Another beautiful headpiece, of the Burgonet type, is shaped like a dolphin’s head, and blackened and damascened. It is no doubt an example of Hopfer’s skill. The same hand may be traced in the decoration of the armet of the suit numbered A. 75. The reinforcing piece, in the form of an eagle’s head and beak, was in the possession of Sir Richard Wallace, and by him given to his Catholic Majesty. Helmschmied, who, as Count de Valencia has proved, visited Spain in 1525, died in 1532. The last harness he made for the Emperor (A. 108) illustrates a transition in the fashion of armour. The tassets or hip-plates now extend down to the knee, and tend to assume the “lobster-tail” form as worn by Cromwell’s Ironsides. Desiderius Colman lacked the genius of his father. On the Cornucopia suit (A. 115-117), so called from the emblem predominating in the decoration, we recognise a close and successful imitation of Helmschmied’s work. The vertical bands were insisted upon by the Emperor, as they apparently added to his height. The figure, A. 164, looks as if he had stepped out of Titian’s picture at the Prado. It is made up of the harness he wore at the battle of Muhlberg in 1547. The pieces are inlaid with gold and delicately etched. Desiderius made this armour in 1544, and immediately after began work upon a suit for Prince Philip, according to designs supplied by Don Diego de Arroyo. The harness differs little from those worn by the Emperor. It is furnished with “bases” and with very flexible articulated leg-armour. The genouillères or separate knee-plates disappear, but the graceful rondels at the armpits, and coudes or elbow pieces are retained. On the next figure is shown a very fine tilting helm in three pieces, and next to this again, a headpiece of the “morion” type fluted and delicately etched.