The harness already referred to as having been worn by the Prince-Bishop of Salzburg about the year 1600, and illustrated in Fig. 35, is a beautiful suit by the celebrated Milan armour-smith, Lucio Piccinino. It is profusely inlaid with gold, and the ornamentation is most elegant. The sumptuous and elaborate decoration, which is in the banded Italian style in repoussé or hammered work, with arabesqued foliations, is interspersed with medallions encircling male and female figures. The helmet and suit throughout is closely in touch with the elegant Italian school of the end of the sixteenth century, which, however, already erred on the side of redundancy in ornamentation. The close of all great periods culminates with this great fault, sharply marking the beginning of the end; the waning vigour of the theme eked out by a profusion of detail. The prince-bishop’s arms are engraved on the cuirass, and the historic character of the suit invests it with special interest and importance. The series of reinforcing plates belonging to it may be referred to in Figs. 10 and 11. Lucio Piccinino’s style marked the last stage before the decline of art. He came of a family of artists; his father was the celebrated sword-smith, Antonio Piccinino. Other examples of Lucio’s handiwork may be seen in a richly decorated helmet and shield at Vienna. [Illustration: Fig. 35.--Suit by Lucio Piccinino, of Milan.] SUIT AT NAWORTH CASTLE. This suit is very rich and handsome, being freely engraved and inlaid with gold--the gilding has, however, greatly worn off. The ornamentation is somewhat rude, both in character and in execution, and vastly inferior to either Italian or German work. The cuirass is ornamented with a “George” badge on either side, indicating a knight of the Garter, the execution of which is good. The genouillières are attachable to the jambs by reversible catches, which pass through the plate--they are the same catches as shown on the Osuna harness. There is a tapul and garde-de-reine. The sollerets are square-toed, but very narrow, not “bear-paw” like the “Maximilian.” The Earl of Carlisle suggests the possibility that the harness may have belonged to the last Lord Dacre, who died in 1566. This would, of course, point to an even earlier date of make, but this seems incompatible with the general aspect of the suit, which would appear to date from late in the reign of Queen Elizabeth. [Illustration: Fig. 36.--Repoussé Armour at Berlin.] SUIT FROM THE COLLECTION OF PRINCE CARL OF PRUSSIA, NOW IN THE ZEUGHAUS AT BERLIN. This beautiful suit (Fig. 36), decorated in repoussé work in very high relief, dates about the close of the sixteenth century, and the ornamentation is instructive as well as artistic in the classical battle-scene and details it depicts. The mitten gauntlet, with expanded cuff, is very fine. The ridge over the knuckles is bold, and smaller ridges continue to the finger tips. THE OSUNA SUIT.