armourer’s craft. The final victory of the firearm in the long struggle
between attack and defence was now very generally recognised, and
complete suits of armour were worn mainly for display. Tilting, too, was
going rapidly out of fashion. By the middle of the seventeenth century
the burgonet, cuirass, and tassets were well-nigh the only pieces of
armour worn in the field.
The suit B1 to B3 (plates 82 _et seq._) presented to Philip III. when
Prince, at the age of _seven_, by his brother-in-law, Carlo Emmanuele,
Duke of Savoy, is obviously one of the harnesses intended for ornament,
and not defence. It is a beautiful example of Italian art, including
twelve pieces, worked in gilded iron, and decorated with innumerable
figures, masks, &c., in the low relief contained in cartouches, scrolls,
and bands--all embossed and damascened. There is no leg-armour attached
to the suit, and the gauntlets have disappeared.
The helmet, or _celada de engole_, has a large mask on the visor, and at
the sides Victory and Fame; on the outside part of the collar, Strength
and Prudence, and on the other, the Ducal Crown; on the breastplate the
figure of Fortuna, accompanied by two winged genii, with a phylactery on
which is the word SPANIA; and in different places, Justice, Temperance,
and various small symbolic figures, which may also be seen on the
backplate, the pauldrons, and the armlets. It bears no armourer’s mark.
B2. Infantry morion, forged in one piece, with similar decoration to the
preceding; a mask, in front on the forehead figures representing
Abundance and Prosperity, grotesques, and trophies.
B3. Shield, for combat on foot. A medallion covers the centre, on which
are represented Jupiter, Neptune, and Mars destroying the Moors; around
are four Ephesian Dianas on _estipites_ (pedestals in the form of
inverted pyramids), and between them an equal number of panels with
warlike and mythological subjects: the decoration of the groundwork is
completed by other subjects similar to those of the preceding pieces.
Diameter 0.39.
The half-suit B4-5 (plate 84), also presented to the successor of Philip
II. in his childhood, is believed to be the work of Lucio Picinino. The
decoration is very beautiful and less profuse than in the preceding
example. On the wide middle band of the breastplate may be seen a mask
upheld by two nude figures, the goddess Pallas, satyrs, &c. Festoons
with masks extend from band to band. The pauldrons bear grotesque masks,
and the coudes symbolical figures.
The harness, A291-294 (plate 54), seems to have been made in Milan by
Lucio Picinino, and was presented by the Duke of Savoy to Philip III.
“Although it belongs to the decadent period of the Italian Renaissance,”
remarks the Conde de Valencia, “it is assuredly one of the handsomest
pieces of work turned out by the Milanese armourers of the late
sixteenth century.” The panoply is unfortunately very incomplete, owing
to the strange course having been adopted of dressing with parts of it
the corpse of the Infante Carlos, who died in 1632.
The whole suit is profusely decorated with reliefs and gold and silver
damascene work. The burgonet displays three masks--on the visor (which
is in two pieces), and at the base of the skull. The upper edge of the
breastplate is roped. In the centre of the chest is an embossed mask;
beneath it a panel with the figure of Victory, seemingly held in
position by chains, and by two male figures. Below it and on either side
are grotesque masks. The pauldrons (one of which has a bufe or
passe-garde), the tassets, cuisses, genouillères, and demi-jambs are
similarly decorated with cartouches and medallions with martial and
allegorical subjects.
“The rich covering for the horse is also incomplete. It is composed of
pieces of the two distinct bards mentioned in the Inventory, one ‘inlaid
with gold and silver, fluted, and in relief, all adorned with blue
stones (lapis lazuli) and yellow stones and illuminated crystals’; and
the other, ‘with the same pieces as the one above, lacking nothing, and
this is of gilded iron in relief.’
“Saddles, chanfrons, and mainfaires of both bards are preserved, these
sets being that of the dragon chanfron on the horse A190, and that with
the inlaid work on the present figure; but the cruppers and poitrels of
both have been broken up, and their component parts have been mostly
dispersed abroad. What was preserved in the Armoury, now without stones
or crystals, together with other remains found in the ancient edifice
after the fire, constitute the crupper and poitrel of this horse.”
To the first decade of the seventeenth century belongs the suit
(A338-A346) attributed to the third Duke of Escalona. It has a tilting
helmet with visor in two pieces, and a shutter in the ventail; the
leg-armour is still complete. The elaborate ornamentation, consisting of
wide vertical bands etched, alternating with trophies, medallions, and
lacework, has lost much of its richness, owing to the disappearance of
the blackening and gilding.
The horse’s barding is older than the armour; it is of the early
sixteenth century, and the style of the ornamentation appears to be
Spanish Renaissance. The several pieces of which it is composed are
decorated with trophies, flowers, grotesques, and other devices in good
taste, etched, and part of them engraved by hand. On the poitrel may be
seen St. James on horseback, fighting against the Moors, accompanied by
two warriors of antiquity. The chanfron has the escutcheon of the
Alvarez de Toledo family, the surname of the celebrated Duke of Alba,
from whom possibly it might have come.
The days had passed when Spanish Kings sent to Augsburg for their
harness, and in 1620 we hear of a Royal armour factory at Pamplona in
Navarre. The first specimen of its work is the parade armour made for
the Duke of Savoy by order of Philip III. (A350-353, plate 62). Being a
presentation suit, it was lavishly decorated with vertical bands and
panels, with a bordering of trefoils of silver in relief. The initial
letter, and the ducal crown and palms of Savoy figure in the
ornamentation; and on the centre band of the cuirass may be seen the
arms of the County of Nice--a crowned eagle gazing at the sun.
Philip III.’s half-suit of armour, numbered A354-355, was also forged at
Pamplona. It is of steel-plated iron, and of extraordinary thickness. It
is blued and decorated at the borders with bands on which are chiselled
flowing scrolls, animals, grotesques, &c. A graceful edging of silver
trefoils in relief finishes off the bands. The helmet, or cabasset, has
a drooping brim, and is forged in two pieces. The breastplate is adorned
by the Collar of the Golden Fleece, and another collar or riband
(engraved), from which hangs the medal of the Immaculate Conception. A
curious feature is the seven indentations made by the bullets of an
arquebus, and each set with silver pearls. These marks do not say much
for the quality of the metal, which is ten millimetres thick. The
backplate, which is only three millimetres thick, has been perforated by
the bullet. The arms are defended by espaliers reaching to the elbow,
where they meet the cuffs of the gauntlets.
At Pamplona were also made six half-suits of boys’ armour for the three
sons of Philip III.--the Infantes Philip, Charles, and Ferdinand. These
suits (B13-B20, plates 87, &c.) are composed of closed helmet, gorget,
cuirass, and the usual arm armour. The steel is blued, and each piece is
decorated at the edge with the Collar of the Golden Fleece. The rest of
the surface is divided by beautiful foliations in silver into
diamond-shaped sections, in which are displayed the Tower and Lion of
Spain, the Pillars of Hercules, warlike trophies, and the Double-headed
Eagle.
The suit A360-368 (plate 58) was made in the first years of the century,
in Italy, apparently for the Prince Filippo Emmanuele of Savoy, who died
in 1605, aged 19. It consists of closed tilting helmet, gorget, cuirass,
tassets, and the usual pieces for the limbs. All the pieces are richly
decorated, but the blackening of the groundwork and the gilding of the
ornamentation have disappeared. The crown of Savoy, with the palms and
olive-branch, and groups of trophies are etched in rhomboidal sections
formed by intertwined lovers’ knots, the emblem of the ducal house.
The same scheme of decoration is apparent on the two suits (A369, A377)
of Italian make that were the property of the victor of St. Quentin,
Prince Emmanuele Filiberto of Savoy, Grand Admiral of Spain (1588-1624).
On the first suit certain Spanish heraldic devices, such as the Tower
and Lion, may also be seen associated with the emblems of Savoy.
The last period of armour is illustrated by the suits belonging to King
Philip IV. Six of these were sent to him from Brussels by his aunt, the
Infanta Isabel Clara Eugenia, wife of the Archduke Albrecht.
The first of these (A380-393) dates from 1624. It is shown on two
figures, both with the same decoration of vertical bands traced on a
groundwork of gold. On the shield may be deciphered the initials M. P.
with a crown and three fleurs-de-lys, which leads the Conde de Valencia
to hazard the conjecture that the armourer may have been one of the
Petits, who served Louis XIII. of France. The harness includes the
complete leg-armour, which now was never worn in the field; but the
second figure (A381, plate 60) has, instead, the lobster-tail tassets,
which were in actual use.
The second presentation suit (A394-401) is that in which Philip IV. is
represented by Velazquez in the portraits in the Prado, numbered 1,066
and 1,077. It seems to have been originally blackened with the edges and
rivets gilded, but probably lost its hue when worn by the illustrious
Don Juan José, natural son of Philip IV., in his Italian campaign in
1652.
The armour A408-413 was among the gifts presented by the Archduchess
Isabel Clara. It was very elegantly decorated with bands of gold and
silver, chiselled by hand in zig-zag fashion. The next suit, A414-421,
from the same donor, was worn by Don Juan José, who is shown wearing the
cuirass on a bust in the Prado gallery.
The two remaining suits attributed to Philip IV. were the gift of his
brother, the Cardinal Infante Ferdinand. The first (A422, plate 59) has
the lobster-tail tassets, and is blued and decorated with vertical bands
of medallions with various subjects. This suit was formerly, for some
obscure reason, ascribed to Columbus. The second suit (A423-428) was
originally blued and gilt, but the natural colour of the metal has now
reasserted itself. The armour is distributed over three figures, and
includes several pieces fast becoming obsolete at that time (1632).
Notice the unusual size of the garde-de-rein on the first figure.
With these suits the Cardinal sent another for his boy-nephew, Prince
Baltasar Carlos (1629-1646). This armour is little more than a toy, and
preserves its blackening and gilding almost unimpaired.
The magnificently engraved collar and gorget numbered A434-A441 (plates
93, 94) are now known to represent the siege of Ostend (1601-1604) and
the Battle of Nieuport (1600). The details are executed with marvellous
clearness, and the chiselling reflects the greatest credit on the
unknown artist. The horseman in the centre group on the gorget is
probably the Archduke Albrecht, who distinguished himself by his valour
at the Battle of Nieuport. These pieces were worn over a buff jerkin,
such as was used by Cromwell’s Ironsides.
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 establishment. Its nucleus was the
armour accumulated by the Emperor Charles V., not with a view to a
collection, but for his personal use. Philip II. was not slow to
recognise the value of the treasure bequeathed him by his father. On his
return to Madrid, upon the death of his wife, Mary Tudor, Philip
deposited all the Emperor’s armour in a building specially designed for
its reception, and added to it from time to time trophies won from the
enemies of Spain, and such antiquities of national and military interest
as he could procure. His good example was followed by his successors
till the manufacture of defensive armour altogether ceased at the end of
the seventeenth century, while the spoils of war became every year
rarer towards the close of the eighteenth.
A calamity befell the collection at the outbreak of the War of
Independence. The people of Madrid, in their eagerness to procure arms,
invaded the building on December 1st, 1808, and carried off more than
three hundred swords and other weapons with which to attack the French.
And three years later Joseph Buonaparte foolishly piled the contents of
the Armoury in the garrets, in order to make room for the dancers in the
hall.
In the reign of Isabel II. the collection was re-installed and
re-arranged. A catalogue was issued for the first time in 1849, the
author being Don Antonio Martinez del Romero--a work displaying
considerable research and industry, but full of errors, and completely
superseded by the catalogue published in 1898 by the Conde de Valencia
de San Juan.
It was to that gentleman that the late King Alfonso XII., soon after his
accession, entrusted the complete re-organisation of the collection.
This was a work presenting extraordinary difficulties, and after three
years of incessant labour, the Conde had the mortification of seeing a
fierce fire break out, which in the night of July 9th, 1884, reduced to
ashes sixty-two flags taken from the enemy, twenty leather shields, and
all the wooden figures prepared for the arrangement of the armour.
Without hesitation the work was begun all over again. The King added new
and priceless acquisitions to the collection, among these being eleven
examples of fifteenth-century brigandine armour (quilted jackets with
the additional protection of plates of iron secured among the pads)
discovered in Aragon, and several of the finest pieces in the armouries
of the Dukes of Osuna and del Infantado.
Her Majesty Queen Cristina, during her regency, was not forgetful of the
interest taken by her lamented husband in this magnificent Museum of
Arms; and, thanks to her, the number of its treasures has been
materially increased. 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 devoted, like so many of his illustrious
ancestors, to manly exercises and chivalrous traditions.
[Illustration: PLATE 1.
(1 TO 5). CROWNS AND VOTIVE CROSSES OF GUARRAZAR.
(6). REMAINS OF ST. FERDINAND’S ROBE.
(7). MOORISH SPURS OF ST. FERDINAND.
]
[Illustration: PLATE 1A.
CLOAK AND SPURS OF ST. FERDINAND AND VISIGOTHIC BIT.]
[Illustration: PLATE 2.
DON BERNARDO GUILLEN DE ENTENZA, 13TH CENTURY.]
[Illustration: PLATE 3.
DON GUILLELMO RAMON DE MONCADA, SENESCHAL OF CATALONIA, DIED CIRCA 1280
[Illustration: DON JUAN ALFONSO, LORD OF AJOFRIN, DIED ABOUT 1386.]
[Illustration: PLATE 4.
G 22. SWORD AND SCABBARD, PROBABLY BELONGING TO ST. FERDINAND.]
[Illustration: G 21. THE LOBERA OF ST. FERDINAND.]
[Illustration: PLATE 5.
G 22. SWORD AND SCABBARD THAT PROBABLY BELONGED TO ST. FERDINAND.]
[Illustration: PLATE 6.
PEDRO I., KING OF CASTILE.]
[Illustration: PLATE 7.
EFFIGY OF ST. FERDINAND, KING OF SPAIN.]
[Illustration: PLATE 8.
SEPULCHRAL EFFIGY OF DON BERNARDO DE ANGLESOLA, CIRCA 1384.]
[Illustration: PLATE 9.
F 123. BIT, BELIEVED TO HAVE BELONGED TO VITIZA, KING OF THE VISIGOTHS.]
[Illustration: D 11. HELMET-CREST OF MARTIN I. OF ARAGON.]
[Illustration: PLATE 10.
G 4. PONTIFICAL SWORD PRESENTED BY POPE EUGENE IV. TO JOHN II. OF
CASTILE.
G 13. 15TH CENTURY WAR SWORD. PROBABLY BELONGED TO FERDINAND THE
CATHOLIC.]
[Illustration: PLATE 11.
G 1. CEREMONIAL SWORD OF FERDINAND AND ISABELLA.
G 23. 15TH CENTURY SWORD OF UNKNOWN ORIGIN.]
[Illustration: PLATE 12.
JUAN PACHECO, MARQUIS OF VILLENA, GRAND MASTER OF ST. JAMES, DIED
1474.]
[Illustration: PLATE 13.
G 29. WAR SWORD OF THE GRAN CAPITAN, GONZALO FERNANDEZ DE CORDOBA
(1453-1515).]
[Illustration: G 28. SWORD OF THE CARDINAL INFANTE FERNANDO, BROTHER OF
PHILIP IV.]
[Illustration: G 31. WAR SWORD OF FERDINAND THE CATHOLIC.]
[Illustration: PLATE 14.
A 9. ARMET, EARLY 16TH CENTURY (CLOSED).]
[Illustration: A 9. THE SAME (OPEN).]
[Illustration: A 5. ARMET, LATE 15TH CENTURY AND BEGINNING OF 16TH
CENTURY.]
[Illustration: PLATE 15.
A 11. ARMOUR OF PHILIP THE HANDSOME.]
[Illustration: A 16. TILT ARMOUR OF PHILIP THE HANDSOME.]
[Illustration: PLATE 15A.
A 16. TILTING ARMOUR OF PHILIP THE HANDSOME.]
[Illustration: PLATE 15B.
A 16. TILTING ARMOUR OF PHILIP THE HANDSOME.]
[Illustration: PLATE 15C.
A 16. TILTING ARMOUR OF PHILIP THE HANDSOME.]
[Illustration: PLATE 15D.
TILTING ARMOUR, EARLY 16TH CENTURY, ATTRIBUTED IN THE 1849 CATALOGUE TO
MAXIMILIAN OF AUSTRIA.]
[Illustration: PLATE 16.
A 11. ‘CAPERUZA’ OF PHILIP I. OF CASTILLE.]
[Illustration: A 17. HELMET WITH UNUSUALLY LARGE SHUTTER, LATE 15TH
CENTURY.]
[Illustration: D 14. LATE 15TH CENTURY HELMET IN THE MOORISH STYLE. IT
IS THE ONLY ONE OF THE KIND IN THE ARMOURY.]
[Illustration: PLATE 17.
C 1. SPANISH MAN-AT-ARMS, 15TH CENTURY.]
[Illustration: PLATE 17A.
C 1. SPANISH MAN-AT-ARMS, 15TH CENTURY (BACK VIEW).]
[Illustration: PLATE 17B.
C 4. SPANISH CROSSBOWMAN, 15TH CENTURY.]
[Illustration: PLATE 17C.
C 4. SPANISH CROSSBOWMAN, 15TH CENTURY (BACK VIEW).]
[Illustration: PLATE 17D.
C 2. SPANISH HALBERDIER, 15TH CENTURY.]
[Illustration: PLATE 17E.
C 2. SPANISH HALBERDIER, 15TH CENTURY (BACK VIEW).]
[Illustration: PLATE 18.
MACE-BEARER OF THE 16TH CENTURY WITH SURCOAT DISPLAYING THE ARMS OF
CASTILE AND LEON.]
[Illustration: PLATE 19.
A KING OF ARMS.]
[Illustration: PLATE 20.
A 101. ROYAL TILT ARMOUR OF CHARLES V.
A 19. WAR ARMOUR OF CHARLES V.]
[Illustration: PLATE 20A.
A 19. WAR ARMOUR OF THE EMPEROR CHARLES V. (1517).]
[Illustration: PLATE 21.
A 26. TILTING HARNESS OF CHARLES V.]
[Illustration: PLATE 22.
A 27. TILTING ARMOUR OF CHARLES V.]
[Illustration: PLATE 23.
A 37. TILTING HARNESS OF CHARLES V. MADE BY COLMAN HELMSCHMIED.]
[Illustration: PLATE 24.
A 49. OAK-LEAF SUIT WITH LAMBOYS OF CHARLES V.]
[Illustration: PLATE 25.
A 56. FIGURE SHOWING PIECES OF THE OAK-LEAF ARMOUR.]
[Illustration: PLATE 26.
A 65. TILTING HARNESS OF CHARLES V.]
[Illustration: PLATE 27.
A 93. FOOT ARMOUR, WITH LAMBOYS, BELONGING TO CHARLES V., WITH
REINFORCING PIECES FOR HELMET.]
[Illustration: PLATE 27A.
A 93. FOOT ARMOUR OF CHARLES V. MADE BY HELMSCHMIED IN 1526.]
[Illustration: PLATE 28.
A 112. ARMOUR PRESENTED TO CHARLES V. BY THE DUKE OF MANTUA.]
[Illustration: PLATE 29.
A 114. ARMOUR PRESENTED TO CHARLES V. BY THE DUKE OF MANTUA.]
[Illustration: PLATE 30.
A 116. CORNUCOPIA ARMOUR OF CHARLES V.]
[Illustration: PLATE 31.
A 129. WAR HARNESS OF CHARLES V.
A 130. ITALIAN ARMOUR OF CHARLES V.]
[Illustration: PLATE 31A.
A 139. ARMOUR OF CHARLES V. (WORK OF NEGROLI).]
[Illustration: PLATE 32.
A 147. FOOT ARMOUR OF CHARLES V.]
[Illustration: PLATE 33.
A 149. ARMOUR OF CHARLES V. (1541).]
[Illustration: PLATE 34.
A 160. ARMOUR OF CHARLES V., PROBABLY MADE BY NEGROLI.]
[Illustration: PLATE 35.
A 164. CHARLES V. AT MÜHLBERG.]
[Illustration: PLATE 36.
ARMOUR OF CHARLES V. (PIECES OF THE MÜHLBERG HARNESS).]
[Illustration: PLATE 37.
PIECES OF THE MÜHLBERG HARNESS OF CHARLES V.]
[Illustration: PLATE 37A.
HARNESS COMPOSED OF PIECES OF THE MÜHLBERG HARNESS (1547).]
[Illustration: PLATE 38.
ARMOUR OF CHARLES V., WITH LAMBOYS.]
[Illustration: PLATE 39.
A 165. MÜHLBERG ARMOUR OF CHARLES V.
A 138. ARMOUR OF CHARLES V. AFTER THE ROMAN STYLE.]
[Illustration: PLATE 40.
EQUESTRIAN ARMOUR OF CHARLES V.]
[Illustration: PLATE 41.
ARMOUR OF CHARLES V., MADE BY COLMAN.
(1849 CATALOGUE.)]
[Illustration: PLATE 41A.
ARMOUR OF CHARLES V., AUGSBURG OR NUREMBERG MAKE.
(1849 CATALOGUE.)]
[Illustration: PLATE 42.
EQUESTRIAN ARMOUR OF THE MARQUIS OF VILLENA, 16TH CENTURY.]
[Illustration: PLATE 43.
A 189. FOOT ARMOUR OF PHILIP II., MADE BY DESIDERIUS COLMAN.]
[Illustration: PLATE 43A.
A 189. FOOT ARMOUR OF PHILIP II., MADE BY DESIDERIUS COLMAN.]
[Illustration: PLATE 44.
A 217. ARMOUR OF PRINCE PHILIP (II.), OF GERMAN MAKE.]
[Illustration: PLATE 45.
A 218. ARMOUR OF PRINCE PHILIP (II.) MADE IN GERMANY IN 1549.]
[Illustration: PLATE 46.
A 231. ARMOUR MADE FOR PRINCE PHILIP (II.) BY WOLF OF LANDSHUT (1550).]
[Illustration: PLATE 47.
A 239. PARADE ARMOUR OF PHILIP II.
PARADE ARMOUR OF KING SEBASTIAN OF PORTUGAL.]
[Illustration: PLATE 47A.
A 239. SUIT MADE FOR PRINCE PHILIP (II) AT AUGSBURG IN 1552.]
PLATE 47B.
[Illustration: A 239. GORGET OF PHILIP II. WHEN HEIR-APPARENT. FOR
PARADE (1552). IT HAS THE COLLAR OF THE GOLDEN FLEECE.]
[Illustration: A 242. SADDLE-PLATE BELONGING TO THE SAME ARMOUR AS THE
PRECEDING.]
[Illustration: PLATE 48.
A 243. EQUESTRIAN ARMOUR OF PHILIP II. MADE BY SIGMUND WOLF OF
LANDSHUT.]
[Illustration: PLATE 49.
A 245. TILTING ARMOUR MADE FOR PRINCE PHILIP (II.) BY WOLF OF LANDSHUT
(1554).]
[Illustration: PLATE 50.
A 263. ‘BURGUNDY CROSS’ ARMOUR OF PHILIP II.]
[Illustration: PLATE 50A.
THE ‘BURGUNDY CROSS’ SUIT OF PHILIP II.]
[Illustration: PLATE 50B.
‘BURGUNDY CROSS’ ARMOUR OF PHILIP II.]
[Illustration: PLATE 51.
ARMOUR OF KING PHILIP II.]
[Illustration: PLATE 52.
A 274. COMPLETE ARMOUR OF PRINCE CHARLES, SON OF PHILIP II.]
[Illustration: PLATE 52A.
A 289. SUIT PRESENTED TO PHILIP II. BY THE CONDE DE NIEVA.]
[Illustration: PLATE 52B.
ARMOUR OF PHILIP II., ENGRAVED WITH THE ROYAL ARMS OF ENGLAND.]
[Illustration: PLATE 53.
A 290. ARMOUR OF KING SEBASTIAN OF PORTUGAL.]
[Illustration: PLATE 53A.
A 290. ARMOUR OF KING SEBASTIAN OF PORTUGAL (2ND VIEW).]
[Illustration: PLATE 53B.
A 290. ARMOUR OF KING SEBASTIAN OF PORTUGAL (3RD VIEW).]
[Illustration: PLATE 53C.
A 290. ARMOUR OF KING SEBASTIAN (DETAILS).]
[Illustration: PLATE 53D.
A 290. ARMOUR OF KING SEBASTIAN, BACK PLATE (DETAILS).]
[Illustration: PLATE 54.
A 291. EQUESTRIAN PARADE ARMOUR OF PHILIP III.]
[Illustration: PLATE 54A.
A 291. ARMOUR OF PHILIP III., MADE BY LUCIO PICININO OF MILAN.]
[Illustration: PLATE 55.
A 347. ARMOUR PRESENTED BY THE ARCHDUKE ALBERT TO PHILIP III.]
[Illustration: PLATE 56.
A 354. HALF SUIT MADE AT PAMPLONA FOR PHILIP III.]
[Illustration: PLATE 57.
A 356. WAR ARMOUR, EARLY 17TH CENTURY, MILANESE MAKE.]
[Illustration: PLATE 58.
A 360. HALF ARMOUR OF PRINCE FILIPPO EMMANUELE OF SAVOY, EARLY 17TH
CENTURY.]
[Illustration: PLATE 58A.
ARMOUR OF PRINCE FILIPPO EMMANUELE OF SAVOY (1586-1605).]
[Illustration: PLATE 59.
A 422. MILANESE ARMOUR OF KING PHILIP IV.]
[Illustration: PLATE 60.
ARMOUR SENT FROM FLANDERS IN 1624 BY THE INFANTA ISABEL CLARA EUGENIA TO
PHILIP IV.]
[Illustration: PLATE 61.
ARMOUR ASCRIBED TO KING PHILIP IV.]
[Illustration: PLATE 62.
ARMOUR MADE AT PAMPLONA FOR THE DUKE OF SAVOY, 1620.]
[Illustration: PLATE 63.
A 277. ARMOUR ASCRIBED ON DOUBTFUL AUTHORITY TO DIEGO GARCIA DE
PAREDES.]
[Illustration: PLATE 64.
ARMOUR ASCRIBED TO DON ALONSO CESPEDES, THE CASTILIAN ALCIDES, DIED
1569.]
[Illustration: PLATE 65.
ARMOUR OF FERNANDO D’ALARCON, 16TH CENTURY.
(1849 CATALOGUE.)]
[Illustration: PLATE 66.
HALF ARMOUR OF THE 3RD COUNT OF ALTAMIRA.
(1849 CATALOGUE.)]
[Illustration: PLATE 67.
HALF ARMOUR OF JOHN OF ALDANA.
(1849 CATALOGUE.)]
[Illustration: PLATE 68.
HALF ARMOUR OF ALFONSO D’AVALOS, NEPHEW OF THE MARQUIS OF PESCARA.
(1849 CATALOGUE.)]
[Illustration: PLATE 69.
MILANESE ARMOUR OF THE FAMOUS WARRIOR ANTONIO DE LEIVA.
(1849 CATALOGUE.)]
[Illustration: PLATE 70.
HALF ARMOUR OF THE POET GARCILASO DE LA VEGA.
(1849 CATALOGUE.)]
[Illustration: PLATE 71.
ARMOUR OF LUIS HURTADO DE MENDOZA.
(1849 CATALOGUE.)]
[Illustration: PLATE 72.
COMPLETE ARMOUR OF THE MARQUIS OF PESCARA, GENERAL OF CHARLES V.
(1849 CATALOGUE.)]
[Illustration: PLATE 73.
HALF ARMOUR OF JUAN DE PADILLA, BEHEADED BY ORDER OF CHARLES V. IN 1520.
(1849 CATALOGUE.)]
[Illustration: PLATE 74.
HALF ARMOUR OF JUAN ARIAS DE AVILA, COUNT OF PUÑONROSTRO.
(1849 CATALOGUE.)]
[Illustration: PLATE 75.