The work of another eminent Italian artist is to be seen at A. 112. It was presented to Charles by the Duke of Mantua and forged by Caremolo Mondrone of Milan (1489-1543). It possesses an historic interest, as the suit in which the Emperor made his entry into Tunis. Though the decorative work has all but disappeared, the close fit and flowing lines recall the best days of the armourer’s craft. The next suit (A. 114) also testifies by the extreme delicacy of the azziminia in imitation of Kufic inscriptions, to the wonderful skill of the same artificer. That the very greatest artists were not unwilling to co-operate in the decoration of arms is attested by the magnificent “Plus Ultra” shield designed by Giulio Romano, who was living in Mantua in those days. It is forged in a single piece of steel and the whole surface is chiselled with an elaborate composition. In the centre is seen the Emperor, in his Roman suit, upholding the Imperial Eagle and standing upright in a vessel, at the prow of which is Fame. Over his head Victory hovers. Hercules, more to the left, shoulders his Pillars, and prepares to follow the Emperor in his onward course, to the obvious consternation of Neptune. Below the boat a river-god is seated near the figure of Africa or America, bound and enslaved. This is certainly one of the most remarkable productions of the armourer’s art anywhere to be seen. The armour at one time in the possession of Charles and his son is naturally the most interesting in the collection. The suits made for their successors illustrate the decline of the artistic movement. The harness was now worn chiefly for display. The connection between Spain and Bavaria was severed, and the days had long gone when Toledo blades were esteemed the finest weapons the world could produce. The suits made for Philip III., when Infante, by Lucio Piccinino of Milan, is worthy of the earlier period. It is profusely decorated with reliefs and azziminia. The burgonet is embossed with three masks, another appearing in the centre of the breastplate, above a panel containing a figure of Victory and upheld by two male figures. The other pieces (many of which are wanting) were all similarly adorned. The horse’s barding exhibits a similar wealth of ornamentation. Turned out in Spain itself at the Royal Arsenal of Pamplona in Navarre, in the year 1620, is the armour catalogued under the numbers A. 350-353. This was a suit intended for presentation by Philip III. to the Duke of Savoy, and is lavishly decorated. A curious feature of the next suit, also made in Navarre, is the seven indentations made by the bullets of an arquebus. Each is set with stones. These marks were intended to attest the thickness of the steel, but they do rather the contrary, for the backplate has been completely perforated. We are reminded of Don Quixote’s attempts to satisfy himself of the toughness of his helmet.