The suit numbered A. 217-A. 230 should be familiar to visitors to the Prado. Philip, as heir apparent, is shown wearing it in Titian’s picture (No. 454) and by Rubens (No. 1607). The Count of Benavente is represented in it by Velazquez (1090). Designed by Arroyo, the harness, which is composed of more pieces than any other in the collection, was made in 1549. The history of Philip’s magnificent armour (A. 239-A. 242) as related by the Count de Valencia, is of some interest. Hitherto Colman’s superiority to other armourers of the time had been acknowledged only as regarded field and tilting armour--the plainer and tougher work, in short. Burning to eclipse his Milanese competitors in their own line and to produce a harness of the most ornate character, Colman looked about for an assistant and found one in Georg Sigman, an artificer of skill, whom the municipality of Augsburg had hitherto refused to enrol as a master of his craft. Colman promised his powerful influence to the aspirant, and together they turned out the fine suit we see. The cuirass and all the pieces, except the jambs, coudes and vambraces, are composed of overlapping plates. The decoration is tasteful, consisting of longitudinal bands of blackened steel, etched with grotesques and foliage. The coudes are embossed and gilded with female figures upholding the order of the Golden Fleece, attended by warriors. The genouillères are decorated with masks and satyrs. Note the little brayette at the meeting of the limbs, a piece, stupidly enough, rarely shown in English collections. The helmet or burgonet is richly chased with classical compositions, with cartouches, wreaths, and foliage. Upon it the name of Colman and the date 1552 are stamped in full, with the initials and mark of his collaborator.