The cuirass is a triumph of art, and is moulded in the resemblance of the human torso, the outlining of the muscles proving that the artificer was well acquainted with anatomy. At the neck is a square piece, composed of bands of gold inlaid work. Beneath this is the Medusa’s head, from which spring two volutes, ending in small silver flowers. This constitutes the only decoration of the breastplate. Campi’s pride in his work, and the celerity with which he executed it, are testified by the inscription, BARTHOLOMEVS CAMPI AVRIFEX TOTIVS OPERIS ARTIFEX QVOD ANNO INTEGRO INDIGEBAT PRINCIPIS SUI NVTVI OBTEMPERANS GEMINATO MENSE PERFECIT. The tace is composed of a series of gilded bronze medallions, showing classic heads, masks, unicorns, and similar devices. From beneath these fall the tassets--long strap-like pieces of several laminæ each. Beneath these again is a brayette of steel mail. “But nothing so enriches this graceful armour as the espaliers, composed of two large black masks in high relief, whose eyeballs, owing to the gold circle in which they are enclosed, have a singular expression. On the shoulders are beautiful damascened festoons fan-shaped, and underneath, springing from the mouths of each of the masks, another series of hanging laminas, smaller than those of the skirt or tassets, and also over fine mail.” Lastly, the artist held to the compulsory classic nudeness, and limited the protection of the legs to short steel buskins, openworked, similar to the cothurnus which, according to Virgil, came up over the leg and was fastened with cords in front: these buskins have beautiful masks of satyrs in gilded bronze, and end in mail shoes with the toes outlined. The figure has in its hand a small mutilated partisan of the Emperor’s time, with the emblems of Burgundy and the Pillars of Hercules engraved on the blade. With the suit A114, above described, the work of Giacopo Filippo Negroli, the Duke of Mantua presented Charles with a casque and target by the same artificers. This was between the years 1533 and 1536. The casque, or helmet-morion (D1--plate 148A), is moulded in the likeness of a head covered with golden curls, and encircled over the brow with a laurel wreath. The large side-pieces, shaped to the oval of the face, are perforated for hearing. The beavor is in the form of a curly beard, the lips showing above it. The production reflects credit on the skill of the artificer, but is in bad taste. The target (D2--plate 148A), made to match the above, has a lion’s head and mane for boss, in high relief; the border is wide and very beautiful, and composed of medallions supported by griffins, and linked by scrolls and foliations.