learned author of the catalogue) of Daniel Hopfer, who often assisted Colman. The plates are gilded and etched with devices of the Golden Fleece, the Rose, and the Pomegranate. Hopfer is also credited with the curious concave target to be screwed to the shoulder at tournaments (A. 37), which is trellised or divided by intersecting ridges to break the point of an enemy’s lance. The spaces are engraved with much skill with herons attacking an eagle, which clutches one in its talons. If this, as it seems to be, is an allusion to the alliances promoted by Francis I. against the Emperor after the Treaty of Madrid, it shows that the shield must have been made long after the suit. The horse-armour of the harnesses (A. 37-38), on the contrary, seems to have been made for the Emperor Maximilian, and were etched by Burgmaier, a celebrated engraver of his time. They are most elaborately decorated. The ear-coverings of the one are shaped like rams’ horns; and the poitrel (or breastplate) is embossed with grotesque faces. The crupper-plates are decorated with compositions representing Biblical episodes--David killing Goliath and Samson slaying the Philistines. If the second suit belonged to the mighty Maximilian, the forehead-plate must have been added later, as it bears the motto “Plus Oultre,” first adopted by Charles. We come next to the five harnesses made between 1519 and 1539 for the Emperor by the Augsburg firm. They are alike decorated with ornamental bands in the direction of their greatest length and exhibit little difference in design. Two, however, are distinguished by the ugly lamboys or bases, a kilting of armour introduced about this time to satisfy the craze for novelty and extravagance. One of these is called the oak-leaf suit, from the predominant device in the ornamentation. It is Helmschmied’s own work--probably about 1520. The various pieces are distributed over three separate figures (A. 49-56-57). The breastplate becomes globose, the rondels are replaced on both shoulders by the less graceful pike-guards. No less than six extra pieces are shown that could be attached to the helmet. Though we may regret the departure from the elegant simplicity of the older style, our admiration is excited by the exquisite skill displayed in the articulation of the gorget and the bases--made as flexible as if they were of silk. Their plates are detachable, and beneath the steel kilt were worn breeches of the same metal, wonderfully laminated and allowing the utmost freedom to the limbs. The bands common to all the suits exhibit a great variety of detail. Griffins, amorini, nymphs, grotesques, heraldical devices, flowing scrolls, floral emblems, hunting scenes, are all introduced and interwoven with an ingenuity only exceeded by the delicacy of their execution. The helmet at A. 57 is lightly and beautifully relieved with the figures of Centaurs and serpents fighting.