The superb shield (plate 143A), screwed to the over-breastplate, bears the signature of Daniel Hopfer, and the date 1536. Its surface is divided into twenty-eight compartments of different sizes, in each of which are engraved groups of nymphs, satyrs, amorini, winged horses, griffins, and other fanciful creations on a gold ground. The groups are all different. Some of the female figures appear to have been intentionally made grotesque. The whole design reminds one of Albrecht Durer’s school and the German Renaissance. The beautiful burgonet or helmet (A59--plate 101), shaped like a dolphin’s head, was made in the workshops of Colman, and almost certainly designed by Daniel Hopfer. The scales are damascened on a black ground, and the visor is formed by the snout above the open jaw. We come now to the harness made for Charles V. at Augsburg about 1521, and distributed like the last suit among three figures. It presents no very interesting points of difference from the armour just described (plate 26). The barding of the horse (A65) is exquisitely engraved with fanciful figures, in which we recognise the hand of Daniel Hopfer. The armet of the third figure (A75--plate 102) is of the shape already shown at A19. The reinforcing piece over the crown is cut to resemble an eagle, and bears such devices as the Golden Fleece and Pillars of Hercules, and the motto “Plus Oultre.” It has also the most complete set of reinforcing pieces in the Armoury. These are shown on plate 97. The harness numbered A93-107 is the third of the suits decorated with vertical bands and the second with lamboys made for Charles by Colman Helmschmied. The Conde de Valencia fixes its date at 1526, and has elicited from various archives the following interesting historical details concerning it: “So long as the young Prince Charles resided in Flanders under the tutelage of his grandfather, the Emperor Maximilian I., it would be easy for the armourer Colman Helmschmied to take and certify personally his measurements, without neglecting the large clientèle that came to his workshops; but when his patron was obliged to go to Spain, he wished, and expressed this wish through his agents, that the armourer should remove to Toledo. Colman demurred, alleging that he was fully occupied, and from this it has been inferred that he never crossed the Pyrenees. We, more fortunately, are able to assert that the celebrated artificer, at last obeying the express command of his Sovereign, went to Toledo in December, 1525, and returned to Germany the following month.