of narrow articulated plates4  
,in gratitude for his investiture with  
the principality of ,monteferrato1  the 
,duke of ,mantua1 in #aecf1 sent the    
,emperor a second suit of armour        
7,a#aad--plate #bi7 by the same         
artificer1 and of the same design3      
,on receipt of these gifts the ,emperor 
replied in the following terms3         
8,carolus ,divina favente ,clemencia4   
,roman4 ,imp4 ,august4 ,illustria       

,princeps consanguine carissime4        
8,las armas son muy buenas1 y nos han   
parescido en extremo bien y  contentado 
mucho1 y assy nos ha satisfecho el      
armero al qual havremos  plazer que por 
nuestro respecto tengais por            
encomendado4 ,de ,alba  #bc de  ,julio  
de #aecf4--;,carolus40    ,the suit     
appears to have been originally blued   
and richly damascened in  gold4 ,most of
 the decoration and the bluish hue have 
now disappeared4  ,gold palms in relief 
still remain on certain of the pieces4  
,the extreme  delicacy of the azziminia1
 imitating cufic inscriptions1 testifies
 to  the extraordinary skill of         
,caremolo ,mondrone4 ,it will be noted  
that many  of the most important pieces 
are missing from the suit4    ,the      
harness ,a#aae-;,a#abg is known as the  
,cornucopia ,suit1 from the emblem      
which predominates in the scheme of     
decoration4 ,the ,conde de ,valencia is 
of opinion that it is the work of       
,desiderius ,colman1 and was made about 

#aecd4 ,the steel was originally        
blackened1 and the ridges1 which        
correspond to the bands in the other    
suits1 were engraved and gilded4        
,excessive cleaning has greatly marred  
the beauty of this armour4    ,the first
 and fourth figures display the blazoned
 surcoat1 similar to  those shown on the
 seals of ,charles ,v4 as ,count of     
,flanders4 ,attached to  the fourth     
figure is a curious burgonet or helmet4 
,the visor is embossed  and gilded in   
the likeness of a grotesque face1       
according to the debased  taste of the  
age4 ,the beavor does not belong to the 
headpiece4 ,the  helmet ,a#abj1 which   
bears ,colman's mark1 is similarly      
embossed with a  gargoyle-like design   
7plates #cj1 #ajc;,a74    ,the fifth    
suit1 with vertical bands1 made at      
,augsburg 7,a#abh-ach71 is  known as the
 ,harness of ,close ,bands to           
distinguish it from the four  others4   
,it is probably the work of ,desiderius 
,colman4 ,the second figure             

7,a#abi--plate #ca7 is a graceful suit1 
composed of3 armet1 with visor and      
beavor in one piece 7eight reinforcing  
pieces72 gorget2 breastplate and        
backplate1 the former engraved with the 
image of the ,blessed ,virgin1 the      
latter with that of ,st4 ,barbara1 the  
two plates united by straps over  the   
shoulders2 espaliers of eight plates2   
rondel over left armpit2  rere-braces1  
vambraces1 coudes1 and gauntlets2       
close-fitting tassets of  many plates2  
cuisses1 jambs1 and chaussettes of mail 
for the ankles4 ,the  whole suit1       
everywhere striped or banded1 is        
singularly beautiful and  dignified4    
,we come now to the work of the great   
rivals of the ,colmans--the ,negrolis   
of ,milan4 ,the suit ,a#aci 7plate #ca7 
was made for the ,emperor in #aeci1  and
 is at once distinguished from the      
,german suits by the bands crossing  the
 body horizontally instead of           
vertically4 ,it was originally          
blackened1 so as to show up the gold and

 silver of the decoration4    ,the      
morion is beautifully decorated4 ,over  
the skull-piece1 and parallel  with a   
beautiful laurelled comb1 run two wide  
bands of gold damascening  that meet    
over the brow in a fantastic face in    
relief1 surrounded by  acanthus leaves  
and volutes2 the visor is also          
damascened4 ,the borders  of the helmet 
are similarly enriched4 ,in gold relief 
are the letters1  ,,philippvs ,,iacobi  
,,et ,,fratr ,,negroli ,,faciebant      
,,mdxxxix4 ,the cheek-pieces  are       
decorated with small lions' heads4      
,the breast and backplates were adorned 
with images of the ,virgin and ,st4     
,barbara--the latter now missing4 ,the  
pauldrons1 coudes1 and genouillres  are 
very tastefully embossed1 and inlaid    
with lions' heads1 scrolls1 and         
beautiful foliations1 the decoration    
showing up well on the plain  ground4   
,the helmet has a reinforcing piece or  
coif 7,a#adj7 shaped like a serpent     
with scales of gold1 and with damascened

 rosettes--a fine piece of work4        
,another fine specimen of ,italian make1
 the artificer of which is  unknown1 is 
the ,foot ,armour1 ,a#adg4 ,this was    
erroneously attributed at  one time to  
the ,marques de ,villafranca4 ,it       
exhibits exquisite designs in  gold     
azziminia4 8,its original style10       
remarks the ,conde de ,valencia1        
8partakes at once of the classic        
,pompeian and the ,oriental1 and does   
not  follow the plateresco1 prevalent at
 that time2 and the whole suit is       
distinguished from the makes of ,milan  
and ,augsburg by uniting the  richness  
of parade armour with the smoothness and
 toughness required for  war40 ,note the
 elegant plume-holder in the shape of an
 ,imperial ,eagle1  with the arms of    
,castile inlaid2 and the light          
backplate1 in the form of  a ,st4       
,andrew's ,cross1 to be worn over a coat
 of mail4    ,the armour worn by        
,charles ,v4 in the unfortunate         
expedition to ,algiers  is shown under  

the numbers ,a#adi-;,a#aef4 ,many pieces
 are missing4 ,the  pieces composing the
 first suit do not call for special     
description4  ,jambs1 with coverings of 
mail for the feet1 are worn according to
 the  fashion common in ,spain4 ,as in  
the preceding suits of the same epoch1  
the genouillres can hardly be considered
 as separate pieces1 the  laminated     
cuisses being continued down to the     
jambs 7plate #cc74    ,the barding of   
the horse 7which does not belong to the 
suit7 is  magnificent4 ,it was made     
7according to ,herr ,leitner7 after the 
designs  of the famous engraver1 ,hans  
,burgmair1 and came into the possession 
of  ,charles on the death of his        
grandfather1 ,maximilian4 ,it is of     
steel1  lined with silk1 and beautifully
 scalloped at the edges4 ,the poitrel   
and  croupire are adorned by allegorical
 groups1 illustrating notable feats  of 
strength2 the figures are in low relief 
and partly gilded4 ,on the  right side1 
we see ,hercules strangling the         

serpents1 wrestling with  ,antus1       
slaying the ,hydra1 and subduing the    
,minotaur2 on the left1  ,samson        
carrying off the gates of ,gaza1        
breaking the lion's jaws1 being  shorn  
of his locks by ,delilah1 and pulling   
down the ,temple of ,dagon4  ,hercules  
as a child again appears amid embossed  
foliations on the  chanfron4 ,the       
croupire is completed above the tail by 
a dolphin's head4  ,the saddle is even  
richer than the bard1 and is adorned    
with fantastic  figures engraved on     
steel4    ,attached to the second figure
 of the harness 7,a#aea71 is a notable  
helmet  in the form of an eagle4 ,the   
head and beak form the visor1 the legs  
in  low relief cross the cheek-pieces1  
and the talons appear to grasp the      
beavor1 upholding between them the      
,imperial shield1 finely engraved4      
,this beavor was the subject of keen    
competition between ,king ,alfonso      
,,xii4 and the late ,sir ,richard       
,wallace1 who1 at last1 gave it up to   

,his  ,catholic ,majesty 7plate #ajf74  
,the figure also shows a fine coat of   
steel mail1 traditionally ascribed  to  
,charles ,v4 ,over this was worn a      
corselet1 protecting the back and       
breast1 and descending from the         
shoulders to the waist1 diminishing in  
breadth till it ends in a point4        
,attached to it are shoulder-guards of  
three plates4 ,this is the only piece of
 the kind in the ,armoury--perhaps  in  
the world4 ,it was no doubt worn1 like  
the peculiar arm-piece  described on p4 
#ha1 over a stout leather jerkin 7plate 
#aje74    ,the light helmet1 ,a#aed1 has
 a cleverly designed and beautifully    
executed  crest and visor1 which1 looked
 at in front1 resembles an eagle's head2
  behind1 some monstrous animal's mask2 
and sideways1 a dolphin4    ,the light  
war harness1 ,a#aeg is incomplete1 many 
of the pieces being in  the ,imperial   
,armoury at ,vienna4 ,it was made for   
the ,emperor in #aedc1 by  ,desiderius  
,colman1 at the time of the campaign    

against the ,duke of  ,cleves and       
,francis ,i4 of ,france4 ,the suit is   
decorated with the vertical  bands of   
which ,charles was fond1 probably       
because they made him look  taller4     
,the maker of the suit ,a#aei-afc 7plate
 #cd7 is unknown1 but he was  certainly 
an ,italian1 and not improbably the     
illustrious ,negroli4 ,the  decoration  
consists1 as usual1 of broad vertical   
bands1 inlaid1  alternately of gold and 
silver2 these are cut diagonally by     
sections of  gold leaves1 which festoon 
all the pieces4    ,the suit ,a#afd     
7plate #ce7 has been immortalised by    
,titian1 in whose  picture 7,no4 #deg7  
in the ,prado ,gallery1 ,charles is     
shown wearing it4 ,the  armourer's mark 
proves that it was made in #aedd--three 
years before the  ,battle of ,mhlberg1  
where it was worn by the ,emperor4      
,this1 thinks the  ,conde de ,valencia1 
must have been the last suit worn by him
 in the  field4 8,the four complete     
cuirasses1 and the extra backplates     

comprised  in it 444 show that the      
,emperor was then a victim of frequent  
attacks of  gout1 and replaced          
uncomfortable cuirasses by such as were 
easier40    ,the first figure 7,a#afd7  
has been armed in accordance with       
,titian's  portrait4 ,it is composed of 
breast and backplates1 with taces2      
tassets2  laminated gorget2 espaliers   
reaching to elbows over sleeves of steel
  mail2 and strong gauntlets with       
fingers united two and two4    8,these  
pieces1 combined with the triple-crest  
morion1 the javelin1 and  pistolet      
,k#ea1 fastened to the front bow of the 
saddle1 form the armour  called         
herreruelos1 which appeared for the     
first time in that war1 as  related by  
,nuez de ,alba in his ,dialogos del     
soldado1 who1 being a  soldier himself1 
was in the #aedg campaign against the   
,schmalkalden  ,protestant ,league40    
,the figure ,a#afe 7plate #dj7 is fitted
 with pieces of the same suit1 after    
the portrait attributed to ,pantoja de  

la ,cruz in the ,escorial ,library4  ,it
 consists of3 armet with visor in two   
pieces1 and a grating over the  beavor2 
laminated gorget2 cuirass with taces2   
lance-rest2 the usual arm  armour2      
tassets2 cuisses1 and demi-jambs4       
,the decoration of the whole ,mhlberg   
harness is simple and tasteful4 ,it  is 
composed of broad lengths of the metal  
in its native colour1 inlaid  with gold1
 scalloped or festooned on each side in 
low relief1 and  beautifully etched with
 figures1 foliations1 c41 down the      
middle4 ,this  ornamentation appears on 
all the pieces1 the armet included4     
,the princes and commanders of the      
sixteenth and seventeenth centuries  had
 a fondness for appearing in ,roman     
garb1 which1 they fancied1 lent  dignity
 to their carriage4 ,charles ,v4 was the
 possessor of a suit of  ,roman armour  
7,a#ahh71 the work of ,bartolommeo      
,campi1 of ,pesaro1 and1 in  the opinion
 of the ,conde de ,valencia1 the        
offering of ,guidobaldo ,,ii41  ,duke of

 ,urbino4 ,that prince's monogram1 the  
,conde points out1 is to be  seen on the
 backplate gilded in relief4 ,the date  
of the armour is #aedf4  ,we extract the
 following notes from the ,catalogue3   
8,a4 ,angelucci1 in his work ,documenti 
inediti per la storia delle armi  da    
fuoco italiane1 ,turin1 #ahfi1 p4 #ccj1 
publishes a brief extract from  the     
biography of ,campi1 written by ,promis1
 which we can amplify1 thanks  to the   
documents which1 by the kindness of the 
,dukes of ,alba1 we have  been able to  
consult in their important historical   
,archives4    8,bartholomew ,campi was  
born at ,pesaro in the beginning of the 
sixteenth  century1 being in his youth a
 goldsmith and engraver of metals1 and  
making arms and armour of great value1  
which merited the eulogies of the       
celebrated writer ,pedro ,aretino1 in   
letters addressed from ,venice to       
,bartholomew ,egnazio 7#aede74 ,at that 
time he made the armour of ,charles  ,v4
 ,in #aedg he directed the ftes in      

,pesaro in honour of the wedding of     
,guidobaldo ,,ii4 and ,vittoria         
,farnese2 and two years after1 he       
finished  the admirable work of art in  
gold and silver1 which the ,municipality
 of  ,pesaro presented to the new-born  
son of that ,prince4    8,from #aeed to 
#aefj probably1 he was military engineer
 in the service of  the ,republic of    
,siena1 ,venice1 and the ,french        
,monarch4 ,he assisted at  the siege of 
,calais4 ,in the latter year1 he        
solicited1 unsuccessfully1  in spite of 
the support of ,cardinal ,granvela1     
admittance to the ,spanish  ,army1 and  
then he returned to ,france1 taking the 
side of the ,catholics  against the     
,huguenots4    8,at last1 in #aefh1     
,campi served in ,flanders1 under the   
orders of the  ,duke of ,alba4 ,this    
illustrious leader gave him a           
commission1 which is in  the ,archives  
of his house1 as chief engineer of the  
fortification and  investment of        
fortresses1 at the monthly salary of    

#ejj escudos  7ordinary7 and #ej        
7extraordinary71 and to his son         
,escipion1 besides his  salary1 #be     
escudos a month as an allowance4        
8,the ,duke of ,alba had ,campi in such 
esteem1 that in a letter to the  ,king1 
dated ,june #crd1 #aefi1 he says3 #8,i  
tell ,your ,majesty that you have  a    
good man in ,captain ,b4 ,campi1 because
 he is in truth a soldier and has  art1 
although not so well-founded as ,pachote
 444 and he is the best man  ,i have met
 with since ,i have known men--,i do not
 say only engineers1 but  men of any    
sort--very steady and happy in his      
work4'    8,the death of ,campi         
occurred1 says ,bernardino de ,mendoza  
in his  ,commentaries1 as the result of 
an arquebus-shot through the head1 at   
the siege of ,haarlem1 on ,march #gth1  
#aegc1 the grief of the ,duke and all   
his army being very great40    ,this    
superb panoply 7plates #dj1 #abe;,a7 is 
composed of seven pieces of  blackened  
steel1 decorated with gold and silver   

damascening1 and with  ornaments of gilt
 bronze4 ,the burgonet is of elegant    
outline1 and bears  a close enough      
resemblance to a ,botian casque4 ,it has
 cheek-pieces in  the ,roman style4 ,the
 comb1 visor1 and nape are adorned by a 
wide  damascened band1 showing up well  
on the blackened steel4 ,the helmet is  
also girdled by a graceful wreath of    
oak-leaves in gilt1 which  terminates at
 the nape in two volutes1 from which    
springs the  plume-holder4    ,the      
cuirass is a triumph of art1 and is     
moulded in the resemblance of  the human
 torso1 the outlining of the muscles    
proving that the artificer  was well    
acquainted with anatomy4 ,at the neck is
 a square piece1  composed of bands of  
gold inlaid work4 ,beneath this is the  
,medusa's  head1 from which spring two  
volutes1 ending in small silver flowers4
  ,this constitutes the only decoration 
of the breastplate4 ,campi's pride  in  
his work1 and the celerity with which he
 executed it1 are testified  by the     

inscription1 ,,bartholomevs ,,campi     
,,avrifex ,,totivs ,,operis ,,artifex   
,,qvod ,,anno ,,integro ,,indigebat     
,,principis ,,sui ,,nvtvi ,,obtemperans 
,,geminato  ,,mense ,,perfecit4    ,the 
tace is composed of a series of gilded  
bronze medallions1 showing  classic     
heads1 masks1 unicorns1 and similar     
devices4 ,from beneath these  fall the  
tassets--long strap-like pieces of      
several lamin each4 ,beneath  these     
again is a brayette of steel mail4      
8,but nothing so enriches this graceful 
armour as the espaliers1 composed  of   
two large black masks in high relief1   
whose eyeballs1 owing to the  gold      
circle in which they are enclosed1 have 
a singular expression4 ,on  the         
shoulders are beautiful damascened      
festoons fan-shaped1 and  underneath1   
springing from the mouths of each of the
 masks1 another  series of hanging      
laminas1 smaller than those of the skirt
 or tassets1  and also over fine mail40 
,lastly1 the artist held to the         

compulsory classic nudeness1 and limited
  the protection of the legs to short   
steel buskins1 openworked1 similar  to  
the cothurnus which1 according to       
,virgil1 came up over the leg and  was  
fastened with cords in front3 these     
buskins have beautiful masks of  satyrs 
in gilded bronze1 and end in mail shoes 
with the toes outlined4    ,the figure  
has in its hand a small mutilated       
partisan of the ,emperor's  time1 with  
the emblems of ,burgundy and the        
,pillars of ,hercules engraved  on the  
blade4    ,with the suit ,a#aad1 above  
described1 the work of ,giacopo ,filippo
  ,negroli1 the ,duke of ,mantua        
presented ,charles with a casque and    
target  by the same artificers4 ,this   
was between the years #aecc and #aecf4  
,the  casque1 or helmet-morion          
7,d#a--plate #adh;,a71 is moulded in the
 likeness of  a head covered with golden
 curls1 and encircled over the brow with
 a  laurel wreath4 ,the large           
side-pieces1 shaped to the oval of the  

face1  are perforated for hearing4 ,the 
beavor is in the form of a curly beard1 
the lips showing above it4 ,the         
production reflects credit on the skill 
of the artificer1 but is in bad taste4  
,the target 7,d#b--plate #adh;,a71 made 
to match the above1 has a lion's head   
and mane for boss1 in high relief2  the 
border is wide and very beautiful1 and  
composed of medallions  supported by    
griffins1 and linked by scrolls and     
foliations4    ,the magnificent burgonet
 and target 7,d#c and #d71 also believed
 to have  been the property of the      
,emperor1 are said to have been moulded 
from the  designs of ,giulio ,romano4   
,they bear no mark2 and 8,considering10 
says  ,conde de ,valencia1 8the depth   
and clearness with which each figure and
  object is relieved2 the masterly      
chiselling1 so fine that it puts        
expression into the combatants' faces2  
and the exquisite taste of the          
damascening1 we are compelled to admit  
that the executor of the work  must have

 been more a master of his own art than 
the designer1 ,giulio  ,romano1 was of  
his0 7plate #adh;,b74    ,the helmet is 
forged in one piece1 and follows the    
lines of the ,botian  casque4 ,the      
design on the comb represents combats   
between ,centaurs and  ,tritons for the 
possession of nymphs2 on the sides1 a   
combat between  ,romans and             
,carthaginians4 ,a similar subject is   
shown on the shield1 in  the background 
being seen the city of ,carthage as     
described by ,livy4  ,allusion1 of      
course1 is intended to the expedition to
 ,tunis4 ,the border  is admirably      
designed with wreaths1 figures1 scrolls1
 c41 and the busts  of ,roman worthies4 
,the helmet ,d#e and shield ,d#f are of 
unknown origin4 ,they were probably  the
 work of an ,italian artificer of the   
sixteenth century4 ,on one side  of the 
casque ,bacchus and ,ariadne are        
represented in a car drawn by  centaurs2
 on the other1 ,silenus on his ass1     
supported by ,bacchus1 and  preceded by 

,maenads4 ,the shield ,d#f is in        
seventeen pieces screwed  together1 and 
is beautifully chiselled and decorated4 
,the boss is formed  by a mask with     
draperies1 gracefully gathered up and   
crowned by an  elegant volute1 the rich 
damascening of which contrasts well with
 the  blackened face4 ,the ground is    
divided into four ovals1 on which are   
displayed scenes representing the ,rapes
 of the ,sabines1 of ,deianiera1  and of
 ,helen1 and the ,contest between the   
,centaurs and ,lapithae4 ,the  border1  
among other decorations1 has the busts  
of ,csar1 ,aeolus1  ,hercules1 and      
,theseus 7plate #adi74    ,another      
,burgonet 7,d#cj71 made for ,charles by 
the ,negrolis1 forged in one  piece and 
exquisitely damascened1 has the comb    
moulded in the form of a  recumbent     
warrior wearing a turban1 his head      
pointing backwards towards  the visor4  
,the female figures1 ,fame and ,victory1
 reclining on the brim  of the helmet1  
grasp the warrior by the moustache4 ,he 

seems to represent  the ,turkish        
,empire4 ,on a shield above the visor is
 the inscription1 ,,sic  ,,tva ,,invicte
 ,c,,sar 7plate #abi74    ,the          
magnificent shield 7plate #aej;,a71     
designed by ,giulio ,romano1 and        
presented to the ,emperor by the ,duke  
of ,mantua 7,d#fc71 is thus described   
in the ,catalogue3    8,within a wide   
border1 with decorations of fruits and  
genii1 finished  with the ,golden       
,fleece1 is the figure of the ,spanish  
,csar in the centre  of the composition1
 armed in the heroic style1 standing in 
a two-oared  boat1 maintaining in       
vigorous attitude the banner of the     
,double ,eagle1  preceded by ,fame1 at  
the prow1 carrying the shield with the  
motto ,plus  ultra1 and followed by     
,victory1 in the air1 ready to put a    
crown of  laurel on the ,emperor's head1
 while indicating the course of the     
little  boat1 always onwards 7,plus     
ultra71 across unknown seas4            
8,hercules obeys the wishes and seconds 

the impulses of the ,emperor1           
uprooting1 in order to advance them to  
new limits1 the columns which he  once  
planted on the mountains ,calpe and     
,abyla2 while ,neptune1 leaning on  his 
trident1 beholds with astonishment the  
expansion of his dominions4    8,the    
woman fastened by her hair to the trunk 
of a palm1 on which is a  turban1       
seemingly represents ,africa subjugated 
by the then recent  conquest of ,tunis2 
and that of the man lying at the feet of
 ,neptune1 is  possibly only an allegory
 of the ,betis1 called to be the        
intermediary  river between ,spain and  
her new possessions4    8,the skill of  
the composition and the richness of the 
whole contrast  singularly with the     
simplicity of the work4 ,forged in one  
piece of  steel1 somewhat convex1 the   
gilded figures stand out more because of
 the  deep impressions so splendidly    
engraved by the chisel than on account  
of  their dimensions and difference of  
colour40    ,though less elaborate in   

design than the preceding1 the next     
shield  7,d#fd7 is considered the gem of
 the whole collection 7plate #aej;,a74  
,it was  probably made for ,charles by  
the ,negrolis about the time of his     
entry  into ,milan 7#aeda74 ,on a       
separate plate in the centre is daringly
 and  vigorously embossed the head of   
,medusa1 serpents coiling above and     
below4 ,the head and serpents are       
confined within a broad laurel wreath4  
,outside this again are three concentric
 bands1 the first narrow and  richly    
inlaid with silver and gold2 the second1
 broad and hammered  roughly1 and       
divided into sections by shields bearing
 the inscription1  ,,is ,,terror ,,qvod 
,,virtvs ,,anima ,e ,,for--,,tvna       
,,paret2 the third1 damascened  like the
 first1 showing sirens supporting four  
circular medallions with  the ,double   
,eagle1 ,pillars of ,hercules1 and      
,golden ,fleece4 ,round the             
circumference of the shield runs a      
second laurel wreath4    ,space does not

 permit us to describe in detail the    
many beautiful  shields attributed to   
the ,emperor4 ,that numbered ,d#ff      
7plate #aea7 is an  example of the      
,moorish style of decoration so         
successfully imitated by  the ,italian  
artificers2 ,d#fh 7plate #aec7 is of    
,augsburg make1 and  represents         
,strength as a nude woman steering the  
ship of ,humanity across  the sea of    
life1 her shield being ,faith and her   
haven of refuge ,divine  ,grace4        
,specially worthy of note are 7,e#hh and
 ,e#hi7 a pair of ,gothic gauntlets     
7plate #ie71 ,german1 late fifteenth    
century from ,charles's ,armoury4 ,each 
is composed of twenty-seven pieces of   
white steel-plated iron1 incised  with  
aqua-fortis1 festooned and openwork1 and
 with the cuff ending in a  point4 ,they
 are forged and joined together with    
great skill to defend  the hand without 
hindering the natural movements1 and at 
the same time  armed against the enemy  
with sharp points on the knuckles like  

the coup  de point amricain4 ,they are  
more delicate and handsome than those of
  the same kind in the ,vienna ,museum2 
and if1 on account of the period to     
which they belong1 they do not agree    
with the armour of ,charles ,v41  though
 they are sketched in the ,relacion de  
,valladolid1 it is beyond  doubt that   
they were part of some magnificent      
armour1 possibly of his  father2 perhaps
 of his grandfather ,maximilian4 ,this  
is partly confirmed  by the style of    
ornamentation1 which agrees absolutely  
with that of the  work of ,colman       
,helmschmied4    ,several swords1 once  
the property of the ,emperor1 are       
included in the  collection1 but they do
 not possess the same merit or interest 
as the  defensive armour4 ,the          
battle-swords ,g#cc1 ,g#cd1 both the    
work of the  ,negrolis1 have broad      
hexagonal blades1 the middle surfaces   
and ricasso  being inlaid with gold4    
,the hilt of the first is of iron1      
similarly  inlaid1 with the quillons and

 pommel terminating in graceful volutes2
 a  beautifully chased shell protects   
the hand4 ,the guard of the second is   
strengthened by two branches2 the pommel
 is facetted2 and the steel hilt        
decorated with vertical lines in        
damascene work1 alternating with        
acanthus leaves 7plate #agj74    ,to    
,charles's era belong three swords1     
which1 on account of their  history1 are
 of peculiar interest4 ,g#bi 7plate     
#afd7 was the battle-sword  of ,spain's 
greatest general1 ,gonzalo ,fernandez de
 ,cordoba1 the ,great  ,captain         
7#adec-aeae74 ,the blade is flat1 with  
bevelled edges1 and a  groove along the 
upper third of its length in which the  
first words of  the ,angelic ,salutation
 in gilded ,gothic character may be     
deciphered4 ,the  guard is of gilded    
iron1 the quillons flat and drooping1   
and with two  branches to the ricasso4  
,the pommel is of gilt copper1 circular1
 and  with two faces--the obverse       
representing a battle scene1 with the   

inscription1 ,,gonsalvi ,,agidari       
,,victoria ,,de ,,gallis ,,ad ,,cannas  
7referring to  the ,great ,captain's    
victory over the ,french in #aejc71 the 
reverse  bearing the owner's arms1 with 
an inscription in ,latin which1         
translated1 reads1 8,gonzalo de         
,aguilar1 vanquisher of the ,turks and  
,french1 restored peace to ,italy1 and  
closed the ,temple of ,janus40 ,it is   
supposed that this sword was presented  
to the ,great ,captain by the           
municipality of some ,italian city4 ,the
 hand-and-a-half sword1 ,g#cj1 of       
,spanish make1 also belonged to him4    
,pizarro's sword is marked ,g#ce 7plate 
#agj74 ,the blade is rigid and  diamond 
shaped1 with strong ricasso1 on which is
 stamped the name of the  ,valencian    
swordsmith1 ,mateo ,duarte4 ,the hilt is
 of blued steel1 richly  decorated with 
leaves and ornaments in inlaid gold2    
with straight arms1  pas d'ane with     
branches to the ricasso1 a hand-guard to
 the pommel1  and disc-like pommel4     

,this sword in #ahji came into the      
possession of a  ,scotch soldier of     
fortune1 ,sir ,john ,downie1 who used it
 against the  ,french1 and died a       
,spanish ,marshal and ,governor of the  
,alcazar in #ahbf4  ,in ,august #ahac1  
,sir ,john was wounded and taken        
prisoner2 yet he  contrived to throw    
back to his followers this famous       
weapon1 that its  honour might remain   
unsullied4          ,,iv    ,,the       
,,decadence ,,of ,,armour      ,charles 
,v4's son and successor1 ,philip ,,ii41 
was more a statesman than a  soldier4   
,in his youth1 however1 remarks the     
learned compiler of the  ,catalogue1 he 
was accounted a clever tilter1 and      
jousts were frequently  organised on the
 occasions of his visits to ,italy1     
,germany1 and  ,flanders4 ,the ,conde de
 ,valencia indignantly rebuts the       
allegation that  this ,monarch was      
opposed to martial exercises and even   
physically  deformed4 8,the truth of the
 latter statement may be judged by      

examining  his armour1 the lines of     
which are a model of proportion and     
regularity40    ,to ,philip are ascribed
 six harnesses1 arranged like those of  
his father1  each on two or more        
figures4    ,the first suit             
7,a#ahi-;,a#baf7 is styled the arns de  
laceras1 from the  tracery of its       
decorative lengths4 ,it was made at     
,augsburg in #aede1 by  ,desiderius     
,colman1 a year before that artificer   
turned out the ,mhlberg  suit for       
,charles ,v4 ,we extract the following  
particulars from the  ,catalogue of     
#ahih3    8,it is the young prince's    
first armour on becoming a man 7#ah71 as
 stated  in the ,inventory of the ,royal
 ,armoury of #aeid4 ,from childhood the 
,colmans had made his armour1 as they   
had done for his august father1 and     
when it ceased to fit him he distributed
 it among the youths of the  ,court4    
,this armour1 then1 was ordered of      
,desiderius ,colman2 but the  decoration
 was doubtless by a ,spanish artist in  

the service of the  ,prince1 named      
,diego de ,arroyo2 clear proof of this  
we find in a note in  the ,chamberlain's
 book1 dated ,feb4 #crd1 #aedd 7a date  
which also appears  on the left cuisse  
of the equestrian figure ,a#aij71       
reading thus3  #8,firstly1 ,diego de    
,arroyo designed all the pieces of a    
suit of armour to  be engraved1 to send 
to ,germany1 so that by it a suit of    
armour might be  made for ,his          
,highness--three ducats are given him4'0
    ,arroyo's design is composed of wide
 vertical bands1 with ,oriental         
lacework in the centre1 engraved on a   
white ground1 and on both edges1  gilded
 foliations mingled with extremely      
beautiful decorations of the            
,renaissance period4    ,colman in      
person took his work to ,valladolid1 at 
that time the residence  of the ,court4 
,this appears from the following        
,imperial schedule1 given  at ,worms1   
,july #bith1 #aede4 8,the ,king3 ,don   
,francisco de los ,cobos1 c41  and our  

,chief ,accountant of ,castile3 ,colman1
 our armourer1 we have sent  to your    
,court to take certain armour which he  
is conveying to the ,prince  our son1   
and we have granted as salary for each  
day he may occupy1 two  florins of      
fifteen bacos each1 and we have paid him
 here six weeks and  because on         
returning he will need more money1 we   
charge you to provide  for paying him   
there a like amount in this respect4--,i
 the ,king40    ,the first figure       
7,a#ahi1 plate #dc7 shows a suit of     
foot-armour for  jousting4 ,it has an   
armet with high ridged comb1 visor with 
two slits  for the occularium1 and      
beavor freely perforated4 ,the          
tastefully-decorated  breastplate has   
laminated gussets1 and taces to which   
are attached the  conspicuous lamboys4  
,the border of this kilt of steel is    
embossed1  gilded1 and etched with the  
devices of the ,golden ,fleece1         
griffins1 and  scrolls4 ,espaliers      
protect the shoulders1 rondels the      

armpits1 and small  coudes the elbows4  
,the gauntlet of the right hand is      
notable 7plate  #ajf;,a73 it extends in 
several articulations to the inside of  
the wrist1  where it is closed with a   
hinge to prevent its slipping off the   
hand4  ,the leg-armour is peculiar to   
this description of harness1 and has    
high  laminated cuisses accommodated to 
the curves of the knee2 genouillres     
are1 therefore1 dispensed with4         
7,compare the suit ,a#adi1 made in      
#aeda47    ,the second figure 7,a#aij7  
bears a fine mid-sixteenth century      
tilting helm  in three pieces4 ,the     
beavor1 perforated at the sides1 is     
screwed on to  the upper part of the    
breast-plate1 and is secured to the     
other parts of  the head-piece by side  
screws1 on which the visor revolves2 the
 back of  the helm1 including           
skull-piece1 comb1 and tail-piece is    
fastened to the  backplate1 and at the  
sides of the head to the beavor and     
visor4 ,on the  arm is one of the pieces

 mentioned at ,a#aja1 and 8slashed0 in  
imitation  of the civil dress of the    
time4 ,with these pieces is shown a     
target1  beautifully etched with        
fantastic figures in the ,german style4 
,the  superb barding of the horse does  
not belong to the suit or the period1   
and will be described later4    ,to     
figure ,a#aia are attached a notable    
morion1 with roped comb1 and arm        
guards1 waved or imbricated with gold   
and steel alternately1 and  delicately  
etched4 ,the tassets1 cuisses1 and      
gauntlets display the same  decoration  
as the rest of the armour4 ,the shield  
,a#aic was designed by  ,diego de       
,arroyo1 like the other pieces4    ,the 
armour ,a#bag-;,a#bcj1 made in ,germany 
about #aedi for ,philip when he was     
heir-apparent1 is that in which he is   
represented by ,titian 7,prado          
,gallery1 ,no4 #ded7 and ,rubens 7,no4  
#afjg74 ,it was in this suit also1 that 
,velazquez represented the ,conde de    
,benavente1 who lived nearly a  hundred 

years after it was forged 7,no4 #ajij74 
,the component pieces are  striped and  
bordered by wide bands of engraved and  
gilded arabesques1  designed in all     
probability by ,diego de ,arroyo4 ,in   
the second figure  7,a#bah1 plate #di7  
the tassets are of unequal length4 ,the 
fingers of the  right gauntlet are      
united1 those of the left joined in     
couples4 ,the  cuisses are laminated1   
and reach to about the middle of the    
thigh4 ,this  armour appears to have    
consisted of more pieces than any other 
in the  collection4    ,philip's third  
suit 7,a#bca-;,a#bch7 was made for him  
at ,landshut in ,bavaria1  in #aeej1 by 
,sigmund ,wolf4 ,many of the pieces are 
now at ,brussels4 ,the  ornamentation is
 chaste1 consisting of narrow bands1    
etched with  graceful scrolls and       
volutes on white burnished steel4       
,the parade armour 7,a#bci-;,a#bdb7 was 
made for ,philip at ,augsburg by        
,desiderius ,colman and ,georg ,sigman1 
in #aeeb4 ,an order exists1 issued by   

,philip1 directing his treasurer to pay 
#b1jjj gold escudos1 on account of      
#c1jjj escudos1 which it seems was the  
price of this splendid harness4    ,the 
history of this suit is not without     
interest4 ,we borrow the  following     
details from ,conde de ,valencia3       
8,when ,colman undertook this important 
work1 all embossed and damascened1  he  
showed that he could produce very       
different work to that which  generally 
left his workshops2 that is1 tilting and
 war-armour1 which  only required       
superficial ornamentation1 like the     
engraving and low  relief on the parts  
least exposed to lance-thrusts4 ,his    
recognised  superiority in this branch  
of his industry1 and especially forging1
 is  attested by his almost exclusively 
supplying the ,emperor and his son1  and
 by the many suits he made for the chief
 captains and officers of the  ,imperial
 ,army4 ,under such circumstances he was
 justified in wishing to  excel also in 
the making of armour for parade or de   

luxe1 his rivals  the ,negrolis of      
,milan1 who a little while before had   
made various  magnificent pieces for    
,charles ,v43 among them1 armour ,a#aci4
    8,however1 it does not seem that    
,colman possessed the necessary skill to
  undertake a work of this kind alone4  
,so at least it would appear from  his  
co-operating with a person1 whose       
artistic capacity he recognised to  such
 a degree1 that he permitted him to     
place his signature beside his  own on  
the principal piece of the armour4      
8,this associate was a ,german          
silversmith1 named ,georg ,sigman1 who1 
though resident in ,augsburg1 had not   
succeeded in getting the  municipality  
to register him as a master in the trade
 to which he  belonged4 ,colman saw     
doubtless in the skill of this artist a 
powerful  medium that would permit him  
to rival the ,negrolis in the           
ornamentation  of armour de luxe1 and   
accepted his assistance in return for   
his using  his influence at the         

,imperial ,court on ,sigman's behalf40  
,the scheme of the decoration is as     
creditable as the execution4 ,on a      
ground of blackened steel all the pieces
 are adorned with broad vertical  bands1
 embossed with grotesques1 and bordered 
by narrow outer bands1  which are in    
their turn bordered by pretty trefoil   
work projecting over  the plain ground4 
,the crest of the burgonet is decorated 
with laurels and exquisite  traceries2  
the rest of its surface is covered with 
small figures1 birds1  scrolls1 and     
foliations charmingly relieved and      
intertwined4 ,on either  side of the    
crest are medallions representing heroic
 combats1 all  delicately chiselled1 and
 with gilded profiles4    ,at the       
junction of the visor and helmet may be 
seen the marks and  initials of ,colman 
and ,sigman1 with the date #aeej4       
,sigman1 not content  with stamping his 
initials beside those of his principal1 
has repeated  them with the date #aedi  
beneath the plume-holder1 to commemorate

 the  two years he was employed upon the
 decoration of the work4    ,the cuirass
 is composed of overlapping plates      
placed horizontally4 ,this  species of  
defence was called the lorica1 from     
being originally made of  leather which 
was modelled1 while wet1 to the muscles 
of the human body1  and was imitated in 
the bronze cuirass in late ,roman times4
 ,the four  upper plates which formed   
the gorget are missing4 ,they were      
joined to  one on which is engraved and 
gilded the collar of the ,golden        
,fleece4  ,beneath it hangs the ,fleece 
itself1 supported by two nymphs1 and    
beginning the exquisite series of groups
 which run down the central  band4 ,the 
remaining bands are equally well        
conceived and executed4 ,the  cuisses   
are similarly composed of plates set    
horizontally and decorated  vertically4 
,about half-way down the thigh the lower
 edge of the plate is  decorated1 so    
that at this point the upper plates     
could be disconnected  from the lower1  

and used as simple tassets4 ,the        
genouillres are  decorated with masks   
and satyrs4 ,the arm-guards are similar 
to the rest  of the suit4 ,the coudes   
are admirably embossed and gilded1 the  
design  showing a woman wearing the     
,collar of the ,golden ,fleece and an   
,imperial  tiara2 on each side of her   
are warriors armed in classic style2 the
  ,imperial ,eagle is shown on the      
inside of the piece1 and a mask at the  
elbow4 ,note the laminated gorget       
7,a#bci bis1 plate #dg;,b71 beautifully 
decorated in the same way as the rest of
 the armour1 and suitable for  wearing  
over a coat of mail or leather doublet4 
,the shield ,a#bda 7plate #adf71        
belonging to this harness1 has a        
peculiar  interest as commemorating the 
rivalry that existed between the great  
,german and ,italian armourers of the   
sixteenth century4 ,it is in one  piece1
 blackened and richly decorated1        
embossed and inlaid with gold4  ,from   
the boss spread radiations enclosed by a

 laurel wreath1 and outside  this by a  
narrow band with the following          
inscription in ,german3  ,,desiderio    
,,colman ,,cays ,,may ,,harnaschmacher  
,,avsgemacht ,,in ,,avgvsta ,,den #ae   
,,aprilis ,,im #aeeb ,,jar 7,desiderius 
,colman1 ,armourer of ,his ,csarean     
,majesty1 finished this on ,april #aeth1
 #aeeb74 ,at equal distances round  the 
shield are disposed circular medallions 
encircled by wreaths of  laurel and     
myrtle1 and designed with the following 
subjects3 ,strength in  a triumphal car 
drawn by men1 ,victory in another car   
drawn by lions1  ,minerva drawn by      
horses1 and ,peace borne on the         
shoulders of ,kings4  ,between the      
medallions are seen other ,kings        
enthroned and surrounded by  other      
figures1 masks1 cartouches1 and         
foliations in great profusion4 ,in  the 
rim between two laurel wreaths1 hunting 
scenes and bull-fights are  depicted4   
,in one group ,colman has symbolised his
 supposed triumph over  his ,milanese   

competitor by a bull overthrowing a man 
whose shield bears  the word 8,negrol40 
,as a matter of fact the shield is a far
 less  creditable performance than the  
rest of the armour1 nor does the best of
  ,colman's work deserve to be preferred
 to the ,medusa shield executed by      
,negroli4 ,in justice to the ,german it 
should be added1 however1 that the      
shield shows every sign of having been  
left unfinished4 ,the war-saddle        
7,a#bdb1 plate #dg;,b7 is the finer     
work4 ,the subject of the design of the 
centre-band is ,venus riding the waves  
in a shell drawn by dolphins1 and       
attended by cupids4 ,the sword ,g#dg    
7see infra7 also belonged to this       
harness4    ,the armour of ,philip      
,,ii41 called the                       
,burgundy-,cross-,armour1 was made in   
#aeea by ,sigmund ,wolf4 ,the order     
exists authorising the payment to the   
armourer on account of the ,prince of   
8two hundred gold escudos in token  and 
part payment of some gilded armour0 made

 for him4    ,the suit is very richly   
decorated with bands of the natural     
colour of  the steel on which are etched
 alternately the ,cross of ,burgundy or 
of  ,st4 ,andrew1 and the emblems of the
 ,golden ,fleece--all gilded4 ,on the   
breastplate of the first figure 7,a#bfc1
 plate #ej7 is engraved the image  of   
the ,madonna4 ,the cuisses are high and 
laminated as in former  examples4 ,the  
horse's bard is very handsome1 and seems
 to be a  reproduction in metal of the  
richly-embroidered caparison usually    
worn  by the ,imperial chargers4    ,the
 suit ,a#bdc-bfb was made for ,philip by
 ,wolf1 of ,landshut1 somewhere  about  
#aeed1 the date being fixed by the      
chanfron of the horse being  charged    
with the arms of ,england1 which ,philip
 could only have assumed  on his        
marriage with ,mary ,tudor4 ,the panoply
 includes a greater number  of pieces   
for tilting than any other owned by this
 ,prince1 and  demonstrates his         
partiality for manly exercises4 ,the    

decoration consists  of wide vertical   
bands on a ground of burnished steel1   
gilded and etched  with black waves or  
undulations1 and bordered on either side
 by narrow  bands exhibiting a similar  
design4 ,the armour appears to have     
comprised  about eighty-five pieces1 of 
which seventy-four are in the ,madrid   
collection4    ,the first figure        
7,a#bdc1 plate #dh7 is conspicuous by   
the enormous  reinforcing piece1 or     
overguard1 on the left elbow1 and for   
the symmetry  and elegance of the       
leg-armour4    ,the gay barding for the 
horse does not belong to the armour3 it 
comes  from the armour of ,prince       
,charles1 son of ,philip ,,ii43 in his  
inventories  all the pieces are         
enumerated1 although the general lines  
and character  of the ornamentation     
agree with the bards of the ,emperor's  
time4 ,it was  made in ,nuremberg by the
 ,german armourer1 ,conrad ,lochner the 
younger1  whose mark1 together with that
 of the city1 is stamped on the         

breastpiece and crupper4 ,it includes   
saddle2 reinguard2 croupire2  flchire2  
poitrel1 with large linch-pins2 collar2 
mainfaire1 and  chanfron1 the latter    
with two large twisted ram's horns1 and 
above the  hind part of the head the    
shield with the ,royal arms4 ,all these 
pieces  are decorated with graceful     
bands etched with alternating           
imbrications  of iron and gold1 which   
border and cross them in various        
directions4 ,in  the spaces where the   
steel preserves its natural colour1     
there are a  large number of volutes and
 palms in relief4 ,the bridle is late   
sixteenth century1 of long strips well  
filed1 like the perforated  copas1 which
 are decorated with gold4    ,the third 
figure 7,a#bde1 plate #di7 shows various
 reinforcing pieces for  the tilt1 to be
 worn on the preceding suit1 ,a#bdd1    
with the exception of  the helm and     
tassets--8the total weight being        
thirty-nine kilogrammes1  which could   
only be supported during the short time 

occupied by three or  four courses and  
in breaking as many lances40    ,the    
various pieces are adjusted and shaped  
with marvellous precision4  ,the helm is
 a triumph of the armourer's craft1 with
 an occularium four  millimetres wide1  
ventail on the right hand side1 and     
strong beavor  coming well down on to   
the left shoulder1 where is screwed a   
manteau  d'armes or target1 with raised 
trellis-work and floral devices etched  
on  the panels4 ,the tassets are of     
unequal length4 ,the leg-armour again   
illustrates ,wolf's skill and eye for   
symmetry4 ,the fifth figure 7,a#bdg7    
has preserved the colours of the        
decorative bands very well4    ,the same
 scheme of decoration is exhibited by   
the armour 7,a#bgd-;,a#bgf7  made in    
#aeeh for the unfortunate ,prince       
,charles1 son of ,philip ,,ii4 ,it  was 
made for him by ,sigmund ,wolf when the 
,prince was thirteen or  fourteen years 
of age4 ,the difference in size between 
the right and left  pauldrons goes to   

prove that the ,prince was slightly     
deformed1 as has1  indeed1 been often   
asserted4 ,the first figure 7,a#bgd1    
plate #eb7 has a  morion with high comb1
 visor1 and beavor secured by a hook on 
the left  and a button on the right     
side4 ,the tassets are continued to the 
knee  after the lobster-tail style then 
becoming fashionable4    ,of the arms   
and detached pieces of armour ascribed  
to ,philip ,,ii41 and  included in the  
,armoury1 the most remarkable is the    
sword 7,g#dg7  belonging to the         
parade-armour ,a#bci4    ,the blade is  
of diamond section1 with a short groove 
below the tang4 ,the  first third of its
 length is adorned with engravings and  
small squares  of gold1 enclosed in     
which we find these inscriptions1 on one
 side--,,pro  ,,fide ,,et ,,patria4     
,,pro ,,christo ,,et ,,patria4 ,,inter  
,,arma ,,silent ,,leges ,,soli ,,deo    
,,gloria2 on the other--,,pvgna ,,pro   
,,patria4 ,,pro ,,aris ,,et ,,focis2    
,,nec ,,temere1  ,,nec ,,timide1 ,,fide 

,,sed ,,cvi ,,vide4 ,on the ricasso is  
the mark of the maker1  ,clement ,horn1 
of ,solingen4 ,the hilt is the most     
remarkable in the  collection4 ,it is   
blued and carved in gold relief in the  
,italian  renaissance style4 ,the centre
 of the guard is decorated with numerous
  figures in high relief on a gilded    
ground2 one quillon curves downwards1   
the other upwards1 and both end in the  
heads and busts of men entwined  about  
with spirals4 ,from a cartouche engraved
 with the ,judgment of ,paris  on the   
guard1 springs an exquisite             
counter-guard composed of two  beautiful
 ,caryatides united by volutes4 ,the    
grip is of quadrangular  section1 and   
formed with four pieces of rock-crystal 
engraved in gold4  ,the pommel1 which is
 the most admirable part of the         
composition1 is  formed by two volutes1 
which hold and press between them the   
head of an  old ,satyr1 whose expression
 reveals his vexation2 in the curves of 
the  volutes are two little genii4 ,they

 grasp and tread on festoons of fruit1  
which are gathered up at the back of the
 pommel by the god ,vertumnus1  beneath 
whom1 on an oval cartouche1 ,hercules is
 seen in combat with the  ,nemean lion4 
,the sword ,g#dh1 believed to have been 
the work of the ,toledo maker  ,martinez
 ,menchaca1 and the property of ,philip 
,,ii41 is flat1 with three  pierced     
channels in its upper third4 ,the hilt  
is ,german1 and highly  ornate4 ,the    
quillons and guards resemble the coils  
of a serpent1 and are  elaborately      
chased and incrusted with silver4 ,they 
are further adorned  with masks1 torsos1
 and nude figures within medallions1 the
 whole being  designed and executed with
 much taste4 ,the hilt of the sword1    
,g#di1  attributed to the ,conde de     
,corua 7,viceroy of ,nueva ,espaa in    
#aehj71 is  another beautiful piece of  
work1 the decoration being less         
elaborate1  but on the whole more       
tasteful than that of the sword ,g#dh4  
,it is of  ,spanish 7,toledo7 make1 but 

the maker's name remains unknown4       
,perhaps the most magnificent suit in   
the whole ,armoury is the ,parade       
,armour 7,a#bij1 plates #ec1 #ec;,d7    
made for ,king ,sebastian of ,portugal  
7#aeed-aegh7 by ,anton ,pfeffenhauser of
 ,augsburg4    8,examined from the      
artistic point of view10 says the ,conde
 de ,valencia1  8this is                
,pfeffenhauser's masterpiece1 and places
 him on a level with1 if  not above1 the
 best ,german armourers of his time4    
,true1 he falls into  the mistake of    
over-ornamentation1 and his figures are 
incorrectly  designed2 but the          
composition and embossing are bolder    
than ,colman's1  and1 above all1 his    
chiselling is of inimitable precision   
and clearness4  ,with regard to the     
style of the decoration1 on comparing   
the capricious  combinations of figures1
 scrolls1 and other features of the     
ornamentation with the designs published
 by ,hefner ,altenech1 we are led  to   
believe that it was the work of either  

,hans ,mielich1 of ,munich1 or  some    
other ,german artist of the same age and
 equal ability40    ,the sixteen pieces 
of the armour are blackened1 and gilded 
only at the  nails1 clasps1 and         
plume-holder4 ,the burgonet is cast in  
one piece and  richly embossed4 ,on the 
comb are seen ,tritons1 sea-horses1     
dolphins1 and  ,nereids2 the major      
portion of the surface is occupied by   
battle scenes1  the warriors wearing    
classic garb1 and fighting on the backs 
of  elephants--an allusion1 like the    
coat-of-arms carried by one of the      
warriors1 to the ,portuguese conquests  
in ,india2 at the base of the skull  are
 represented ,diana1 ,hercules1         
,neptune1 and ,amphitrite2 and on the   
cheek-pieces1 each of three lamin1 are  
the images of ,strength and  ,justice4  
,the decoration of the other pieces     
consists in the customary wide  vertical
 bands1 traversing the body from the    
gorget to the ankle4 ,on the  widest and
 midmost band is the figure of ,jupiter2

 beneath him is ,diana2  and1 lastly1   
the infant ,hercules strangling the     
serpents4 ,the other  bands1 both on    
breast and backplates1 likewise display 
mythological  subjects4 ,the pauldrons  
are even more richly ornamented than the
 other  pieces3 at the back and front   
they are embossed with designs          
representing respectively ,power1       
,victory1 ,peace1 and ,navigation4      
,the coudes display the four figures of 
the ,cardinal ,virtues4 ,beautiful      
emblematic groups and figures adorn the 
genouillres and demi-jambs4 ,the        
tassets are detachable half-way up the  
thigh4 ,the gauntlets correspond  in    
decoration and elegance with the rest of
 this magnificent suit4    ,the armour  
of ,philip ,,iii4 belongs to the period 
of the decadence of the  armourer's     
craft4 ,the final victory of the firearm
 in the long struggle  between attack   
and defence was now very generally      
recognised1 and  complete suits of      
armour were worn mainly for display4    

,tilting1 too1 was  going rapidly out of
 fashion4 ,by the middle of the         
seventeenth century  the burgonet1      
cuirass1 and tassets were well-nigh the 
only pieces of  armour worn in the      
field4    ,the suit ,b#a to ,b#c 7plates
 #hb et seq47 presented to ,philip      
,,iii4 when  ,prince1 at the age of     
seven1 by his brother-in-law1 ,carlo    
,emmanuele1  ,duke of ,savoy1 is        
obviously one of the harnesses intended 
for ornament1  and not defence4 ,it is a
 beautiful example of ,italian art1     
including  twelve pieces1 worked in     
gilded iron1 and decorated with         
innumerable  figures1 masks1 c41 in the 
low relief contained in cartouches1     
scrolls1  and bands--all embossed and   
damascened4 ,there is no leg-armour     
attached  to the suit1 and the gauntlets
 have disappeared4    ,the helmet1 or   
celada de engole1 has a large mask on   
the visor1 and at  the sides ,victory   
and ,fame2 on the outside part of the   
collar1 ,strength  and ,prudence1 and on

 the other1 the ,ducal ,crown2 on the   
breastplate the  figure of ,fortuna1    
accompanied by two winged genii1 with a 
phylactery on  which is the word        
,,spania2 and in different places1      
,justice1 ,temperance1  and various     
small symbolic figures1 which may also  
be seen on the  backplate1 the          
pauldrons1 and the armlets4 ,it bears no
 armourer's mark4    ,b#b4 ,infantry    
morion1 forged in one piece1 with       
similar decoration to the  preceding2 a 
mask1 in front on the forehead figures  
representing  ,abundance and            
,prosperity1 grotesques1 and trophies4  
,b#c4 ,shield1 for combat on foot4 ,a   
medallion covers the centre1 on which   
are represented ,jupiter1 ,neptune1 and 
,mars destroying the ,moors2 around  are
 four ,ephesian ,dianas on estipites    
7pedestals in the form of  inverted     
pyramids71 and between them an equal    
number of panels with  warlike and      
mythological subjects3 the decoration of
 the groundwork is  completed by other  

subjects similar to those of the        
preceding pieces4  ,diameter #j4ci4     
,the half-suit ,b#d-e 7plate #hd71 also 
presented to the successor of ,philip   
,,ii4 in his childhood1 is believed to  
be the work of ,lucio ,picinino4 ,the   
decoration is very beautiful and less   
profuse than in the preceding  example4 
,on the wide middle band of the         
breastplate may be seen a mask  upheld  
by two nude figures1 the goddess        
,pallas1 satyrs1 c4 ,festoons  with     
masks extend from band to band4 ,the    
pauldrons bear grotesque masks1  and the
 coudes symbolical figures4    ,the     
harness1 ,a#bia-bid 7plate #ed71 seems  
to have been made in ,milan by  ,lucio  
,picinino1 and was presented by the     
,duke of ,savoy to ,philip ,,iii4       
8,although it belongs to the decadent   
period of the ,italian ,renaissance10   
remarks the ,conde de ,valencia1 8it is 
assuredly one of the handsomest  pieces 
of work turned out by the ,milanese     
armourers of the late  sixteenth        

century40 ,the panoply is unfortunately 
very incomplete1 owing  to the strange  
course having been adopted of dressing  
with parts of it  the corpse of the     
,infante ,carlos1 who died in #afcb4    
,the whole suit is profusely decorated  
with reliefs and gold and silver        
damascene work4 ,the burgonet displays  
three masks--on the visor 7which  is in 
two pieces71 and at the base of the     
skull4 ,the upper edge of the           
breastplate is roped4 ,in the centre of 
the chest is an embossed mask2  beneath 
it a panel with the figure of ,victory1 
seemingly held in  position by chains1  
and by two male figures4 ,below it and  
on either side  are grotesque masks4    
,the pauldrons 7one of which has a bufe 
or  passe-garde71 the tassets1 cuisses1 
genouillres1 and demi-jambs are         
similarly decorated with cartouches and 
medallions with martial and  allegorical
 subjects4    8,the rich covering for   
the horse is also incomplete4 ,it is    
composed of  pieces of the two distinct 

bards mentioned in the ,inventory1 one  
#8inlaid  with gold and silver1 fluted1 
and in relief1 all adorned with blue    
stones 7lapis lazuli7 and yellow stones 
and illuminated crystals'2 and  the     
other1 #8with the same pieces as the one
 above1 lacking nothing1 and  this is of
 gilded iron in relief4'    8,saddles1  
chanfrons1 and mainfaires of both bards 
are preserved1 these  sets being that of
 the dragon chanfron on the horse       
,a#aij1 and that with  the inlaid work  
on the present figure2 but the cruppers 
and poitrels of  both have been broken  
up1 and their component parts have been 
mostly  dispersed abroad4 ,what was     
preserved in the ,armoury1 now without  
stones  or crystals1 together with other
 remains found in the ancient edifice   
after the fire1 constitute the crupper  
and poitrel of this horse40    ,to the  
first decade of the seventeenth century 
belongs the suit  7,a#cch-;,a#cdf7      
attributed to the third ,duke of        
,escalona4 ,it has a tilting  helmet    

with visor in two pieces1 and a shutter 
in the ventail2 the  leg-armour is still
 complete4 ,the elaborate ornamentation1
 consisting of  wide vertical bands     
etched1 alternating with trophies1      
medallions1 and  lacework1 has lost much
 of its richness1 owing to the          
disappearance of  the blackening and    
gilding4    ,the horse's barding is     
older than the armour2 it is of the     
early  sixteenth century1 and the style 
of the ornamentation appears to be      
,spanish ,renaissance4 ,the several     
pieces of which it is composed are      
decorated with trophies1 flowers1       
grotesques1 and other devices in good   
taste1 etched1 and part of them engraved
 by hand4 ,on the poitrel may be  seen  
,st4 ,james on horseback1 fighting      
against the ,moors1 accompanied by  two 
warriors of antiquity4 ,the chanfron has
 the escutcheon of the  ,alvarez de     
,toledo family1 the surname of the      
celebrated ,duke of ,alba1  from whom   
possibly it might have come4    ,the    

days had passed when ,spanish ,kings    
sent to ,augsburg for their  harness1   
and in #afbj we hear of a ,royal armour 
factory at ,pamplona in  ,navarre4 ,the 
first specimen of its work is the parade
 armour made for  the ,duke of ,savoy by
 order of ,philip ,,iii4 7,a#cej-cec1   
plate #fb74 ,being a  presentation suit1
 it was lavishly decorated with vertical
 bands and  panels1 with a bordering of 
trefoils of silver in relief4 ,the      
initial  letter1 and the ducal crown and
 palms of ,savoy figure in the          
ornamentation2 and on the centre band of
 the cuirass may be seen the  arms of   
the ,county of ,nice--a crowned eagle   
gazing at the sun4    ,philip ,,iii4's  
half-suit of armour1 numbered           
,a#ced-cee1 was also forged at          
,pamplona4 ,it is of steel-plated iron1 
and of extraordinary thickness4 ,it  is 
blued and decorated at the borders with 
bands on which are chiselled  flowing   
scrolls1 animals1 grotesques1 c4 ,a     
graceful edging of silver  trefoils in  

relief finishes off the bands4 ,the     
helmet1 or cabasset1 has  a drooping    
brim1 and is forged in two pieces4 ,the 
breastplate is adorned  by the ,collar  
of the ,golden ,fleece1 and another     
collar or riband  7engraved71 from which
 hangs the medal of the ,immaculate     
,conception4 ,a  curious feature is the 
seven indentations made by the bullets  
of an  arquebus1 and each set with      
silver pearls4 ,these marks do not say  
much  for the quality of the metal1     
which is ten millimetres thick4 ,the    
backplate1 which is only three          
millimetres thick1 has been perforated  
by  the bullet4 ,the arms are defended  
by espaliers reaching to the elbow1     
where they meet the cuffs of the        
gauntlets4    ,at ,pamplona were also   
made six half-suits of boys' armour for 
the three  sons of ,philip ,,iii4--the  
,infantes ,philip1 ,charles1 and        
,ferdinand4 ,these  suits 7,b#ac-;,b#bj1
 plates #hg1 c47 are composed of closed 
helmet1 gorget1  cuirass1 and the usual 

arm armour4 ,the steel is blued1 and    
each piece is  decorated at the edge    
with the ,collar of the ,golden ,fleece4
 ,the rest of  the surface is divided by
 beautiful foliations in silver into    
diamond-shaped sections1 in which are   
displayed the ,tower and ,lion of       
,spain1 the ,pillars of ,hercules1      
warlike trophies1 and the ,double-headed
  ,eagle4    ,the suit ,a#cfj-cfh 7plate
 #eh7 was made in the first years of the
 century1  in ,italy1 apparently for the
 ,prince ,filippo ,emmanuele of ,savoy1 
who died  in #afje1 aged #ai4 ,it       
consists of closed tilting helmet1      
gorget1 cuirass1  tassets1 and the usual
 pieces for the limbs4 ,all the pieces  
are richly  decorated1 but the          
blackening of the groundwork and the    
gilding of the  ornamentation have      
disappeared4 ,the crown of ,savoy1 with 
the palms and  olive-branch1 and groups 
of trophies are etched in rhomboidal    
sections  formed by intertwined lovers' 
knots1 the emblem of the ducal house4   

,the same scheme of decoration is       
apparent on the two suits 7,a#cfi1      
,a#cgg7  of ,italian make that were the 
property of the victor of ,st4 ,quentin1
  ,prince ,emmanuele ,filiberto of      
,savoy1 ,grand ,admiral of ,spain       
7#aehh-afbd74  ,on the first suit       
certain ,spanish heraldic devices1 such 
as the ,tower  and ,lion1 may also be   
seen associated with the emblems of     
,savoy4    ,the last period of armour is
 illustrated by the suits belonging to  
,king  ,philip ,,iv4 ,six of these were 
sent to him from ,brussels by his aunt1 
the  ,infanta ,isabel ,clara ,eugenia1  
wife of the ,archduke ,albrecht4    ,the
 first of these 7,a#chj-cic7 dates from 
#afbd4 ,it is shown on two  figures1    
both with the same decoration of        
vertical bands traced on a  groundwork  
of gold4 ,on the shield may be          
deciphered the initials ,m4 ,p4  with a 
crown and three fleurs-de-lys1 which    
leads the ,conde de ,valencia  to hazard
 the conjecture that the armourer may   

have been one of the  ,petits1 who      
served ,louis ,,xiii4 of ,france4 ,the  
harness includes the  complete          
leg-armour1 which now was never worn in 
the field2 but the  second figure       
7,a#cha1 plate #fj7 has1 instead1 the   
lobster-tail tassets1  which were in    
actual use4    ,the second presentation 
suit 7,a#cid-dja7 is that in which      
,philip ,,iv4 is  represented by        
,velazquez in the portraits in the      
,prado1 numbered #a1jff  and #a1jgg4 ,it
 seems to have been originally blackened
 with the edges and  rivets gilded1 but 
probably lost its hue when worn by the  
illustrious  ,don ,juan ,jos1 natural   
son of ,philip ,,iv41 in his ,italian   
campaign in  #afeb4    ,the armour      
,a#djh-dac was among the gifts presented
 by the ,archduchess  ,isabel ,clara4   
,it was very elegantly decorated with   
bands of gold and  silver1 chiselled by 
hand in zig-zag fashion4 ,the next suit1
 ,a#dad-dba1  from the same donor1 was  
worn by ,don ,juan ,jos1 who is shown   

wearing the  cuirass on a bust in the   
,prado gallery4    ,the two remaining   
suits attributed to ,philip ,,iv4 were  
the gift of his  brother1 the ,cardinal 
,infante ,ferdinand4 ,the first 7,a#dbb1
 plate #ei7 has  the lobster-tail       
tassets1 and is blued and decorated with
 vertical bands  of medallions with     
various subjects4 ,this suit was        
formerly1 for some  obscure reason1     
ascribed to ,columbus4 ,the second suit 
7,a#dbc-dbh7 was  originally blued and  
gilt1 but the natural colour of the     
metal has now  reasserted itself4 ,the  
armour is distributed over three        
figures1 and  includes several pieces   
fast becoming obsolete at that time     
7#afcb74  ,notice the unusual size of   
the garde-de-rein on the first figure4  
,with these suits the ,cardinal sent    
another for his boy-nephew1 ,prince     
,baltasar ,carlos 7#afbi-afdf74 ,this   
armour is little more than a toy1 and   
preserves its blackening and gilding    
almost unimpaired4    ,the magnificently

 engraved collar and gorget numbered    
,a#dcd-;,a#dda 7plates  #ic1 #id7 are   
now known to represent the siege of     
,ostend 7#afja-afjd7 and  the ,battle of
 ,nieuport 7#afjj74 ,the details are    
executed with marvellous  clearness1 and
 the chiselling reflects the greatest   
credit on the  unknown artist4 ,the     
horseman in the centre group on the     
gorget is  probably the ,archduke       
,albrecht1 who distinguished himself by 
his valour  at the ,battle of ,nieuport4
 ,these pieces were worn over a buff    
jerkin1  such as was used by ,cromwell's
 ,ironsides4    ,this brief survey of   
the principal objects of interest in the
 ,royal  ,armoury at ,madrid may be     
fittingly concluded with some account of
 the  origin and vicissitudes of that   
establishment4 ,its nucleus was the     
armour accumulated by the ,emperor      
,charles ,v41 not with a view to a      
collection1 but for his personal use4   
,philip ,,ii4 was not slow to  recognise
 the value of the treasure bequeathed   

him by his father4 ,on his  return to   
,madrid1 upon the death of his wife1    
,mary ,tudor1 ,philip  deposited all the
 ,emperor's armour in a building        
specially designed for  its reception1  
and added to it from time to time       
trophies won from the  enemies of       
,spain1 and such antiquities of national
 and military interest  as he could     
procure4 ,his good example was followed 
by his successors  till the manufacture 
of defensive armour altogether ceased at
 the end of  the seventeenth century1   
while the spoils of war became every    
year  rarer towards the close of the    
eighteenth4    ,a calamity befell the   
collection at the outbreak of the ,war  
of  ,independence4 ,the people of       
,madrid1 in their eagerness to procure  
arms1  invaded the building on ,december
 #ast1 #ahjh1 and carried off more than 
three hundred swords and other weapons  
with which to attack the ,french4  ,and 
three years later ,joseph ,buonaparte   
foolishly piled the contents of  the    

,armoury in the garrets1 in order to    
make room for the dancers in the  hall4 
,in the reign of ,isabel ,,ii4 the      
collection was re-installed and         
re-arranged4 ,a catalogue was issued for
 the first time in #ahdi1 the  author   
being ,don ,antonio ,martinez del       
,romero--a work displaying  considerable
 research and industry1 but full of     
errors1 and completely  superseded by   
the catalogue published in #ahih by the 
,conde de ,valencia  de ,san ,juan4     
,it was to that gentleman that the late 
,king ,alfonso ,,xii41 soon after his   
accession1 entrusted the complete       
re-organisation of the collection4      
,this was a work presenting             
extraordinary difficulties1 and after   
three  years of incessant labour1 the   
,conde had the mortification of seeing a
  fierce fire break out1 which in the   
night of ,july #ith1 #ahhd1 reduced to  
ashes sixty-two flags taken from the    
enemy1 twenty leather shields1 and  all 
the wooden figures prepared for the     

arrangement of the armour4    ,without  
hesitation the work was begun all over  
again4 ,the ,king added new  and        
priceless acquisitions to the           
collection1 among these being eleven    
examples of fifteenth-century brigandine
 armour 7quilted jackets with  the      
additional protection of plates of iron 
secured among the pads7  discovered in  
,aragon1 and several of the finest      
pieces in the armouries  of the ,dukes  
of ,osuna and del ,infantado4    ,her   
,majesty ,queen ,cristina1 during her   
regency1 was not forgetful of the       
interest taken by her lamented husband  
in this magnificent ,museum of  ,arms2  
and1 thanks to her1 the number of its   
treasures has been  materially          
increased4 ,nor is it likely that any   
opportunity of adding to  the value and 
usefulness of the collection will be    
neglected during the  reign of a young  
,monarch devoted1 like so many of his   
illustrious  ancestors1 to manly        
exercises and chivalrous traditions4    

,illustration3 ,,plate #a4    7#a ,,to  
#e74 ,,crowns ,,and ,,votive ,,crosses  
,,of ,,guarrazar4       7#f74 ,,remains 
,,of ,,st4 ,,ferdinand',s ,,robe4       
7#g74 ,,moorish ,,spurs ,,of ,,st4      
,,ferdinand4      ,illustration3 ,,plate
 #a;,a4    ,,cloak ,,and ,,spurs ,,of   
,,st4 ,,ferdinand ,,and ,,visigothic    
,,bit4    ,illustration3 ,,plate #b4    
,,don ,,bernardo ,,guillen ,,de         
,,entenza1 #ac,,th ,,century4           
,illustration3 ,,plate #c4    ,,don     
,,guillelmo ,,ramon ,,de ,,moncada1     
,,seneschal ,,of ,,catalonia1 ,,died    
,,circa #abhj    ,illustration3 ,,don   
,,juan ,,alfonso1 ,,lord ,,of ,,ajofrin1
 ,,died ,,about #achf4    ,illustration3
 ,,plate #d4    ,g #bb4 ,,sword ,,and   
,,scabbard1 ,,probably ,,belonging ,,to 
,,st4 ,,ferdinand4    ,illustration3 ,g 
#ba4 ,,the ,,lobera ,,of ,,st4          
,,ferdinand4    ,illustration3 ,,plate  
#e4    ,g #bb4 ,,sword ,,and ,,scabbard 
,,that ,,probably ,,belonged ,,to ,,st4 
,,ferdinand4    ,illustration3 ,,plate  

#f4    ,,pedro ,i41 ,,king ,,of         
,,castile4    ,illustration3 ,,plate #g4
    ,,effigy ,,of ,,st4 ,,ferdinand1    
,,king ,,of ,,spain4    ,illustration3  
,,plate #h4    ,,sepulchral ,,effigy    
,,of ,,don ,,bernardo ,,de ,,anglesola1 
,,circa #achd4    ,illustration3 ,,plate
 #i4    ,f #abc4 ,,bit1 ,,believed ,,to 
,,have ,,belonged ,,to ,,vitiza1 ,,king 
,,of ,,the ,,visigoths4                 
,illustration3 ,d #aa4 ,,helmet-,,crest 
,,of ,,martin ,i4 ,,of ,,aragon4        
,illustration3 ,,plate #aj4    ,g #d4   
,,pontifical ,,sword ,,presented ,,by   
,,pope ,,eugene ,,iv4 ,,to ,,john ,,ii4 
,,of  ,,castile4    ,g #ac4 #ae,,th     
,,century ,,war ,,sword4 ,,probably     
,,belonged ,,to ,,ferdinand ,,the       
,,catholic4    ,illustration3 ,,plate   
#aa4    ,g #a4 ,,ceremonial ,,sword ,,of
 ,,ferdinand ,,and ,,isabella4    ,g    
#bc4 #ae,,th ,,century ,,sword ,,of     
,,unknown ,,origin4    ,illustration3   
,,plate #ab4    ,,juan ,,pacheco1       
,,marquis ,,of ,,villena1 ,,grand       

,,master ,,of ,,st4 ,,james1 ,,died     
#adgd4    ,illustration3 ,,plate #ac4   
,g #bi4 ,,war ,,sword ,,of ,,the ,,gran 
,,capitan1 ,,gonzalo ,,fernandez ,,de   
,,cordoba  7#adec-aeae74                
,illustration3 ,g #bh4 ,,sword ,,of     
,,the ,,cardinal ,,infante ,,fernando1  
,,brother ,,of  ,,philip ,,iv4          
,illustration3 ,g #ca4 ,,war ,,sword    
,,of ,,ferdinand ,,the ,,catholic4      
,illustration3 ,,plate #ad4    ,a #i4   
,,armet1 ,,early #af,,th ,,century      
7,,closed74    ,illustration3 ,a #i4    
,,the ,,same 7,,open74    ,illustration3
 ,a #e4 ,,armet1 ,,late #ae,,th         
,,century ,,and ,,beginning ,,of #af,,th
  ,,century4    ,illustration3 ,,plate  
#ae4    ,a #aa4 ,,armour ,,of ,,philip  
,,the ,,handsome4    ,illustration3 ,a  
#af4 ,,tilt ,,armour ,,of ,,philip ,,the
 ,,handsome4    ,illustration3 ,,plate  
#ae;,a4    ,a #af4 ,,tilting ,,armour   
,,of ,,philip ,,the ,,handsome4         
,illustration3 ,,plate #ae;,b4    ,a    
#af4 ,,tilting ,,armour ,,of ,,philip   

,,the ,,handsome4    ,illustration3     
,,plate #ae;,c4    ,a #af4 ,,tilting    
,,armour ,,of ,,philip ,,the ,,handsome4
    ,illustration3 ,,plate #ae;,d4      
,,tilting ,,armour1 ,,early #af,,th     
,,century1 ,,attributed ,,in ,,the #ahdi
 ,,catalogue ,,to  ,,maximilian ,,of    
,,austria4    ,illustration3 ,,plate    
#af4    ,a #aa4 #8,,caperuza' ,,of      
,,philip ,i4 ,,of ,,castille4           
,illustration3 ,a #ag4 ,,helmet ,,with  
,,unusually ,,large ,,shutter1 ,,late   
#ae,,th  ,,century4    ,illustration3 ,d
 #ad4 ,,late #ae,,th ,,century ,,helmet 
,,in ,,the ,,moorish ,,style4 ,,it  ,,is
 ,,the ,,only ,,one ,,of ,,the ,,kind   
,,in ,,the ,,armoury4    ,illustration3 
,,plate #ag4    ,c #a4 ,,spanish        
,,man-,,at-,,arms1 #ae,,th ,,century4   
,illustration3 ,,plate #ag;,a4    ,c #a4
 ,,spanish ,,man-,,at-,,arms1 #ae,,th   
,,century 7,,back ,,view74              
,illustration3 ,,plate #ag;,b4    ,c #d4
 ,,spanish ,,crossbowman1 #ae,,th       
,,century4    ,illustration3 ,,plate    

#ag;,c4    ,c #d4 ,,spanish             
,,crossbowman1 #ae,,th ,,century 7,,back
 ,,view74    ,illustration3 ,,plate     
#ag;,d4    ,c #b4 ,,spanish             
,,halberdier1 #ae,,th ,,century4        
,illustration3 ,,plate #ag;,e4    ,c #b4
 ,,spanish ,,halberdier1 #ae,,th        
,,century 7,,back ,,view74              
,illustration3 ,,plate #ah4             
,,mace-,,bearer ,,of ,,the #af,,th      
,,century ,,with ,,surcoat ,,displaying 
,,the ,,arms ,,of  ,,castile ,,and      
,,leon4    ,illustration3 ,,plate #ai4  
,a ,,king ,,of ,,arms4    ,illustration3
 ,,plate #bj4    ,a #aja4 ,,royal ,,tilt
 ,,armour ,,of ,,charles ,v4    ,a #ai4 
,,war ,,armour ,,of ,,charles ,v4       
,illustration3 ,,plate #bj;,a4    ,a    
#ai4 ,,war ,,armour ,,of ,,the ,,emperor
 ,,charles ,v4 7#aeag74                 
,illustration3 ,,plate #ba4    ,a #bf4  
,,tilting ,,harness ,,of ,,charles ,v4  
,illustration3 ,,plate #bb4    ,a #bg4  
,,tilting ,,armour ,,of ,,charles ,v4   
,illustration3 ,,plate #bc4    ,a #cg4  

,,tilting ,,harness ,,of ,,charles ,v4  
,,made ,,by ,,colman ,,helmschmied4     
,illustration3 ,,plate #bd4    ,a #di4  
,,oak-,,leaf ,,suit ,,with ,,lamboys    
,,of ,,charles ,v4    ,illustration3    
,,plate #be4    ,a #ef4 ,,figure        
,,showing ,,pieces ,,of ,,the           
,,oak-,,leaf ,,armour4    ,illustration3
 ,,plate #bf4    ,a #fe4 ,,tilting      
,,harness ,,of ,,charles ,v4            
,illustration3 ,,plate #bg4    ,a #ic4  
,,foot ,,armour1 ,,with ,,lamboys1      
,,belonging ,,to ,,charles ,v41 ,,with  
,,reinforcing ,,pieces ,,for ,,helmet4  
,illustration3 ,,plate #bg;,a4    ,a    
#ic4 ,,foot ,,armour ,,of ,,charles ,v4 
,,made ,,by ,,helmschmied ,,in #aebf4   
,illustration3 ,,plate #bh4    ,a #aab4 
,,armour ,,presented ,,to ,,charles ,v4 
,,by ,,the ,,duke ,,of ,,mantua4        
,illustration3 ,,plate #bi4    ,a #aad4 
,,armour ,,presented ,,to ,,charles ,v4 
,,by ,,the ,,duke ,,of ,,mantua4        
,illustration3 ,,plate #cj4    ,a #aaf4 
,,cornucopia ,,armour ,,of ,,charles ,v4

    ,illustration3 ,,plate #ca4    ,a   
#abi4 ,,war ,,harness ,,of ,,charles ,v4
    ,a #acj4 ,,italian ,,armour ,,of    
,,charles ,v4    ,illustration3 ,,plate 
#ca;,a4    ,a #aci4 ,,armour ,,of       
,,charles ,v4 7,,work ,,of ,,negroli74  
,illustration3 ,,plate #cb4    ,a #adg4 
,,foot ,,armour ,,of ,,charles ,v4      
,illustration3 ,,plate #cc4    ,a #adi4 
,,armour ,,of ,,charles ,v4 7#aeda74    
,illustration3 ,,plate #cd4    ,a #afj4 
,,armour ,,of ,,charles ,v41 ,,probably 
,,made ,,by ,,negroli4    ,illustration3
 ,,plate #ce4    ,a #afd4 ,,charles ,v4 
,,at ,m,,hlberg4    ,illustration3      
,,plate #cf4    ,,armour ,,of ,,charles 
,v4 7,,pieces ,,of ,,the ,m,,hlberg     
,,harness74    ,illustration3 ,,plate   
#cg4    ,,pieces ,,of ,,the ,m,,hlberg  
,,harness ,,of ,,charles ,v4            
,illustration3 ,,plate #cg;,a4          
,,harness ,,composed ,,of ,,pieces ,,of 
,,the ,m,,hlberg ,,harness 7#aedg74     
,illustration3 ,,plate #ch4    ,,armour 
,,of ,,charles ,v41 ,,with ,,lamboys4   

,illustration3 ,,plate #ci4    ,a #afe4 
,m,,hlberg ,,armour ,,of ,,charles ,v4  
,a #ach4 ,,armour ,,of ,,charles ,v4    
,,after ,,the ,,roman ,,style4          
,illustration3 ,,plate #dj4             
,,equestrian ,,armour ,,of ,,charles ,v4
    ,illustration3 ,,plate #da4         
,,armour ,,of ,,charles ,v41 ,,made ,,by
 ,,colman4    7#ahdi ,,catalogue47      
,illustration3 ,,plate #da;,a4          
,,armour ,,of ,,charles ,v41 ,,augsburg 
,,or ,,nuremberg ,,make4    7#ahdi      
,,catalogue47    ,illustration3 ,,plate 
#db4    ,,equestrian ,,armour ,,of ,,the
 ,,marquis ,,of ,,villena1 #af,,th      
,,century4    ,illustration3 ,,plate    
#dc4    ,a #ahi4 ,,foot ,,armour ,,of   
,,philip ,,ii41 ,,made ,,by ,,desiderius
 ,,colman4    ,illustration3 ,,plate    
#dc;,a4    ,a #ahi4 ,,foot ,,armour ,,of
 ,,philip ,,ii41 ,,made ,,by            
,,desiderius ,,colman4    ,illustration3
 ,,plate #dd4    ,a #bag4 ,,armour ,,of 
,,prince ,,philip 7,,ii471 ,,of ,,german
 ,,make4    ,illustration3 ,,plate #de4 

,a #bah4 ,,armour ,,of ,,prince ,,philip
 7,,ii47 ,,made ,,in ,,germany ,,in     
#aedi4    ,illustration3 ,,plate #df4   
,a #bca4 ,,armour ,,made ,,for ,,prince 
,,philip 7,,ii47 ,,by ,,wolf ,,of       
,,landshut 7#aeej74    ,illustration3   
,,plate #dg4    ,a #bci4 ,,parade       
,,armour ,,of ,,philip ,,ii4    ,,parade
 ,,armour ,,of ,,king ,,sebastian ,,of  
,,portugal4    ,illustration3 ,,plate   
#dg;,a4    ,a #bci4 ,,suit ,,made ,,for 
,,prince ,,philip 7,,ii7 ,,at ,,augsburg
 ,,in #aeeb4    ,,plate #dg;,b4         
,illustration3 ,a #bci4 ,,gorget ,,of   
,,philip ,,ii4 ,,when ,,heir-,,apparent4
 ,,for  ,,parade 7#aeeb74 ,,it ,,has    
,,the ,,collar ,,of ,,the ,,golden      
,,fleece4    ,illustration3 ,a #bdb4    
,,saddle-,,plate ,,belonging ,,to ,,the 
,,same ,,armour ,,as ,,the  ,,preceding4
    ,illustration3 ,,plate #dh4    ,a   
#bdc4 ,,equestrian ,,armour ,,of        
,,philip ,,ii4 ,,made ,,by ,,sigmund    
,,wolf ,,of  ,,landshut4                
,illustration3 ,,plate #di4    ,a #bde4 

,,tilting ,,armour ,,made ,,for ,,prince
 ,,philip 7,,ii47 ,,by ,,wolf ,,of      
,,landshut  7#aeed74    ,illustration3  
,,plate #ej4    ,a #bfc4 #8,,burgundy   
,,cross' ,,armour ,,of ,,philip ,,ii4   
,illustration3 ,,plate #ej;,a4    ,,the 
#8,,burgundy ,,cross' ,,suit ,,of       
,,philip ,,ii4    ,illustration3 ,,plate
 #ej;,b4    #8,,burgundy ,,cross'       
,,armour ,,of ,,philip ,,ii4            
,illustration3 ,,plate #ea4    ,,armour 
,,of ,,king ,,philip ,,ii4              
,illustration3 ,,plate #eb4    ,a #bgd4 
,,complete ,,armour ,,of ,,prince       
,,charles1 ,,son ,,of ,,philip ,,ii4    
,illustration3 ,,plate #eb;,a4    ,a    
#bhi4 ,,suit ,,presented ,,to ,,philip  
,,ii4 ,,by ,,the ,,conde ,,de ,,nieva4  
,illustration3 ,,plate #eb;,b4          
,,armour ,,of ,,philip ,,ii41 ,,engraved
 ,,with ,,the ,,royal ,,arms ,,of       
,,england4    ,illustration3 ,,plate    
#ec4    ,a #bij4 ,,armour ,,of ,,king   
,,sebastian ,,of ,,portugal4            
,illustration3 ,,plate #ec;,a4    ,a    

#bij4 ,,armour ,,of ,,king ,,sebastian  
,,of ,,portugal 7#b,,nd ,,view74        
,illustration3 ,,plate #ec;,b4    ,a    
#bij4 ,,armour ,,of ,,king ,,sebastian  
,,of ,,portugal 7#c,,rd ,,view74        
,illustration3 ,,plate #ec;,c4    ,a    
#bij4 ,,armour ,,of ,,king ,,sebastian  
7,,details74    ,illustration3 ,,plate  
#ec;,d4    ,a #bij4 ,,armour ,,of ,,king
 ,,sebastian1 ,,back ,,plate            
7,,details74    ,illustration3 ,,plate  
#ed4    ,a #bia4 ,,equestrian ,,parade  
,,armour ,,of ,,philip ,,iii4           
,illustration3 ,,plate #ed;,a4    ,a    
#bia4 ,,armour ,,of ,,philip ,,iii41    
,,made ,,by ,,lucio ,,picinino ,,of     
,,milan4    ,illustration3 ,,plate #ee4 
,a #cdg4 ,,armour ,,presented ,,by ,,the
 ,,archduke ,,albert ,,to ,,philip      
,,iii4    ,illustration3 ,,plate #ef4   
,a #ced4 ,,half ,,suit ,,made ,,at      
,,pamplona ,,for ,,philip ,,iii4        
,illustration3 ,,plate #eg4    ,a #cef4 
,,war ,,armour1 ,,early #ag,,th         
,,century1 ,,milanese ,,make4           

,illustration3 ,,plate #eh4    ,a #cfj4 
,,half ,,armour ,,of ,,prince ,,filippo 
,,emmanuele ,,of ,,savoy1 ,,early       
#ag,,th  ,,century4    ,illustration3   
,,plate #eh;,a4    ,,armour ,,of        
,,prince ,,filippo ,,emmanuele ,,of     
,,savoy 7#aehf-afje74    ,illustration3 
,,plate #ei4    ,a #dbb4 ,,milanese     
,,armour ,,of ,,king ,,philip ,,iv4     
,illustration3 ,,plate #fj4    ,,armour 
,,sent ,,from ,,flanders ,,in #afbd ,,by
 ,,the ,,infanta ,,isabel ,,clara       
,,eugenia ,,to  ,,philip ,,iv4          
,illustration3 ,,plate #fa4    ,,armour 
,,ascribed ,,to ,,king ,,philip ,,iv4   
,illustration3 ,,plate #fb4    ,,armour 
,,made ,,at ,,pamplona ,,for ,,the      
,,duke ,,of ,,savoy1 #afbj4             
,illustration3 ,,plate #fc4    ,a #bgg4 
,,armour ,,ascribed ,,on ,,doubtful     
,,authority ,,to ,,diego ,,garcia ,,de  
,,paredes4    ,illustration3 ,,plate    
#fd4    ,,armour ,,ascribed ,,to ,,don  
,,alonso ,,cespedes1 ,,the ,,castilian  
,,alcides1 ,,died  #aefi4               

,illustration3 ,,plate #fe4    ,,armour 
,,of ,,fernando ,d',,alarcon1 #af,,th   
,,century4    7#ahdi ,,catalogue47      
,illustration3 ,,plate #ff4    ,,half   
,,armour ,,of ,,the #c,,rd ,,count ,,of 
,,altamira4    7#ahdi ,,catalogue47     
,illustration3 ,,plate #fg4    ,,half   
,,armour ,,of ,,john ,,of ,,aldana4     
7#ahdi ,,catalogue47    ,illustration3  
,,plate #fh4    ,,half ,,armour ,,of    
,,alfonso ,d',,avalos1 ,,nephew ,,of    
,,the ,,marquis ,,of ,,pescara4         
7#ahdi ,,catalogue47    ,illustration3  
,,plate #fi4    ,,milanese ,,armour ,,of
 ,,the ,,famous ,,warrior ,,antonio ,,de
 ,,leiva4    7#ahdi ,,catalogue47       
,illustration3 ,,plate #gj4    ,,half   
,,armour ,,of ,,the ,,poet ,,garcilaso  
,,de ,,la ,,vega4    7#ahdi             
,,catalogue47    ,illustration3 ,,plate 
#ga4    ,,armour ,,of ,,luis ,,hurtado  
,,de ,,mendoza4    7#ahdi ,,catalogue47 
,illustration3 ,,plate #gb4             
,,complete ,,armour ,,of ,,the ,,marquis
 ,,of ,,pescara1 ,,general ,,of         

,,charles ,v4    7#ahdi ,,catalogue47   
,illustration3 ,,plate #gc4    ,,half   
,,armour ,,of ,,juan ,,de ,,padilla1    
,,beheaded ,,by ,,order ,,of ,,charles  
,v4 ,,in #aebj4    7#ahdi ,,catalogue47 
,illustration3 ,,plate #gd4    ,,half   
,,armour ,,of ,,juan ,,arias ,,de       
,,avila1 ,,count ,,of ,,pu,,onrostro4   
7#ahdi ,,catalogue47    ,illustration3  
,,plate #ge4    ,,coat ,,of ,,mail      
,,ascribed ,,to ,,alfonso ,v4 ,,of      
,,aragon ,,and ,i4 ,,of ,,sicily4       
7#ahdi ,,catalogue47    ,illustration3  
,,plate #gf4    ,,harness ,,ascribed    
,,to ,,charles ,v4    7#ahdi            
,,catalogue47    ,illustration3 ,,plate 
#gg4    ,,harness ,,ascribed ,,to       
,,charles ,v4    7#ahdi ,,catalogue47   
,illustration3 ,,plate #gh4    ,m       
#aa-ag4 ,,armour ,,of ,,john            
,,frederick1 ,,elector ,,of ,,saxony1   
,,taken ,,at ,,the  ,,battle ,,of       
,m,,hlberg1 #aedg4    ,illustration3    
,,plate #gh;,a4    ,,armour ,,of ,,the  
,,elector ,,john ,,frederick ,,the      

,,magnanimous1 ,,duke ,,of ,,saxony1    
,,taken ,,at ,m,,hlberg4                
,illustration3 ,,plate #gi4    ,c #aa4  
,,brigantine ,,of ,,milanese ,,make     
,,which ,,belonged ,,to ,,the ,,emperor 
,,maximilian4    ,,plate #gi;,a4        
,illustration3 ,,mark ,,on ,,the        
,,breastplate ,,of ,a ,,child',s        
,,corselet 7#ag,,th  ,,century74        
,illustration3 ,,signature ,,of ,,the   
,,noted ,,engraver ,,of ,,augsburg1     
,,daniel  ,,hopfer1 ,,with ,,date4      
,illustration3 ,,monogram ,,of          
,,guidobaldo ,,ii4 ,,duke ,,of ,,urbino1
 ,,on ,,suit ,a  #ahh4    ,illustration3
 ,c #aa4 ,,inside ,,of ,,brigantine ,,of
 ,,maximilian ,i41 ,,with ,,arms ,,of   
,,austria ,,and ,,burgundy4             
,illustration3 ,,plate #hj4             
,,milanese ,,brigantine ,,which         
,,belonged ,,to ,,charles ,v4           
,illustration3 ,,plate #ha4             
,,milanese ,,brigantine ,,which         
,,belonged ,,to ,,charles ,v4           
,illustration3 ,,plate #hb4    ,b #a4   

,,boy',s ,,half ,,armour ,,which        
,,belonged ,,to ,,philip ,,iii4    ,b   
#c4 ,,shield4 ,,subject3 ,,gods         
,,overwhelming ,,the ,,moors4    ,b #d4 
,,boy',s ,,half ,,armour ,,which        
,,belonged ,,to ,,philip ,,iii4         
,illustration3 ,,plate #hc4    ,b #a4   
,,boy',s ,,half ,,armour4 ,,made ,,in   
,,italy ,,for ,,the ,,infante1          
,,afterwards ,,philip  ,,iii4           
,illustration3 ,,plate #hc;,a4    ,d #a4
 ,,boy',s ,,half ,,armour4 ,,made ,,for 
,,the ,,infante1 ,,afterwards ,,philip  
,,iii4  7,,second ,,view47              
,illustration3 ,,plate #hd4    ,b #d4   
,,half ,,armour ,,presented ,,to ,,the  
,,infante1 ,,afterwards ,,philip ,,iii41
 ,,by  ,,the ,,duke ,,of ,,terranova4   
,illustration3 ,,plate #he4    ,b #i4   
,,milanese ,,armour ,,presented ,,to    
,,the ,,infante1 ,,afterwards ,,philip  
,,iii41  ,,by ,,the ,,duke ,,of         
,,terranova4    ,illustration3 ,,plate  
#he;,a4    ,b #i4 ,,armour ,,of ,,the   
,,infante1 ,,afterwards ,,philip ,,iii41

 ,,milanese ,,make  7,,second ,,view47  
,illustration3 ,,plate #hf4    ,b #ab4  
,,boy',s ,,half ,,armour1 ,,with        
,,medallion ,,on ,,breastplate ,,of     
,,mutius  ,,scaevola4    ,illustration3 
,,plate #hg4    ,b #ah4 ,,boy',s ,,half 
,,armour ,,made ,,for ,,the ,,infante   
,,fernando1 ,,son ,,of ,,philip  ,,iii4 
,illustration3 ,,plate #hh4    ,,half   
,,armour ,,belonging ,,to ,,prince      
,,philip1 ,,afterwards ,,philip ,,iv4   
,illustration3 ,,plate #hi4    ,,boy',s 
,,half ,,armour1 ,,milanese ,,make1     
,,late #af,,th ,,century4               
,illustration3 ,,plate #ij4    ,,boy',s 
,,half ,,armour4    ,illustration3      
,,plate #ia4    ,,boy',s ,,half         
,,armour1 ,,end ,,of #af,,th ,,century  
7,,italian74    ,illustration3 ,,plate  
#ib4    ,,boy',s ,,half ,,armour4       
,illustration3 ,,plate #ic4    ,a #dcd4 
,,gorget4 ,,subject3 ,,the ,,siege ,,of 
,,ostend1 #afja4    ,illustration3      
,,plate #id4    ,a #dcd4 ,,gorget ,,of  
,,philip ,,ii4 ,,subject3 ,,the ,,battle

 ,,of ,,nieuport4    ,illustration3     
,,plate #ie4    ,e #hh-hi4 ,,superb     
,,pair ,,of ,,gauntlets ,,belonging ,,to
 ,,charles ,v4    ,illustration3 ,,plate
 #if4    ,a #aea4 ,,light ,,war-,,armour
 ,,of ,,charles ,v41 ,,corselet ,,and   
,,armlet ,,of ,,rare ,,form1  ,,also    
,,two ,,helmets4    ,illustration3      
,,plate #ig4    ,a #ge-hc4 ,,armet      
,,with ,,reinforcing ,,pieces4          
,illustration3 ,,plate #ih4    ,a #ed4  
,a ,,curious ,,bevor ,,in ,,two         
,,pieces1 ,,nailed ,,on ,,leather4      
,illustration3 ,a #di4 ,,charles ,v4',s 
,,tilting ,,helmet4    ,illustration3 ,a
 #bi4 ,,helmet ,,belonging ,,to ,,the   
#8,k4,d4' ,,suit4    ,illustration3 ,a  
#bg4 ,,helmet ,,of ,,charles ,v4        
,illustration3 ,,plate #ii4    ,a #abj4 
,,burgonet ,,by ,,colman4               
,illustration3 ,a #aah4 ,,morion ,,of   
,,charles ,v4    ,illustration3         
,,cabasset ,,and ,,leg ,,armour ,,of ,a 
,,spanish ,,pikeman1 ,,late #ae,,th     
,,century4    ,illustration3 ,,plate    

#ajj4    ,a #ef4 ,,helmet ,,of ,,charles
 ,v4    ,illustration3 ,a #eg4 ,,tilting
 ,,helmet ,,of ,,charles ,v4            
,illustration3 ,,plate #aja4    ,a #ge4 
,,helmet ,,of ,,charles ,v4             
,illustration3 ,a #ei4 #8,,dolphin'     
,,helmet ,,of ,,charles ,v4             
,illustration3 ,,plate #ajb4    ,d #ab4 
,,helmet ,,made ,,by ,,negroli ,,of     
,,milan4    ,illustration3 ,a #aah4     
,,burgonet ,,of ,,charles ,v4           
,illustration3 ,,plate #ajc4    ,a #aea4
 ,,burgonet ,,of ,,charles ,v41 ,,with  
,,bevor ,,bought ,,from ,,sir ,,richard 
,,wallace4    ,illustration3 ,a #aea4   
,,burgonet ,,of ,,charles ,v41 ,,with   
,,bevor ,,not ,,belonging  ,,to         
,,helmet4    ,illustration3 ,,plate     
#ajd4    ,a #aea4 ,,corselet ,,of       
,,charles ,v4    ,illustration3 ,,plate 
#aje4    ,a #ahi4 ,a #aij4    ,,gauntlet
 ,,and ,,helmet ,,of ,,philip ,,ii4     
,illustration3 ,,plate #ajf4    ,,helmet
 ,,of ,,philip ,,ii41 ,,made ,,at       
,,augsburg ,,in #aedi1 ,,belonging ,,to 

,,the ,,suit ,a  #bci4    ,illustration3
 ,,plate #ajg4    ,a #bdc4 ,,helmet ,,of
 ,,philip ,,ii41 ,,made ,,by ,,wolf ,,of
 ,,landshut ,,in #aeed4                 
,illustration3 ,,plate #ajh4    ,a #bij4
 ,,burgonet ,,of ,,king ,,sebastian ,,of
 ,,portugal4    ,illustration3 ,,plate  
#aji4    ,a #bij4 ,,burgonet ,,of ,,king
 ,,sebastian ,,of ,,portugal4           
,illustration3 ,,plate #aaj4    ,a #bib4
 ,,burgonet ,,made ,,for ,,philip ,,iii4
 ,,by ,,lucio ,,picinino4               
,illustration3 ,,plate #aaa4    ,a #bia4
 ,,helmet ,,of ,,philip ,,iii41 ,,with  
,,three ,,beautiful ,,masks1 ,,on       
,,visor1  ,,nape1 ,,and ,,front2        
,,probably ,,italian1 ,,late #af,,th    
,,century4    ,illustration3 ,a #bib4   
,,burgonet1 ,,the ,,missing ,,parts ,,of
 ,,which ,,are ,,in ,,the  ,,kensington 
,,museum4    ,illustration3 ,,plate     
#aab4    ,a #cej4 ,,helmet ,,for ,,the  
,,duke ,,of ,,savoy 7,,front ,,view74   
,illustration3 ,,plate #aac4    ,a #cej4
 ,,helmet ,,for ,,the ,,duke ,,of       

,,savoy 7,,side ,,view74                
,illustration3 ,,plate #aad4    ,a #dag4
 ,,cabasset ,,presented ,,to ,,philip   
,,iv4 ,,by ,,the ,,infanta ,,isabel     
,,eugenia4    ,illustration3 ,,plate    
#aae4    ,a #cej4 ,,helmet ,,with       
,,movable ,,visor1 ,,made ,,in          
,,pamplona1 ,,apparently ,,for ,,the    
,,duke ,,of ,,savoy1 #afbj4             
,illustration3 ,a #chj4 ,,burgonet1     
,,early #ag,,th ,,century 7,,belonged   
,,to ,,philip  ,,iv474    ,illustration3
 ,a #dad4 ,,helmet ,,of ,,philip ,,iv41 
,,presented ,,to ,,him1 ,,with ,,other  
,,armour1 ,,by ,,the ,,infanta ,,isabel 
,,eugenia4    ,illustration3 ,a #dag4   
,,cabasset ,,presented ,,to ,,philip    
,,iv4 ,,by ,,the ,,infanta  ,,isabel    
,,eugenia4    ,illustration3 ,,plate    
#aaf4    ,b #b4 ,,morion ,,which        
,,belonged ,,to ,,philip ,,iii4 ,,when  
,a ,,boy4 ,,subject1 ,,the  ,,goddess   
,,of ,,plenty4    ,illustration3 ,,plate
 #aag4    ,b #e4 ,,morion ,,given ,,to  
,,philip ,,iii4 ,,when ,a ,,child ,,by  

,,the ,,duke ,,of  ,,terranova4         
,illustration3 ,,plate #aah4    ,d #c4  
,,burgonet ,,of ,,charles ,v41          
,,designed ,,by ,,giulio ,,romano4      
,illustration3 ,,plate #aai4    ,d #c4  
,,burgonet ,,of ,,charles ,v41          
,,designed ,,by ,,giulio ,,romano       
7,,second ,,side74    ,illustration3    
,,plate #abj4    ,d #e4 ,,burgonet1     
#af,,th ,,century4 ,,subject1 ,,bacchus 
,,and ,,ariadne 7,,left ,,side74        
,illustration3 ,,plate #aba4    ,d #e4  
,,burgonet1 #af,,th ,,century4          
,,subject1 ,,silenus ,,supported ,,by   
,,bacchus4    ,illustration3 ,,plate    
#abb4    ,d #g4 ,,burgonet1 #af,,th     
,,century4 ,,subject1 ,,the ,,horse ,,of
 ,,troy 7,,left ,,side74                
,illustration3 ,,plate #abc4    ,d #g4  
,,burgonet1 #af,,th ,,century4          
,,subject1 ,,the ,,judgment ,,of ,,paris
 7,,right  ,,side74    ,illustration3   
,,plate #abd4    ,d #ac4 ,,milanese     
,,salade1 #ae,,th ,,century4            
,illustration3 ,,plate #abe4    ,d #ad4 

,,moorish ,,salade ,,ascribed ,,to      
,,philip ,i4    ,illustration3 ,d #bf4  
,,spanish ,,morion1 ,,early #af,,th     
,,century1 ,,with ,,the  ,,inscription1 
#8,,non ,,timeo ,,milia ,,populi4'      
,illustration3 ,,plate #abf4    ,a #ahh4
 ,,roman ,,helmet 7,,charles ,v474      
,illustration3 ,a #ahc4 ,,mask ,,on     
,,shoulder-,,guard ,,of ,,charles ,v4',s
 ,,roman  ,,suit4    ,illustration3 ,d  
#bb4 ,,cabasset ,,which ,,belonged ,,to 
,,philip ,,the ,,handsome4              
,illustration3 ,d #af4 ,,late #ae,,th   
,,century ,,helmet4 ,,probably          
,,belonged ,,to  ,,philip ,,the         
,,handsome4    ,illustration3 ,,plate   
#abg4    ,d #be4 ,,spanish              
,,foot-,,soldier',s ,,morion1 ,,early   
#af,,th ,,century4    ,illustration3 ,d 
#bc4 ,,parade ,,headpiece ,,of ,,charles
 ,v4    ,illustration3 ,d #bi4 ,,parade 
,,headpiece1 ,,middle #af,,th ,,century 
7,,origin  ,,unknown74    ,illustration3
 ,d #cj4 ,,parade ,,burgonet ,,made4    
,,for ,,charles ,v4 ,,by ,,the          

,,negrolis ,,in #aede4    ,illustration3
 ,,plate #abh4    ,d #bi4 ,,helmet1     
,,middle ,,of #af,,th ,,century4        
,illustration3 ,d #bh4 ,,steel ,,cap    
,,belonging ,,to ,,charles ,v4          
,illustration3 ,,plate #abi4    ,d #cj4 
,,burgonet ,,of ,,charles ,v41 ,,made   
,,by ,,negroli4    ,illustration3       
,,plate #acj4    ,m #e4 ,,helmet ,,of   
,,francis ,i4 ,,of ,,france1 ,,taken    
,,at ,,the ,,battle ,,of ,,pavia4       
,illustration3 ,,plate #aca4    ,m #e4  
,,helmet ,,of ,,francis ,i4 ,,of        
,,france1 ,,taken ,,at ,,the ,,battle   
,,of ,,pavia4    ,illustration3 ,,plate 
#acb4    ,b #ba4 ,,helmet ,,which       
,,belonged ,,to ,,prince ,,baltazar     
,,carlos1 #afbi-afdf4    ,illustration3 
,d #ca4 ,,burgonet ,,ascribed ,,on      
,,insufficient ,,grounds ,,to  ,,antonio
 ,,de ,,leyva 7#af,,th ,,century74      
,illustration3 ,,plate #acc4    #aeaa4  
,,satin ,,and ,,velvet ,,turban ,,found 
,,in ,,the ,,palace ,,of ,,mustafa1     
,,bey ,,of  ,,oran1 ,,in #agbb4         

#aecc4 ,,steel ,,turban ,,of ,,ali      
,,pasha ,,turkish ,,admiral ,,at        
,,lepanto4    ,illustration3 ,,plate    
#acd4    ,,turkish ,,helmet1 ,,taken    
,,at ,,lepanto4    ,illustration3       
,,helmet ,,of ,,philip ,,iii4           
,illustration3 ,,plate #ace4    ,,helmet
 ,,of ,,the #af,,th ,,century4          
,illustration3 ,,plate #acf4    ,,helmet
 ,,of ,,charles ,v41 ,,belonging ,,to   
,,the ,,cornucopi ,,suit4               
,illustration3 ,,helmet ,,of ,,charles  
,v41 ,,belonging ,,to ,,the ,,cornucopi 
,,suit4    ,illustration3 ,,plate #acg4 
,c #aa4 ,,salade1 ,,with ,,detachable   
,,decorative ,,pieces 7,,belonged ,,to  
,,maximilian  ,i4 ,,or ,,philip ,i474   
,illustration3 ,m #ai4 ,,helmet ,,of    
,,ali ,,pasha1 ,,turkish ,,admiral1     
,,defeated ,,at  ,,lepanto4             
,illustration3 ,,plate #ach4    ,a #aia4
 ,,morion ,,and ,,arm-,,guard ,,of      
,,charles ,v4    ,illustration3 ,,plate 
#aci4    ,a #bg4 ,,shield ,,used ,,in   
,,tilting4    ,illustration3 ,a #eg4    

,,shield ,,used ,,in ,,tilting1         
,,designed ,,by ,,hopfer4               
,illustration3 ,,plate #adj4    ,a #eg4 
,,shield ,,designed ,,by ,,hopfer4      
,illustration3 ,,plate #ada4            
,,shield1 ,,with ,a ,,mask ,,in         
,,relief1 ,,belonging ,,to ,,the        
,,harness ,,of ,,charles ,v41 ,a        
#adi-aef4    ,illustration3 ,,plate     
#adb4    ,,shield ,,of ,,philip ,,ii41  
,,belonging ,,to ,,the ,,armour ,a      
#bag-bcj4    ,illustration3 ,,shield    
,,of ,,the ,,emperor ,,charles ,v41     
,,belonging ,,to ,,the  ,,harness ,a    
#aei-afc4    ,illustration3 ,,plate     
#adc4    ,a #bfe4 ,,shield ,,of ,,philip
 ,,ii4    ,illustration3 ,a #bda4       
,,german ,,shield1 #af,,th ,,century1   
,,by ,,desiderio ,,colman3  ,,war1      
,,peace1 ,,wisdom1 ,,and ,,strength4    
,illustration3 ,,plate #add4    ,,shield
 ,,of ,,philip ,,iii41 ,,musket-,,proof1
 ,,belonging ,,to ,,the ,,harness ,a    
#ced4    ,illustration3 ,a #bic4        
,,shield4 ,,subject3 ,,alexander        

,,subduing ,,bucephalus4                
,illustration3 ,,plate #ade4    ,a #bic4
 ,,shield ,,accompanying ,,armour ,,of  
,,philip ,,iii4 #aegh-afba4 ,,in ,,the  
,,centre1 ,,alexander ,,the ,,great     
,,subduing ,,bucephalus4                
,illustration3 ,,plate #adf4    ,b #c4  
,,shield ,,which ,,belonged ,,to        
,,philip ,,iii4 ,,when ,a ,,boy4        
,,subject3 ,,jupiter1  ,,neptune1 ,,and 
,,mars ,,overwhelming ,,the ,,moors4    
,illustration3 ,a #cgd4 ,,shield        
,,belonging ,,to ,,prince ,,filippo     
,,emmanuele ,,of  ,,savoy1 #aehh-afbd   
7,,italian74    ,illustration3 ,,plate  
#adg4    ,d#a1 ,d#b4 ,,helmet ,,and     
,,shield ,,of ,,charles ,v4             
,illustration3 ,,plate #adh4    ,d#c1   
,d#d4 ,,burgonet ,,and ,,shield ,,of    
,,charles ,v4    ,illustration3 ,,plate 
#adi4    ,d #h4 ,,shield 7,,italian7    
,,with ,,design ,,representing ,,the    
,,abduction ,,of ,,helen1  #af,,th      
,,century4    ,illustration3 ,d #f4     
,,shield ,,of ,,italian ,,workmanship   

#af,,th ,,century4    ,illustration3    
,,plate #aej4    ,d #fc4 ,,the #8,,plus 
,,ultra' ,,shield1 ,,designed ,,by      
,,girolamo ,,romani4    ,illustration3  
,d #aj4 ,,shield1 ,,early #ag,,th       
,,century4 ,,design3 ,,warriors ,,in    
,,combat4    ,,plate #aej;,a4           
,illustration3 ,d #fc4 ,,shield ,,called
 #8,,plus ,,ultra1' ,,with ,,apotheosis 
,,of  ,,charles ,v4    ,illustration3 ,d
 #fd4 ,,the ,,medusa ,,shield1 ,,made   
,,by ,,negroli ,,for ,,charles ,v4      
,illustration3 ,,plate #aea4    ,,shield
 ,,of ,,the ,,emperor ,,charles ,v41    
,,forming ,,part ,,of ,,the ,m,,hlberg  
,,armour4    ,illustration3 ,d #ff4     
,,italian ,,shield1 ,,moorish ,,style1  
#af,,th ,,century4    ,illustration3    
,,plate #aeb4    ,d #fg4 ,,italian      
,,shield1 ,,moorish ,,style1 #af,,th    
,,century4    ,illustration3 ,,shield   
,,presented ,,to ,,charles ,v4 ,,by     
,,don ,,ferdinando ,,de  ,,gonzaga4     
,illustration3 ,,plate #aec4    ,d #fi4 
,,italian ,,shield1 #af,,th ,,century4  

,,design3 ,,the ,,triumph ,,of ,,love4  
,illustration3 ,d #fh4 ,,shield ,,of    
,,augsburg ,,make1 #af,,th ,,century4   
,illustration3 ,,plate #aed4    ,,shield
 ,,ascribed ,,to ,,the ,,marquis ,,of   
,,villena1 #af,,th ,,century4           
,illustration3 ,d #ga4 ,,shield ,,of    
,,the ,,end ,,of ,,the #af,,th          
,,century4    ,illustration3 ,,plate    
#aee4    ,,shield ,,of ,,philip ,,ii4   
,illustration3 ,,shield ,,of ,,the      
,,milanese ,,school1 #af,,th ,,century4 
,illustration3 ,,plate #aef4    ,d #gb4 
,,shield1 ,,late #af,,th ,,century4     
,,design3 ,,the ,,medusa',s ,,head4     
,illustration3 ,,shield ,,representing  
,,jupiter1 ,,saturn1 ,,venus ,,and      
,,cupid1  ,,mercury1 ,,and ,,mars1      
#af,,th ,,century4    ,illustration3    
,,plate #aeg4    ,,shield1 ,,the ,,work 
,,of ,e4 ,,de ,,zuloaga1 #ai,,th        
,,century4    ,illustration3            
,,unfinished ,,shield1 ,,the ,,work ,,of
 ,e4 ,,de ,,zuloaga1 #ai,,th  ,,century4
    ,illustration3 ,,plate #aeh4        

,,shield1 ,,the ,,work ,,of ,e4 ,,de    
,,zuloaga1 #ai,,th ,,century4           
,illustration3 ,d #gc4 ,,spanish        
,,shield1 #ag,,th ,,century4 ,,design3  
,,the ,,judgment  ,,of ,,paris4         
,illustration3 ,,plate #aei4    ,d #gh4 
,,shield ,,presented ,,to ,,philip      
,,iii4 ,,by ,,the ,,duke ,,of ,,savoy   
,,in #afjc4    ,illustration3 ,,plate   
#afj4    ,d #gi4 ,,shield ,,presented   
,,to ,,philip ,,iii4 ,,by ,,the ,,duke  
,,of ,,savoy ,,in #afjc4                
,illustration3 ,,plate #afa4    ,d #hf4 
,,moorish ,,leather ,,shield1 ,,end ,,of
 #ae,,th ,,century4    ,illustration3   
,,plate #afa;,a4    ,d #hh4 ,,oval      
,,leather ,,shield1 ,,late #af,,th      
,,century4 ,,the ,,face ,,decorated     
,,with  ,,admirable ,,mexican-,,indian  
,,feather-,,work4    ,illustration3     
,,plate #afb4    ,,leather ,,shield1    
,,with ,,the ,,arms ,,of ,,the ,,mendoza
 ,,family4    ,illustration3 ,,plate    
#afc4    ,m #a-e4 ,,arms ,,of ,,king    
,,francis ,i4 ,,of ,,france1 ,,taken    

,,at ,,the ,,battle ,,of ,,pavia1       
#aebe1 ,,by ,,the ,,troops ,,of         
,,charles ,v4    ,illustration3 ,,plate 
#afc;,a4    ,m #f4 ,,shield ,,and       
,,sword ,,of ,,francis ,i4 ,,of         
,,france1 ,,taken ,,at ,,the ,,battle   
,,of  ,,pavia4 ,,design3 ,,the ,,gallic 
,,cock ,,attacking ,a ,,warrior ,,and   
,,putting ,,him ,,to  ,,flight4         
,illustration3 ,,plate #afd4    ,g #de4 
,,sword ,,of ,,hernando ,,cortes4    ,g 
#dh4 ,,sword ,,of ,,philip ,,ii4    ,g  
#bi4 ,,sword ,,of ,,gonsalvo ,,de       
,,cordoba4    ,illustration3 ,,plate    
#afe4    ,k #fj4 ,,pistol ,,and ,,axe   
,,combined ,,of ,,philip ,,ii4          
,illustration3 ,g #de4 ,,sword          
,,attributed ,,to ,,hernando ,,cortes1  
,,conqueror ,,of  ,,mexico1 #adhe-aedg4 
,illustration3 ,,plate #aff4    ,g #dg4 
,,sword ,,of ,,philip ,,ii41 ,,worn     
,,with ,,parade ,,armour4               
,illustration3 ,g #dh4 ,,toledan ,,sword
 ,,attributed ,,to ,,philip ,,ii4       
,illustration3 ,g #di4 ,,toledan ,,sword

 ,,of ,,the ,,count ,,of ,,corunna      
7#af,,th  ,,century74 ,,the ,,guard ,,is
 ,,one ,,of ,,the ,,most ,,beautiful    
,,in ,,the ,,armoury4    ,illustration3 
,,plate #aff;,a4    ,g #dg4 ,,sword ,,of
 ,,philip ,,ii41 ,,with ,,the ,,mark    
,,of ,,clement ,,horn ,,of ,,solingen4  
,illustration3 ,,plate #afg4    ,g #ed4 
,,spanish ,,sword1 ,,middle ,,of #af,,th
 ,,century4    ,illustration3 ,g #ei4   
,,spanish ,,sword1 ,,late #af,,th       
,,century4 ,,bears ,,mark ,,of  ,,juanes
 ,,el ,,viejo4    ,illustration3 ,g #ee4
 ,,spanish ,,sword1 ,,late #af,,th      
,,century1 ,,made ,,by ,,sebastian      
,,hernandez ,,of ,,toledo4              
,illustration3 ,,plate #afh4    ,g #fa4 
,,sword ,,of ,,the ,,duke ,,of ,,weimar1
 ,,commander ,,of ,,the ,,swedish       
,,army1  ,,defeated ,,at ,,the ,,battle 
,,of ,,nordlingen1 #afbd4               
,illustration3 ,g #hj4 ,,sword          
,,attributed ,,to ,,philip ,,iii4 ,,it  
,,bears ,,the ,,date  #afjd1 ,,toledo   
,,make4    ,illustration3 ,g #fd4       

,,sword ,,attributed ,,to ,,count ,,de  
,,lemos1 #aegf-afbb1 ,,made  ,,by       
,,tom,s ,,de ,,ayala ,,of ,,seville4    
,illustration3 ,,plate #afi4    ,g #aea4
 ,,persian ,,sword1 #af,,th ,,century1  
,,probably ,,brought ,,from ,,tunis ,,by
  ,,charles ,v4    ,illustration3 ,g    
#fb4 ,,stradiot',s ,,sabre1 ,,early     
#ag,,th ,,century1 ,,presented ,,by     
,,the ,,duke ,,of ,,savoy ,,to ,,philip 
,,iii4 7#afjc74    ,illustration3 ,g    
#dc4 #af,,th ,,century ,,cutlass4       
,illustration3 ,,plate #agj4    ,g #cd4 
,,war ,,sword ,,of ,,charles ,v41       
,,italian ,,make4    ,illustration3 ,g  
#cc4 ,,italian ,,war ,,sword ,,of       
,,charles ,v4    ,illustration3 ,g #ce4 
,,sword ,,of ,,pizarro1 ,,conqueror ,,of
 ,,peru4    ,illustration3 ,,plate #aga4
    ,g #afj4 ,,knife ,,used ,,by ,,the  
,,carver ,,at ,,the ,,king',s ,,table1  
,,as ,,required ,,by ,,the  ,,etiquette 
,,of ,,the ,,house ,,of ,,burgundy4     
,illustration3 ,,dagger1    ,,early     
#af,,th ,,century4    ,illustration3    

#af,,th ,,century    ,,dagger1          
,,supposed ,,to ,,have ,,belonged ,,to  
,,charles ,v4    ,illustration3 ,,plate 
#agb4    ,a #bdb4 ,,war ,,saddle ,,of   
,,philip ,,ii41 ,,made ,,by ,,desiderius
 ,,colman ,,of  ,,augsburg4             
,illustration3 ,,plate #agb;,a4    ,a   
#bdb4 ,,pommel ,,and ,,cantle ,,of      
,,saddle ,,of ,,philip ,,ii4            
,illustration3 ,,plate #agb;,b4    ,a   
#bdb4 ,,cantle-,,plate ,,of ,,same      
,,saddle4    ,illustration3 ,,plate     
#agb;,c4    ,a #bdb4 ,,burr-,,plate ,,of
 ,,saddle4    ,illustration3 ,,plate    
#agb;,d4    ,a #bdb4 ,,burr-,,plate ,,of
 ,,saddle4    ,illustration3 ,,plate    
#agc4    ,a #bia4 ,,cantle-,,plates ,,of
 ,,saddle ,,made ,,by ,,lucio           
,,picinino4    ,illustration3 ,,plate   
#agc;,a4    ,a #bia4 ,,cantle-,,plate   
,,of ,,same ,,saddle4    ,illustration3 
,,plate #agc;,b4    ,a #bia4            
,,burr-,,plate ,,of ,,same ,,saddle4    
,illustration3 ,,plate #agd4    ,,saddle
 7,,italian71 #af,,th ,,century4        

7,,marine ,,monsters47    ,illustration3
 ,,plate #age4    ,,moorish ,,saddle1   
,,with ,,short ,,stirrups1 #ah,,th      
,,century4    ,illustration3 ,,plate    
#agf4    ,,turkish ,,saddle ,,given ,,to
 ,,charles ,,iii4    ,illustration3     
,,plate #agg4    ,,arab ,,saddle1 ,,with
 ,,short ,,stirrups1 ,,taken ,,in ,,the 
,,palace ,,of ,,the ,,bey ,,of ,,oran   
,,in #agcb4    ,illustration3 ,,plate   
#agh4    ,,military ,,saddle1 ,,late    
#af,,th ,,century4    ,illustration3    
,,plate #agi4    ,a #ceb4 ,,saddle      
,,made ,,at ,,pamplona ,,for ,,the      
,,duke ,,of ,,savoy 7#afbj74            
,illustration3 ,,plate #ahj4    ,,iron  
,,war ,,saddle ,,of ,,the ,,emperor     
,,charles ,v4    ,illustration3 ,,plate 
#aha4    ,f #bb4 ,,italian ,,saddle1    
#af,,th ,,century1 ,,probably           
,,presented ,,by ,,federico  ,,gonzaga  
,,to ,,charles ,v4    ,illustration3    
,,plate #ahb4    ,,military ,,saddle3   
,,design ,,in ,,berruguete ,,style4     
,illustration3 ,,plate #ahc4    #bcbg4  

,,military ,,saddle4    ,illustration3  
,,plate #ahd4    ,,military ,,saddle1   
,,augsburg ,,make4    ,illustration3    
,,plate #ahe4    ,,saddle1 ,,early      
#ae,,th ,,century1 ,,from ,,majorca4    
,illustration3 ,,plate #ahf4    #aiac4  
,,sword1 ,,with ,,the ,,toledo ,,blade  
,,of ,,the ,,duke ,,of ,,olivares4      
#ahhj4 #8,,flaming' ,,spanish ,,sword   
,,of ,,philip ,,iv4    #aiag4 ,,sword   
,,of ,d4 ,,suero ,,de ,,quinones1 ,,late
 #af,,th ,,century4    #ahfd4 ,,dagger1 
,,scalloped ,,half-,,way4    #aiaf4     
,,sword1 ,,with ,,round ,,point1 ,,of   
,,garcilaso ,,de ,,la ,,vega4    #aibj4 
,,sword1 ,,with ,,toledo ,,blade1 ,,of  
,,the ,,marquis ,,of ,,povar4    #fca4  
,,shield ,,representing ,,jupiter       
,,sending ,,lightning ,,on ,,the        
,,arabs4    #ahgd4 ,,dagger ,,given ,,by
 ,,louis ,,xv4 ,,of ,,france ,,to ,,the 
,,king ,,of ,,spain4    ,illustration3  
,,plate #ahg4    #agje4 ,,sword ,,of    
,,isabel ,,the ,,catholic4    #aehi4    
,,petronel ,,of ,,charles ,v41 ,,with   

,,battle-,,axe4    #aeha4 ,,yataghan    
,,of ,,mustafa1 ,,bey ,,of ,,oran4      
#aefa4 ,,battle-,,axe1 #ae,,th ,,and    
#af,,th ,,centuries4    #aefc4 ,,kriss  
,,or ,,malay ,,dagger4    #agjb4 ,,sword
 ,,of ,,the ,,great ,,captain4    #aeia4
 ,,alfange ,,or ,,indian ,,scimitar4    
#aehg4 ,,battle-,,axe1 ,,byzantine      
,,style4    #agfd4 ,,martel-,,de-,,fer  
,,of ,,charles ,v4    #afih4 ,,sword1   
#af,,th ,,century4    ,illustration3    
,,plate #ahh4    #agai4 ,,sword ,,of    
,,the ,,count ,,of ,,corunna4    #ahdc1 
#ahaf4 ,,pieces ,,of ,,the ,,barding    
,,of ,a ,,horse4    #afif4 ,,sword1     
#ae,,th ,,century4    #agaf4 ,,sword    
,,of ,,philip ,i41 ,,the ,,handsome4    
#bjde1 #bjdi4 ,,pistols1 #af,,th ,,and  
#ag,,th ,,centuries4    #bjgg4 ,,dagger1
 ,,four ,,edged1 #af,,th ,,century4     
#ahad4 ,,sword1 ,,found ,,in ,,the      
,,tagus1 ,,and ,,given ,,to ,,philip    
,,ii4    #acei1 #acae4 ,,armpit         
,,shields4    #agfc4 ,,spurs1 ,,in      
,,filigree ,,silver4    #acbh4          

,,lance-,,shield ,,of ,,the ,,prince    
,,of ,,parma4    #agei4 ,,sword ,,of    
,,bernal ,,diaz ,,del ,,castillo4       
,illustration3 ,,plate #ahi4    #afig4  
,,sword ,,of ,,the ,,prince ,,of        
,,conde4    #afdd4 ,,two-,,handed       
,,sword1 ,,early #ae,,th ,,century4     
#aggg4 ,,sword ,,of ,,philip ,,ii4      
#agid4 ,,sword ,,of ,,don ,,john ,,of   
,,austria4    #agjh4 ,,german ,,sword   
,,of ,,frederick ,,henry1 ,,count ,,of  
,,nassau4    #ahde4 ,,sword ,,of ,,john 
,,of ,,urbino4    #afib4 ,,magnificent  
,,toledan ,,blade1 ,,unmounted4         
#bjfg1 #bjgf4 ,a ,,pair ,,of ,,pistols1 
#ag,,th ,,century4    #ahbc4 ,,piece    
,,of ,a ,,horse',s ,,barding4           
,illustration3 ,,plate #aij4    #agfi4  
,,sword ,,of ,,pizarro4    #agbf4 ,,head
 ,,stall4    #agba4 ,,very ,,remarkable 
,,sword ,,of ,,the ,,renaissance4       
#agah1 #agga4 ,,rondels4    #bjdd4      
,,pistols1 #af,,th ,,and #ag,,th        
,,centuries4    #ibi4 ,,head ,,stall    
,,for ,,charger ,,of ,,the ,,count ,,of 

,,niebla4    #aggj1 #agfa4 ,,beautiful  
,,stirrups1 ,,with ,,figures4    #agfh4 
,,unique ,,spur4    ,illustration3      
,,plate #aia4    #ahgc4 ,,sword         
#aiab4 ,,sword ,,of ,,philip ,,iii4     
#ahgb4 ,,sword ,,of ,,charles ,,ii4     
#ahej4 ,,german ,,sword4    #aiaa4      
,,sword ,,of ,,the ,,duke ,,of          
,,montemar4    #bjcd1 #bjca4 ,,pistols4 
#ebc4 ,,chamfron4    ,illustration3     
,,plate #aib4    #aggc4 ,,sword ,,of    
,,philip ,,ii4    #afei4 ,,sword ,,with 
,,four ,,sides 7,,german71 #af,,th      
,,century4    #ahjg4 ,,sword ,,of       
,,hernan ,,cortes4    #ahef1 #aheg4     
,,magnificent ,,pair ,,of ,,gauntlets4  
#agbg4 ,,lobera ,,sword ,,of ,,st4      
,,ferdinand4    #afde4 ,,sword ,,of     
,,don ,,diego ,,hurtado ,,de ,,mendoza4 
,illustration3 ,,plate #aic4    #aefb4  
,,moorish ,,boarding ,,gauntlet1 #ad,,th
 ,,to #ae,,th ,,century4    #afai4      
,,sword ,,presented ,,to ,,john ,,ii4   
,,of ,,castile ,,by ,,the ,,pope        
,,eugenius ,,iv4    #agaa4 ,,halberd    

,,of ,,charles ,v4    #aebi4 ,,iron     
,,ring1 ,,with ,,points ,,inside4       
#aehh4 ,,bracelet ,,of ,,ali ,,pasha1   
,,turkish ,,admiral ,,at ,,lepanto4     
#aejb1 #aedd4 ,,moorish ,,quivers4      
#aeef1 #afje4 ,,malay ,,battle-,,axes1  
,,in ,,wood4    #afbj4 ,,sword ,,of     
,,diego ,,garcia ,,paredes4    #afjf4   
,,wooden ,,stirrup4    #afdd4           
,,two-,,handed ,,sword1 ,,early #ae,,th 
,,century4    #aeed4 ,,quiver ,,with    
,,arrows ,,of ,,the ,,cacique           
,,guarimacoa4    #bece4 ,,halberd       
,,plate1 #ae,,th ,,century4    #aehe4   
,,moorish ,,boarding ,,weapon1 #ae,,th  
,,century4    ,illustration3 ,,plate    
#aid4    #aggf4 ,,espadon ,,or ,,large  
,,two-,,handed ,,sword ,,of ,,charles   
,v4    #ahgh4 ,,sword ,,of ,,the ,,count
 ,,lemos4    #ahfb4 ,,valencian ,,sword 
,,of ,,ferdinand ,d',,alarcon4    #aigf1
 #aifh4 ,,beautiful ,,pistols ,,of      
#af,,th ,,century4    #efg4 ,,chamfron  
,,which ,,belonged ,,to ,,philip ,,iv4  
#agge4 ,,espadon ,,of ,,diego ,,garcia  

,,de ,,paredes4    #ahdh4 ,,flaming     
,,sword ,,of ,,don ,,juan ,,of          
,,austria1 ,,son ,,of ,,philip ,,iv4    
#aheb4 ,,sword ,,of ,,pedro ,,mendez    
,,de ,,aviles4    ,illustration3 ,,plate
 #aie4    #agfb4 ,,sword ,,of ,,cardinal
 ,,fernando1 ,,brother ,,of ,,philip    
,,iv4    #aibd1 #ahjf1 #ahcc4 ,,pieces  
,,of ,,barding ,,for ,a ,,horse4        
#afdi4 ,,sword ,,of ,,the ,,count ,,of  
,,benavente1 ,,made ,,at ,,zaragoza4    
#afcd4 ,,espadon4    #aeii4 ,,scimitar  
,,of ,,don ,,juan ,,of ,,austria4       
#aeih4 ,,spanish-,,moresque ,,sword4    
#agbi1 #agfg4 ,,maces1 #ae,,th ,,and    
#af,,th ,,centuries4    ,illustration3  
,,plate #aif4    #agfe4 ,,two-,,handed  
,,sword ,,of ,,ferdinand ,v41 ,,the     
,,catholic4    #affb4 ,,sword ,,in ,,its
 ,,sheath1 ,,studded ,,with ,,jewels4   
#agac4 ,,two-,,handed ,,sword ,,of      
,,charles ,v4    #agjf1 #agja4 ,,maces  
,,of ,,the ,,constable ,,of ,,bourbon1  
,,time ,,of ,,charles ,v4    #agjj1     
#agjg4 ,,stirrups1 ,,of ,,turkish ,,form

 ,,of ,,charles ,v4    ,illustration3   
,,plate #aig4    #fbi4 ,,gilded ,,handle
 ,,to ,,crossbow4    #aebi4 ,,iron      
,,ring1 ,,with ,,spikes ,,inside1       
,,which ,,the ,,moors ,,used ,,as ,,an  
,,instrument ,,of ,,execution4    #eih4 
,,flemish ,,crossbow1 #af,,th ,,century4
    #fbh4 ,,crossbow1 ,,incrusted ,,with
 ,,ivory4    #fdj4 ,,crossbow ,,of ,,the
 ,,duke ,,of ,,alba4    #aebb4 ,,arabian
 ,,spur4    #aech4 ,,shield ,,for       
,,crossbowman4    ,,gaffles ,,for       
,,stretching ,,the ,,string ,,of ,,the  
,,crossbow4    ,illustration3 ,,plate   
#aih4    ,,trophy ,,formed ,,of         
,,different ,,weapons1 ,,by ,e4 ,,de    
,,zuloaga4    ,illustration3 ,,plate    
#aii4    ,,trophy ,,formed ,,of         
,,several ,,pieces ,,of ,,armour ,,of   
,,philip ,,ii4    ,illustration3 ,,plate
 #bjj4    ,,marks ,,used ,,by ,,the     
,,principal ,,sword-,,makers ,,of       
,,toledo ,,until ,,the ,,beginning  ,,of
 ,,the #ah,,th ,,century4               
,illustration3 ,,plate #bjj;,a4    ,,key

 ,,to ,,the ,,foregoing4                
,illustration3 ,,plate #bja4    ,,heads 
,,of ,,spanish ,,lances ,,and ,,pikes1  
#ae,,th ,,to #ag,,th ,,centuries4       
#8,,the ,,pike ,i  ,,would ,,have1 ,,if 
,,it ,,might ,,be1 ,,of ,,spanish ,,ash1
 ,,and ,,between #bj ,,and #bb ,,feet   
,,long4'--,,sutcliffe1 ,,practice ,,of  
,,arms1 7#aeic74    ,illustration3      
,,plate #bjb4    ,,heads ,,of ,,spanish 
,,lances ,,used ,,for ,,tilts ,,and     
,,tournaments1 #ae,,th ,,to #ag,,th     
,,centuries1 ,,pointed1 ,,round         
,,headed1 ,,or ,,furcated4              
,illustration3 ,,plate #bjc4            
,,spanish ,,knives ,,employed ,,by ,,the
 ,,chief ,,carver ,,at ,,the ,,royal    
,,table1 ,,the  ,,handles ,,of ,,which  
,,are ,,richly ,,decorated ,,with ,,the 
,,spanish ,,arms ,,of ,,the ,,time  ,,of
 ,,philip ,,iv4    ,illustration3       
,,plate #bjd4    ,j #bh4 ,,hunting      
,,crossbow1 ,,early #af,,th ,,century4  
,illustration3 ,j #ah4 ,,spanish        
,,hunting ,,crossbow ,,of ,,charles ,v4 

,illustration3 ,j #cg4 ,,small ,,hunting
 ,,crossbow1 #af,,th ,,century4         
,illustration3 ,,plate #bje4    ,h #i4  
,,martel-,,de-,,fer1 ,,early #af,,th    
,,century4    ,illustration3 ,h #f4     
,,battle-,,axe1 ,,middle #af,,th        
,,century4    ,illustration3 ,h #ad4    
,,battle-,,mace1 ,,late #ae,,th         
,,century4    ,illustration3 ,h #ae4    
,,battle-,,mace ,,of ,,charles ,v4      
,illustration3 ,,plate #bjf4    #aihg1  
#aiib4 ,,spanish ,,arquebuses1 ,,end    
,,of #af,,th ,,century4    #aiee4       
,,petronel1 #af,,th ,,century4    #aifa4
 ,,spanish ,,arquebus1 ,,with           
,,octagonal ,,barrel ,,inlaid ,,with    
,,mother ,,of  ,,pearl ,,and ,,ivory1   
#af,,th ,,century4    #aigb1 #aigg1     
#aidf4 ,,keys ,,or ,,cranks ,,to ,,cock 
,,the ,,arquebuses4    ,illustration3   
,,plate #bjg4    #afjb4 ,,elegant       
,,sabre ,,of ,a #8,,chef                
,d',,estradiots' 7,,venetian7 ,,given   
,,to ,,philip  ,,iii4    #bbdc1 #bbhe4  
,,spanish ,,knives1 ,,with ,,spanish    

,,arms1 ,,time ,,of ,,philip ,,iv4      
#aegg1 #aegh4 ,,persian ,,sabres4       
#afjd4 ,,gourma1 ,,or ,,dagger4         
#aegi4 ,,sabre ,,of ,,unknown ,,origin4 
#afjj4 ,,misrae ,,or ,,scimitar ,,of    
,,ali ,,pasha1 ,,turkish ,,admiral ,,at 
,,lepanto4    #aegb4 ,,miserecorde1 ,,or
 ,,dagger1 ,,of ,,diego ,,garcia ,,de   
,,paredes4    #aeff4 ,,dagger ,,of      
,,charles ,v4    #aehj4 ,,dagger ,,of   
,,the ,,kabyles4    #aefb4 ,,manople    
,,or ,,moorish ,,boarding-,,sword1      
#ad,,th-#ae,,th ,,centuries4            
,illustration3 ,,plate #bjh4    #bafg4  
,,repeating ,,hunting-,,gun4    #bbif4  
,,turkish ,,cannon ,,tinder4    #badj4  
,,hunting ,,gun ,,with #ab ,,shots4     
#bafd4 ,,repeating ,,gun1 ,,made ,,in   
#agje4    #becd4 ,,the ,,barrel ,,of ,a 
,,breech-,,loading ,,gun4    #bbid4     
,,turkish ,,gun ,,tinder4    #badb4     
,,model ,,of ,a ,,gun ,,with #ad        
,,shots4    ,illustration3 ,,plate #bji4
    #a4 ,,arquebus ,,of ,,don ,,john    
,,of ,,austria 7,k #ad74    #b4         

,,arquebus ,,handle1 ,,dagger1 ,,and    
,,primer ,,combined 7,g #aea74    #c4   
,,arquebus ,,of ,,don ,,john ,,joseph   
,,of ,,austria 7,k #bc74    #d4         
,,arquebus ,,handle ,,and ,,primer 7,k  
#ab74    #e4 ,,nuremberg ,,arquebus1    
#af,,th ,,century 7,k #aa74             
,illustration3 ,,plate #baj4    #aidj1  
#aidd4 ,,barrels1 #ae,,th ,,century4    
#fea4 ,,lance1 ,,with ,,two ,,little    
,,barrels1 #ag,,th ,,century4           
,illustration3 ,,plate #baa4    #ijc4   
,,spanish ,,arquebus1 #ae,,th ,,century4
    #aigh4 ,,petronel1 #aedg4    #bjhj4 
,,pistol1 ,,with ,,three ,,barrels4     
#babf4 ,,pistol1 ,,with ,,rifle         
,,barrel4    #bbbe4 ,,hunting ,,gun ,,of
 ,,philip ,v41 ,,breech-,,loading4      
#bjbd4 ,,petronel1 #af,,th ,,century4   
#bfce4 ,,revolver1 #ah,,th ,,century4   
#bjde4 ,,pistol1 ,,with ,,two ,,barrels1
 #af,,th ,,century4    ,illustration3   
,,plate #bab4    ,k #cj4 ,,small        
,,arquebus ,,of ,,charles ,v4 7,,italian
 ,,make74    ,illustration3 ,k #cc4     

,,small ,,spanish ,,arquebus1 #aeca4    
,illustration3 ,k #ee4 ,,small          
,,pistol-,,arquebus1 ,,middle #af,,th   
,,century4    ,illustration3 ,,plate    
#bac4    ,,double ,,breech-,,loading    
,,cannon1 ,,in ,,bronze1 ,,used ,,in    
,,spain ,,from ,,the ,,end ,,of  ,,the  
#ae,,th ,,century4    ,illustration3    
,,plate #bad4    ,a #aij4 ,,tailpiece   
,,of ,a ,,horse',s ,,bard1 #aede4       
,illustration3 ,a #aij4 ,,chanfron1     
,,representing ,,the ,,head ,,and ,,neck
 ,,of ,a  ,,fantastic ,,dragon1         
,,covered ,,with ,,scales ,,of ,,gold1  
#aede4    ,illustration3 ,,plate #bae4  
#eca4 ,,head-,,stall ,,of ,,philip      
,,iii4',s ,,horse4    #ecd4 ,,chanfron  
,,and ,,mainfaire ,,of ,a ,,horse ,,of  
,,philip ,,iii4    #efg4 ,,chanfron ,,of
 ,,horse ,,of ,,philip ,,iv4            
,illustration3 ,,plate #baf4    #ebe4   
,,chanfron 7,,moorish74    #eeh4        
,,chanfron ,,and ,,mainfaire1 #af,,th   
,,century4    #efe4 ,,chanfron1 ,,with  
,,the ,,imperial ,,arms ,,in ,,colours4 

,illustration3 ,,plate #bag4    ,f #aaj4
 ,,chanfron1 ,,early #af,,th ,,century4 
,illustration3 ,f #aac4 ,,chanfron1     
,,early #af,,th ,,century4              
,illustration3 ,,plate #bah4    #agfb4  
,,sword ,,of ,,cardinal ,d4 ,,fernando1 
,,brother ,,of ,,philip ,,iv4    #afac1 
#afbd4 ,,christian ,,standards1 ,,from  
,,the ,,battle ,,of ,,lepanto4          
,illustration3 ,,plate #bai4    ,,flag  
,,carried ,,at ,,the ,,obsequies ,,of   
,,philip ,,ii4    ,illustration3 ,,plate
 #bbj4    ,,standard ,,of ,,the         
,,ex-,,bodyguard4    ,illustration3     
,,plate #bba4    ,,standard ,,taken     
,,from ,,the ,,english ,,who ,,besieged 
,,carthagena 7,,america7 ,,in  #agda4   
,illustration3 ,,plate #bbb4    ,,flag  
,,from ,,the ,,battle ,,of ,,lepanto1   
,,with ,a ,,painting ,,representing     
,,christ ,,and  ,,st4 ,,martin4         
,illustration3 ,,plate #bbc4    ,,seal  
,,of ,,charles ,v4 ,,when ,,count ,,of  
,,flanders1 ,,showing ,,him ,,on        
,,horseback ,,in  ,,armour4             

,illustration3 ,,small ,,shield ,,on    
,,head-,,stall1 ,,with ,,the ,,arms ,,of
 ,,philip ,,ii4  ,,when                 
,,heir-,,apparent1 ,,and ,,also ,,those 
,,of ,,his ,,wife1 ,,queen ,,mary ,,of  
,,england4    ,illustration3            
,,salade-,,morion ,,of ,,the ,,prince   
,,of ,,asturias1 ,,baltasar ,,carlos    
,,of ,,austria 7#afbi-afdf74            
,illustration3 ,,plate #bbd4            
,,lanterns ,,from ,,flag-,,ships        
,,gained ,,by ,,the ,,marques ,,de      
,,santa ,,cruz ,,in ,,various  ,,naval  
,,engagements 7,m #ge1 #gg1 #gf74       
,illustration3 ,,plate #bbe4    ,,sedan 
,,chair ,,of ,,philip ,v4    7,,from    
,,the ,,coach-,,houses ,,of ,,the       
,,royal ,,palace1 ,,madrid47            
,illustration3 ,,plate #bbf4    ,,sedan 
,,chair ,,of ,,ferdinand ,,vi4          
7,,from ,,the ,,coach-,,houses ,,of     
,,the ,,royal ,,palace1 ,,madrid47      
,illustration3 ,,plate #bbg4    ,,sedan 
,,chair ,,of ,,charles ,,iv4    7,,from 
,,the ,,coach-,,houses ,,of ,,the       

,,royal ,,palace1 ,,madrid47            
,illustration3 ,,plate #bbh4    ,,sedan 
,,chair ,,of ,,philip ,v4    7,,from    
,,the ,,coach-,,houses ,,of ,,the       
,,royal ,,palace1 ,,madrid47            
,illustration3 ,,plate #bbi4    ,,sedan 
,,chair ,,of ,,charles ,,iii4    7,,from
 ,,the ,,coach-,,houses ,,of ,,the      
,,royal ,,palace1 ,,madrid47            
,illustration3 ,,plate #bcj4            
,,campaign ,,litter ,,of ,,the ,,emperor
 ,,charles ,v4    ,illustration3 ,,plate
 #bca4    ,,carriage ,,given ,,by       
,,napoleon ,i4 ,,to ,,charles ,,iv4     
7,,from ,,the ,,coach-,,houses ,,of     
,,the ,,royal ,,palace1 ,,madrid47      
,illustration3 ,,plate #bcb4    ,,gala  
,,coach ,,of ,,charles ,,iv4    7,,from 
,,the ,,coach-,,houses ,,of ,,the       
,,royal ,,palace1 ,,madrid47            
,illustration3 ,,plate #bcc4            
,,carriage ,,of ,,the ,,president ,,of  
,,the ,,cortes4    7,,from ,,the        
,,coach-,,houses ,,of ,,the ,,royal     
,,palace1 ,,madrid47    ,illustration3  

,,plate #bcd4    ,,the ,,crown ,,coach4 
7,,from ,,the ,,coach-,,houses ,,of     
,,the ,,royal ,,palace1 ,,madrid47      
,illustration3 ,,plate #bce4            
,,wedding ,,coach ,,of ,,ferdinand      
,,vii4 ,,and ,,maria ,,christina4       
7,,from ,,the ,,coach-,,houses ,,of     
,,the ,,royal ,,palace1 ,,madrid47      
,illustration3 ,,plate #bcf4            
,,carriage ,,of ,,the ,,mace-,,bearers  
,,of ,,the ,,cortes4    7,,from ,,the   
,,coach-,,houses ,,of ,,the ,,royal     
,,palace1 ,,madrid47    ,illustration3  
,,plate #bcg4    ,,carriage1 ,,with     
,,gilt ,,panels1 ,,of ,,charles ,,iv4   
7,,from ,,the ,,coach-,,houses ,,of     
,,the ,,royal ,,palace1 ,,madrid47      
,illustration3 ,,plate #bch4    ,,cover 
,,of ,,an ,,album1 ,,exterior1 ,,the    
,,work ,,of ,e4 ,,de ,,zuloaga4         
,illustration3 ,,plate #bci4    ,,cover 
,,of ,,an ,,album1 ,,interior1 ,,the    
,,work ,,of ,e4 ,,de ,,zuloaga4         
,illustration3 ,,plate #bdj4            
,,portable ,,chair1 ,,in ,,leather1 ,,of

 ,,the ,,emperor ,,charles ,v4          
,illustration3 ,,plate #bda4            
,,magnificent ,,bureau1 ,,in ,,engraved 
,,iron4 ,,belonged ,,to ,,charles ,v4   
,illustration3 ,,plate #bdb4    ,,wooden
 ,,trunk1 ,,with ,,ornaments ,,in ,,the 
,,pointed ,,style4    ,illustration3    
,,plate #bdc4    ,,iron ,,inkstand1     
,,embossed ,,and ,,inlaid1 ,,the ,,work 
,,of ,e4 ,,de ,,zuloaga4                
,illustration3 ,,plate #bdd4            
,,general ,,view ,,of ,,the ,,interior  
,,of ,,the ,,armoury4    ,illustration3 
,,plate #bde4    ,,general ,,view ,,of  
,,the ,,interior ,,of ,,the ,,armoury4  
,illustration3 ,,plate #bdf4            
,,general ,,view ,,of ,,the ,,interior  
,,of ,,the ,,armoury4    ,illustration3 
,,plate #bdg4    ,,figure ,,explaining  
,,various ,,technical ,,terms ,,used    
,,in ,,the ,,text4    ,illustration3    
,,plate #bdh4    ,,figure ,,explaining  
,,various ,,technical ,,terms ,,used    
,,in ,,the ,,text4           99       99
       99       99       99             

,,the                                   
,,spanish ,,series    ,edited by        
,,albert ,f4 ,,calvert    ,a new and    
important series of volumes1 dealing    
with ,spain in its various  aspects1 its
 history1 its cities and monuments4     
,each volume will be  complete in itself
 in an uniform binding1 and the number  
and excellence  of the reproductions    
from pictures will justify the claim    
that these  books comprise the most     
copiously illustrated series that has   
yet been  issued1 some volumes having   
over #cjj pages of reproductions of     
pictures1  etc4    ,crown #hvo4         
,,murillo4 ,a ,biography and            
,appreciation4 ,illustrated by over #afe
       reproductions from photographs of
 his most celebrated pictures4          
,,spanish ,,arms ,,and ,,armour4 ,a     
,historical and ,descriptive ,account of
       the ,royal ,armoury at ,madrid4  
,illustrated with #chf reproductions    
from photographs4         ,,the         
,,escorial4 ,a ,historical and          

,descriptive ,account of the ,spanish   
,royal ,palace1 ,monastery and          
,mausoleum4 ,illustrated with plans and 
#bgh reproductions from pictures and    
photographs4         ,,cordova4 ,a      
,historical and ,descriptive ,account of
 the ,ancient ,city       which the     
,carthaginians styled the 8,gem of the  
,south40 ,with over       #aee          
,illustrations4         ,,seville4 ,a   
,historical and ,descriptive ,account4  
,with #cjj       ,illustrations4        
,,the ,,prado4 ,a ,guide and ,handbook  
to the ,royal ,picture ,gallery of      
,madrid4 ,illustrated with #bba         
reproductions from photographs of ,old  
,masters4    ,,in ,,preparation         
,,goya    ,,granada    ,,velazquez      
,,toledo    ,,royal ,,palaces           
,,madrid    ,,leon1 ,,burgos1 ,c4       
,,valladolid1 ,,segovia1 ,c4            
,,uniform ,,with ,,this ,,volume        
,,murillo    ,a ,,biography ,,and       
,,appreciation4 ,,illustrated ,,by      
,,over #afe ,,reproductions ,,from      

,,photographs ,,of ,,his ,,most         
,,celebrated ,,pictures    ,while the   
names of ,murillo and ,velazquez are    
inseparably linked in the  history of   
,art as ,spain's immortal contribution  
to the small band of  world-painters1   
the great ,court-,painter to ,philip    
,,iv4 has ever received  the lion's     
share of public attention4 ,many learned
 and critical works  have been written  
about ,murillo1 but whereas ,velazquez  
has been  familiarised to the general   
reader by the aid of small1 popular     
biographies1 the niche is still empty   
which it is hoped that this book  will  
fill4    ,in this volume the attempt has
 been made to show the painter's art in 
its relation to the religious feeling of
 the age in which he lived1 and  his own
 feeling towards his art4 ,murillo was  
the product of his  religious era1 and  
of his native province1 ,andalusia4 ,to 
,europe in his  lifetime he signified   
little or nothing4 ,he painted to the   
order of the  religious houses of his   

immediate vicinity2 his works were      
immured in  local monasteries and       
cathedrals1 and1 passing immediately out
 of  circulation1 were forgotten or     
never known4    ,,uniform ,,with ,,this 
,,volume    ,,spanish ,,arms ,,and      
,,armour    ,a ,,historical ,,and       
,,descriptive ,,account ,,of ,,the      
,,royal ,,armoury ,,at ,,madrid4        
,,illustrated ,,with #chf               
,,reproductions ,,from ,,photographs    
,although several valuable and          
voluminous catalogues of the ,spanish   
,royal  ,armoury have1 from time to     
time1 been compiled1 this 8finest       
collection  of armour in the world0 has 
been subjected so often to the          
disturbing  influences of fire1 removal1
 and re-arrangement1 that no hand       
catalogue  of the ,museum is available1 
and this book has been designed to serve
  both as a historical souvenir of the  
institution and a record of its         
treasures4    ,the various exhibits with
 which the writer illustrates his       

narrative are  reproduced to the number 
of over #cjj on art paper1 and the      
selection of  weapons and armour has    
been made with a view not only to render
 the  series interesting to the general 
reader1 but to present a useful text    
book of ,european armoury for the       
guidance of artists1 sculptors1         
antiquaries1 costumiers1 and all who    
have practical interest in  historical  
accuracy4    ,,uniform ,,with ,,this    
,,volume    ,,the ,,escorial    ,a      
,,historical ,,and ,,descriptive        
,,account ,,of ,,the ,,spanish ,,royal  
,,palace1  ,,monastery ,,and            
,,mausoleum4 ,,illustrated ,,with       
,,plans ,,and #bgh ,,reproductions      
,,from ,,pictures ,,and ,,photographs   
,the ,royal ,palace1 ,monastery1 and    
,mausoleum of ,el ,escorial1 which rears
  its gaunt1 grey walls in one of the   
bleakest but most imposing districts  in
 the whole of ,spain1 was erected to    
commemorate a victory over the  ,french 
in #aeeg4 ,it was occupied and pillaged 

by the ,french two and  a-half centuries
 later1 and twice it has been greatly   
diminished by  fire2 but it remains     
to-day1 not only the incarnate          
expression of the  fanatic religious    
character and political genius of       
,philip ,,ii41 but the  greatest mass of
 wrought granite which exists on earth1 
the leviathan of  architecture1 the     
eighth wonder of the world4    ,in the  
text of this book the author has        
endeavoured to reconstitute the  glories
 and tragedies of the living past of the
 ,escorial1 and to  represent the       
wonders of the stupendous edifice by    
reproductions of over  two hundred and  
seventy of the finest photographs and   
pictures  obtainable4 ,both as a review 
and a pictorial record it is hoped that 
the  work will make a wide appeal among 
all who are interested in the  history1 
the architecture1 and the art of ,spain4
    ,,uniform ,,with ,,this ,,volume    
,,cordova    ,a ,,historical ,,and      
,,descriptive ,,account ,,of ,,the      

,,ancient ,,city ,,which ,,the          
,,carthaginians ,,styled ,,the 8,,gem   
,,of ,,the ,,south10 ,,with ,,over #aee 
,,illustrations    ,gay-looking1        
vivacious in its beauty1 silent1        
ill-provided1 depopulated1  ,cordova was
 once the pearl of the ,west1 the city  
of cities1 ,cordova of  the thirty      
suburbs and three thousand mosques2     
to-day she is no more  than an overgrown
 village1 but she still remains the most
 ,oriental town  in ,spain4    ,cordova1
 once the centre of ,european           
civilisation1 under the ,moors the      
,athens of the ,west1 the successful    
rival of ,baghdad and ,damascus1 the    
seat of learning and the repository of  
the arts1 is now no more than a         
third-rate provincial town2 but the     
artist1 the antiquary and the lover  of 
the beautiful1 will still find in its   
streets and squares and patios  a       
mysterious spell that cannot be         
resisted4    ,,uniform ,,with ,,this    
,,volume    ,,seville    ,a ,,historical

 ,,and ,,descriptive ,,account1 ,,with  
#cjj ,,illustrations    ,seville1 which 
has its place in mythology as the       
creation of ,hercules1  and was more    
probably founded by the ,phnicians1     
which became  magnificent under the     
,roman rule1 was made the capital of the
 ,goths1 was  the centre of ,moslem     
power and splendour1 and fell before the
 military  prowess of ,st4 ,ferdinand1  
is still the ,queen of ,andalusia1 the  
,spanish  ,athens1 the foster-mother of 
,velazquez and ,murillo1 the city of    
poets  and pageantry and love4          
,seville is always gay1 and responsive  
and fascinating to the receptive        
visitor1 and all sorts of people go     
there with all sorts of motives4 ,the   
artist repairs to the ,andalusian city  
to fill his portfolio2 the lover  of art
 makes the pilgrimage to study ,murillo 
in all his glory4 ,the  seasons of the  
,church attract thousands from reasons  
of devotion or  curiosity4 ,and of all  
these myriad visitors1 who go with their

 minds  full of preconceived notions1   
not one has yet confessed to being      
disappointed with ,seville4    ,the     
author has here attempted to convey in  
the illustrations an  impression of this
 laughing city where all is gaiety and  
mirth and  ever-blossoming roses1 where 
the people pursue pleasure as the       
serious  business of life in an         
atmosphere of exhilarating enjoyment4   
,,uniform ,,with ,,this ,,volume        
,,the ,,prado    ,a ,,guide ,,and       
,,handbook ,,to ,,the ,,royal ,,picture 
,,gallery ,,of ,,madrid4 ,,illustrated  
,,with #bba ,,reproductions ,,from      
,,photographs ,,of ,,old ,,masters      
,this volume is an attempt to supplement
 the accurate but formal notes          
contained in the official catalogue of a
 gallery which is considered the  finest
 in the world4 ,it has been said that   
the day one enters the ,prado  for the  
first time is an important event like   
marriage1 the birth of a  child1 or the 
coming into an inheritance2 an          

experience of which one  feels the      
effects to the day of one's death4      
,the excellence of the ,madrid gallery  
is the excellence of exclusion2 it  is a
 collection of magnificent gems4 ,here  
one becomes conscious of a  fresh power 
in ,murillo1 and is amazed anew by the  
astonishing apparition  of ,velazquez2  
here is1 in truth1 a rivalry of miracles
 of art4    ,the task of selecting      
pictures for reproduction from what is  
perhaps the  most splendid gallery of   
old masters in existence1 was one of no 
little  difficulty1 it is believed that 
the collection is representative1 and   
that the letterpress will form a        
serviceable companion to the visitor to 
,the ,prado4    ,,uniform ,,with ,,this 
,,volume    ,,toledo    ,a ,,historical 
,,and ,,descriptive ,,account ,,of ,,the
 8,,city ,,of ,,generations10 ,,with    
,,over #dhj ,,illustrations    ,the     
origin of ,imperial ,toledo1 8the crown 
of ,spain1 the light of the  world1 free
 from the time of the mighty ,goths10 is

 lost in the  impenetrable mists of     
antiquity4 ,mighty1 unchangeable1       
invincible1 the  city has been described
 by ,wrmann as 8a gigantic open-air     
museum of the  architectural history of 
early ,spain1 arranged upon a lofty and 
conspicuous table of rock40    ,but     
while some writers have declared that   
,toledo is a theatre with the  actors   
gone and only the scenery left1 the     
author does not share the  opinion4 ,he 
believes that the power and virility    
upon which ,spain built  up her         
greatness is reasserting itself4 ,the   
machinery of the theatre of  ,toledo is 
rusty1 the pulleys are jammed from long 
disuse1 but the  curtain is rising      
steadily if slowly1 and already can be  
heard the  tuning-up of fiddles in its  
ancient orchestra4    ,in this belief   
the author of this volume has not only  
set forth the  story of ,toledo's former
 greatness1 but has endeavoured to place
 before  his readers a panorama of the  
city as it appears to-day1 and to show  

cause for his faith in the greatness of 
the ,toledo of the future4    ,,uniform 
,,with ,,this ,,volume    ,,granada     
,,and ,,the ,,alhambra    ,a ,,brief    
,,history ,,of ,,the ,,moslem ,,rule    
,,in ,,spain1 ,,together ,,with ,a      
,,particular  ,,account ,,of ,,the      
,,construction1 ,,the ,,architecture1   
,,and ,,the ,,decoration ,,of ,,the     
,,moorish ,,palace1 ,,with ,,over #dej  
,,illustrations    ,this volume is the  
third and abridged edition of a work    
which the author  was inspired to       
undertake by the surpassing loveliness  
of the ,alhambra1  and by his           
disappointment in the discovery that no 
such thing as an even  moderately       
adequate illustrated souvenir of 8this  
glorious sanctuary of  ,spain0 was      
obtainable4 ,keenly conscious of the    
want himself1 he essayed  to supply it1 
and the result is a volume that has been
 acclaimed with  enthusiasm alike by    
critics1 artists1 architects1 and       
archologists4    ,in his preface to the 

first edition1 ,mr4 ,calvert wrote3     
8,the ,alhambra  may be likened to an   
exquisite opera which can only be       
appreciated to  the full when one is    
under the spell of its magic influence4 
,but as the  witchery of an inspired    
score can be recalled by the sound of an
 air  whistled in the street1 so--it is 
my hope--the pale ghost of the ,moorish 
fairy-land may live again in the        
memories of travellers through the      
medium of this pictorial epitome40      
,,uniform ,,with ,,this ,,volume        
,,velazquez    ,a ,,biography ,,and     
,,appreciation4 ,,illustrated ,,with    
#adb ,,reproductions ,,from             
,,photographs ,,of ,,his ,,most         
,,celebrated ,,pictures    ,diego       
,rodriguez de ,silva y ,velazquez--8our 
,velazquez10 as ,palomino  proudly      
styles him--has been made the subject of
 innumerable books in  every ,european  
language1 yet the ,general ,editor of   
this ,spanish ,series  feels that it    
would not be complete without the       

inclusion of yet another  contribution  
to the broad gallery of ,velazquez      
literature4    ,the great ,velazquez1   
the eagle in art--subtle1 simple1       
incomparable--the  supreme painter1 is  
still a guiding magnet of the art of    
to-day4 ,this  greatest of ,spanish     
artists1 a master not only in portrait  
painting1 but  in character and animal  
studies1 in landscapes and historical   
subjects1  impressed the grandeur of his
 superb personality upon all his work4  
,spain1 it has been said1 the country   
whose art was largely borrowed1         
produced ,velazquez1 and through him    
,spanish art became the light of a  new 
artistic life4    ,the author cannot    
boast that he has new data to offer1 but
 he has put  forward his conclusions    
with modesty2 he has reproduced a great 
deal  that is most representative of the
 artist's work2 and he has endeavoured  
to keep always in view his object to    
present a concise1 accurate1 and        
readable life of ,velazquez4            

,,uniform ,,with ,,this ,,volume        
,,madrid    ,a ,,historical ,,and       
,,descriptive ,,account ,,of ,,the      
,,spanish ,,capital1 ,,with ,,over  #cjj
 ,,illustrations    ,madrid is at once  
one of the most interesting and most    
maligned cities  in ,europe4 ,it stands 
at an elevation of #b1ejj feet above the
 sea level1  in the centre of an arid1  
treeless1 waterless1 and wind-blown     
plain2 but  whatever may be thought of  
the wisdom of selecting a capital in    
such a  situation1 one cannot but admire
 the uniqueness of its position1 and the
  magnificence of its buildings1 and one
 is forced to admit that1 having  fairly
 entered the path of progress1 ,madrid  
bids fair to become one of  the         
handsomest and most prosperous of       
,european cities4    ,the splendid      
promenades1 the handsome buildings1 and 
the spacious  theatres combine to make  
,madrid one of the first cities of the  
world1  and the author has endeavoured  
with the aid of the camera1 to place    

every feature and aspect of the ,spanish
 metropolis before the reader4  ,some of
 the illustrations reproduced here have 
been made familiar to the  ,english     
public by reason of the interesting and 
stirring events  connected with the     
,spanish ,royal ,marriage1 but the      
greater number were  either taken by the
 author1 or are the work of             
photographers specially  employed to    
obtain new views for the purpose of this
 volume4    ,,uniform ,,with ,,this     
,,volume    ,,goya    ,a ,,biography    
,,and ,,an ,,appreciation4 ,,illustrated
 ,,by ,,reproductions ,,of #fjj ,,of    
,,his ,,pictures    ,the last of the old
 masters and the first of the moderns1  
as he has been  called1 ,francisco ,jos 
de ,goya y ,lucientes is not so         
familiarised to  ,english readers as his
 genius deserves4 ,he was born at a time
 when the  tradition of ,velazquez was  
fading1 and the condition of ,spanish   
painting  was debased almost beyond hope
 of salvation2 he broke through the     

academic tradition of imitation2 8he1   
next to ,velazquez1 is to be  accounted 
as the man whom the ,impressionists of  
our time have to thank  for their most  
definite stimulus1 their most immediate 
inspiration40    ,the genius of ,goya   
was a robust1 imperious1 and fulminating
 genius2 his  iron temperament was      
passionate1 dramatic1 and revolutionary2
 he painted  a picture as he would have 
fought a battle4 ,he was an athletic1   
warlike1  and indefatigable painter2 a  
naturalist like ,velazquez2 fantastic   
like  ,hogarth2 eccentric like          
,rembrandt2 the last flame-coloured     
flash of  ,spanish genius4    ,it is    
impossible to reproduce his colouring2  
but in the reproductions of  his works  
the author has endeavoured to convey to 
the reader some idea  of ,goya's        
boldness of style1 his mastery of       
frightful shadows and  mysterious       
lights1 and his genius for expressing   
all terrible emotions4    ,,uniform     
,,with ,,this ,,volume    ,,leon1       

,,burgos ,,and ,,salamanca    ,a        
,,historical ,,and ,,descriptive        
,,account1 ,,with ,,over #cej           
,,illustrations    ,in ,leon1 once the  
capital of the second kingdom in ,spain2
 in ,burgos1  which boasts one of the   
most magnificent cathedrals in ,spain1  
and the  custodianship of the bones of  
the ,cid2 and in ,salamanca1 with its   
university1 which was one of the oldest 
in ,europe1 the author has  selected    
three of the most interesting relics of 
ancient grandeur in  this country of    
departed greatness4    ,leon to-day is  
nothing but a large agricultural        
village1 torpid1 silent1  dilapidated2  
,burgos1 which still retains traces of  
the ,gotho-,castilian  character1 is a  
gloomy and depleting capital2 and       
,salamanca is a city of  magnificent    
buildings1 a broken hulk1 spent by the  
storms that from time  to time have     
devastated her4    ,yet apart from the  
historical interest possessed by these  
cities1 they  still make an irresistible

 appeal to the artist and the antiquary4
 ,they  are content with their stories  
of old-time greatness and their         
cathedrals1 and these ancient           
architectural splendours1 undisturbed by
  the touch of a modernising and        
renovating spirit1 continue to attract  
the visitor4    ,,uniform ,,with ,,this 
,,volume    ,,valladolid1 ,,oviedo1     
,,segovia1 ,,zamora1 ,,avila ,,and      
,,zaragoza    ,a ,,historical ,,and     
,,descriptive ,,account1 ,,with ,,over  
#cbe ,,illustrations    ,the glory of   
,valladolid has departed1 but the       
skeleton remains1 and  attached to its  
ancient stones are the memories that    
,philip ,,ii4 was born  here1 that here 
,cervantes lived1 and ,christopher      
,columbus died4 ,in this  one-time      
capital of ,spain1 in the ,plaza ,mayor1
 the fires of the ,great  ,inquisition  
were first lighted1 and here ,charles   
,v4 laid the foundation  of the ,royal  
,armoury1 which was afterwards          
transferred to ,madrid4    ,more than   

seven hundred years have passed since   
,oviedo was the proud  capital of the   
,kingdoms of ,las ,asturias1 ,leon1 and 
,castile4 ,segovia1  though no longer   
great1 has still all the appurtenances  
of greatness1  and with her granite     
massiveness and austerity1 she remains  
an  aristocrat even among the           
aristocracy of ,spanish cities4 ,zamora1
 which  has a history dating from time  
almost without date1 was the key of     
,leon  and the centre of the endless    
wars between the ,moors and the         
,christians1  which raged round it from 
the eighth to the eleventh centuries4   
,in this volume the author has striven  
to re-create the ancient greatness  of  
these four cities1 and has preserved    
their memories in a wealth of  excellent
 and interesting illustrations4         
,,uniform ,,with ,,this ,,volume        
,,royal ,,palaces ,,of ,,spain    ,a    
,,historical ,,and ,,descriptive        
,,account ,,of ,,the ,,seven ,,principal
 ,,palaces ,,of  ,,the ,,spanish        

,,kings4 ,,profusely ,,illustrated      
,spain is beyond question the richest   
country in the world in the number  of  
its ,royal ,residences1 and while few   
are without artistic importance1  all   
are rich in historical memories4 ,thus1 
from the ,alcazar at ,seville1  which is
 principally associated with ,pedro the 
,cruel1 to the ,retiro1  built to divert
 the attention of ,philip ,,iv4 from his
 country's decay2  from the ,escorial1  
in which the gloomy mind of ,philip     
,,ii4 is perpetuated  in stone1 to ,la  
,granja1 which speaks of the anguish and
 humiliation of  ,christina before      
,sergeant ,garcia and his rude soldiery2
 from ,aranjuz to  ,rio ,frio1 and from 
,el ,pardo1 darkened by the agony of a  
good king1 to  ,miramar1 to which a     
widowed ,queen retired to mourn3 all the
 history of  ,spain1 from the splendid  
days of ,charles ,v4 to the present     
time1 is  crystallised in the ,palaces  
that constitute the patrimony of the    
,crown4    ,the ,royal ,palaces of      

,spain are open to visitors at stated   
times1 and it  is hoped that this       
volume1 with its wealth of              
illustrations1 will serve  the visitor  
both as a guide and a souvenir4    ,,by 
,,albert ,f4 ,,calvert    ,,the         
,,alhambra    ,,of ,,granada1 ,,being ,a
 ,,brief ,,history ,,of ,,the ,,moslem  
,,rule ,,in ,,spain ,,from ,,the        
,,reign ,,of ,,mohammed ,,the ,,first   
,,to ,,the ,,final ,,expulsion ,,of     
,,the ,,moors1  ,,together ,,with ,a    
,,particular ,,account ,,of ,,the       
,,construction1 ,,the ,,architecture    
,,and ,,the ,,decoration ,,of ,,the     
,,moorish ,,palace1 ,,with #hj          
,,coloured ,,plates ,,and  ,,nearly #cjj
 ,,black ,,and ,,white ,,illustrations  
7,,new ,,edition7    ,size #aj  #g-a_/b4
 ,price #b #bs4 net    ,,press ,,notices
    8,it is hardly too much to say that 
this is one of the most magnificent     
books ever issued from the ,english     
,press40    ,building ,world4    8,one  
is really puzzled where to begin and    

when to stop in praising the            
illustrations40    ,bookseller4    8,the
 most complete record of this wonder of 
architecture which has ever  been       
contemplated1 much less attempted40     
,british ,architect4    8,a treasure to 
the student of decorative art40         
,morning ,advertiser4    8,mr4 ,,calvert
 has given us a ,book ,beautiful40      
,western ,daily ,press4    8,it is the  
last word on the subject1 no praise is  
too high40    ,nottingham ,express4     
8,may be counted among the more         
important art books which have been     
published during recent years40    ,the 
,globe4    8,has a pride of place that  
is all its own among the books of the   
month40    ,review of ,reviews4    8,has
 in many respects surpassed any books on
 the ,alhambra which up to  the present 
have appeared in our own country or     
abroad40    ,el ,graduador1 ,spain4     
8,it is one of the most beautiful books 
of modern times40    ,ely ,gazette4     
8,one of the most artistic productions  

of the year40    ,publishers' ,circular4
    8,the most beautiful book on the    
,alhambra issued in ,england40          
,sphere4    8,the standard work on a    
splendid subject40    ,daily ,telegraph4
    8,a remarkable masterpiece of book  
production40    ,eastern ,daily ,press4 
8,a perfect treasure of beauty and      
delight40    ,keighley ,news4    8,a    
magnificent work40    ,melbourne ,age1  
,australia4    8,immense collection of  
fine plates40    ,the ,times4    8,a    
standard work1 the compilation of which 
would credit a life's  labour40    ,hull
 ,daily ,mail4    ,,moorish ,,remains   
,,in ,,spain    ,,being ,a ,,brief      
,,record ,,of ,,the ,,arabian ,,conquest
 ,,and ,,occupation ,,of ,,the          
,,peninsula1 ,,with ,a ,,particular     
,,account ,,of ,,the ,,mohammedan       
,,architecture ,,and  ,,decoration ,,in 
,,the ,,cities ,,of ,,cordova1 ,,seville
 ,,and ,,toledo1 ,,with ,,many          
,,coloured ,,plates1 ,,and ,,over #djj  
,,black ,,and ,,white ,,illustrations1  

,,diagrams1  ,,etc41 ,,dedicated ,,by   
,,permission ,,to ,h4,m4 ,,king         
,,alfonso ,,xiii4    ,crown #dto4       
7#g-a_/b  #aj ins47 ,price #b #bs4 net  
,,press ,,notices    8,the making of    
this book must surely have been a       
veritable labour of  love2 and love's   
labour has certainly not been lost40    
,pall ,mall ,gazette4    8,the best age 
of ,moorish architecture in ,spain is   
shown with remarkable  vividness and    
vitality40    ,the ,scotsman4    8,a    
most gorgeous book4444 ,we cheerfully   
admit ,mr4 ,calvert into the ranks  of  
those whom posterity will applaud for   
delightful yet unprofitable  work40     
,outlook4    8,a large and sumptuous    
volume40    ,tribune4    8,the          
illustrations are simply marvels of     
reproduction40    ,dundee ,advertiser4  
8,one of the books to which a simple    
literary review cannot pretend to do    
justice40    ,spectator4    8,a special 
feature of a work of peculiar interest  
and value are the  illustrations40      

,newcastle ,chronicle4    8,the         
illustrations are given with a          
minuteness and faithfulness of  detail1 
and colour1 which will be particularly  
appreciated and  acknowledged by those  
who are most acquainted with the subject
  themselves40    ,liverpool ,post4     
8,it is impossible to praise too highly 
the care with which the  illustrations  
have been prepared40    ,birmingham     
,daily ,post4    8,it is illustrated    
with so lavish a richness of colour that
 to turn its  pages gives one at first  
almost the same impression of splendour 
as one  receives in wandering from hall 
to hall of the ,alcazar of ,seville2 and
  this is probably the highest          
compliment we could pay to the book or  
its  author40    ,academy4    8,it is   
certainly one of the most interesting   
books of the year40    ,crown4    8,the 
occasional delicacy of design and       
harmony of colour can scarcely be       
surpassed 444 a valuable and profusely  
illustrated volume40    ,guardian4      

8,an excellent piece of work40    ,the  
,times4    8,mr4 ,,calvert has performed
 a useful work40    ,daily ,telegraph4  
8,a truly sumptuous volume40    ,the    
,speaker4    8,mr4 ,,calvert has given a
 very complete account of the evolution 
of  ,moresco art40    ,the ,connoisseur4
    ,,life ,,of ,,cervantes    ,a ,,new 
,,life ,,of ,,the ,,great ,,spanish     
,,author ,,to ,,commemorate ,,the       
,,tercentenary  ,,of ,,the ,,publication
 ,,of 8,,don ,,quixote10 ,,with         
,,numerous ,,portraits ,,and            
,,reproductions ,,from ,,early          
,,editions ,,of 8,,don ,,quixote0       
,size ,crown #hvo4 #aej pp4 ,price #c_/f
 net                                    
,,press ,,notices    8,a popular and    
accessible account of the career of     
,cervantes40    ,daily ,chronicle4      
8,a very readable and pleasant account  
of one of the great writers of all      
time40    ,morning ,leader4    8,we     
recommend the book to all those to whom 
,cervantes is more than a  mere name40  

,westminster ,gazette4    8,nothing     
could be more useful than this careful  
and authoritative book40    ,vanity     
,fair4    8,it is made trebly           
interesting by the very complete set of 
,cervantes'  portraits it contains1 and 
by the inclusion of a valuable          
bibliography40    ,black and ,white4    
8,nothing better could be desired40     
,literary ,world4    8,a capital and    
most interesting little book40    ,the  
,queen4    8,excellent little volume40  
,the ,graphic4    8,a book full of      
information and of convenient compass40 
,onlooker4    8,a handy1 compendious    
life1 with good ,quixotic pictures40    
,rapid ,review4    8,can be heartily    
recommended to all who want to know     
something of the  life of ,cervantes40  
,nottingham ,express4    8,mr4 ,,calvert
 is entitled to the gratitude of        
book-lovers for his  industrious        
devotion at one of our greatest literary
 shrines40    ,birmingham ,post4        
8,should be greatly appreciated by all  

lovers of the chivalrous ,knight40      
,dublin ,express4    8,a most           
interesting rsum of all facts up to the 
present time known40    ,el ,nervion de 
,bilbao1 ,spain4    8,the most notable  
work dedicated to the immortal author of
 ,don ,quixote  that has been published 
in ,england40    ,el ,graduador1 ,spain4
    8,although the book is written in   
,english no ,spaniard could have written
  it with more conscientiousness and    
enthusiasm40    ,el ,defensor de        
,granada1 ,spain4    ,,footnotes3    ,a 
,it is a work ascribed to the twelfth   
century1 but resembles more a  work of  
the tenth4 ,there is internal evidence  
to show that the costumes  were actually
 those of the ,kings of ,pelayo's line4 
,b ,gayangos1 ,mohammedan ,dynasties1   
,bk4 ,i4    ,c ,i have not been able to 
discover a single specimen of fourteenth
  century armour in the ,royal ,armoury 
of ,madrid4    ,d ,vambrace from avant  
bras2 rere-brace from arrire bras4    ,e
 ,conde de ,valencia1 ,catlogo de la    

,real ,armeria4    ,f ,in allusion to   
the equal rights claimed and exercised  
by ,ferdinand  and ,isabel4