Merate, Gabriel and Francesco. Arbois. 1495. Mark Nos. 18, 51, 53. See page 136. Voys, Jacques. Brussels. Fifteenth to sixteenth century. Mark No. 56. ITALY Campi, Bartolomeo. Milan. 1573. See page 132. Camelio, Victor. Brescia. 1500. See page 131. Cantoni, Bernardino. Milan. 1500. See page 133. Chiesa, Pompeo della. Milan. 1590. Missaglia, Antonio. 1492. Mark Nos. 24, 25, 26. See page 138. Missaglia, Petrajolo. Milan. 1390. Mark Nos. 27, 78. Missaglia, Tomaso. Milan. 1468. Mark Nos. 27, 78. See page 137. Mola, Gesparo. Rome. 1640. See page 139. Negroli, Philip and Jacopo. Milan. 1530-90. Mark Nos. 42, 43, 44. See page 140. Piccinino, Lucio. Milan. 1550-70. See page 140. FOOTNOTES: [135] At funeral of Henry VIII. [136] Sent to Flanders in this year to provide armour, etc., for the Field of the Cloth of Gold. [137] Sent to Flanders in this year to provide armour, etc., for the Field of the Cloth of Gold. [138] At funeral of Henry VIII. [139] Made sundry petitions for inquiry as to the state of the Armouries, S.P.D. Car. I, xiii, 96, etc. [140] Now considered to be the same as Topf. Only mention as armourer in England, 1590. [141] Appropriated gold intended to gild armour, also clipped money. [142] Died by burning in this year. SHORT BIOGRAPHIES OF NOTABLE ARMOURERS [Sidenote: _Hans Burgmair_, Augsburg, 1473-1531.] This celebrated engraver was the son of Hans Burgmair or Burgkmair. There is some confusion between the father and son, but the former seems to have worked either as a maker or a decorator of armour. The family were neighbours of the famous Colmans, the armourers, who lived in the Lange Schmiede gasse, while the Burgmairs had a house close by in Mauerburg. In 1526 Coloman Colman left his house to live with Hans Burgmair the elder, while Hans the younger took Colman’s house. The two families seem to have been on most intimate terms. S. Quirin. Leitner considered that the bard of A, 149, Madrid, which represents the labours of Hercules and Samson, was designed by Burgmair, and Wendelin Boeheim[143] also inclined to this view. His principal works were the Triumph of Maximilian and the illustrations of the _Weisz Künig_, both of which show such endless varieties of armour and weapons that we cannot but feel that the artist must have had a very practical knowledge of the craft of the armourer. It would enlarge the present work beyond its original scope if mention were made of all the artists who designed armour and weapons, for in all ages the painter and sculptor have been employed in this direction. It will be sufficient to note that designs of this nature are to be found in the sketch-books of Donatello, Giulio Romano, Holbein, Leonardo da Vinci, Benvenuto Cellini, and Albert Dürer. Reproductions of two drawings by the latter are given on Plate XXXI. [Sidenote: _Vittore Camelio_, Venice, _circ._ 1450-1509.]