Francisco de Elias, an apprentice of Pedro Casadós. Francisco de Salinas; Madrid, 1636. Acheza----; Toledo. Camilo, 1500. Two fine rapiers are in the Kensington Museum, Nos. 626, '68, and 2214, '55, which belong to the 16th and 17th centuries, and give a good idea of this industry of Toledo. Woodcuts of these appear on the opposite page. One of the blades is marked with the name of Francisco Ruiz. A large and most important collection of rapiers, swords, and other arms exists at the Royal Armoury of Madrid. The breastplates are unusually fine, but the finest among them are by Milanese artists. A good example, which has been considered Spanish, was formerly in the Bernal Collection (see woodcut on p. 98); it gives an excellent idea of the artistic importance attained by this industry. [Illustration: SPANISH RAPIERS. SOUTH KENSINGTON MUSEUM.] The saddles used in Spain were similar to those of other European countries, for we find the same names adapted to the Spanish language. In the poem of the Cid, 13th century, and other works of the Middle Ages, _gallega_ and _barda_ saddles are mentioned which were peculiar to Spain. The _gallega_ saddles were called so from being made in Gallicia; the _barda_ proceeded from the Moors. We find no details which explain their exact structure. [Illustration: BREASTPLATE, FORMERLY IN THE BERNAL COLLECTION.] A very remarkable collection of saddles of every description may be studied at the fine collection of armour at Madrid; among them are two of special interest--No. 2311 of "Catalogue of Armoury"--traditionally supposed to have belonged to the Cid, and No. 1310, which was used by King James the Conqueror in the 13th century. The Cid's saddle (see woodcut) is intended for a war-horse; its bows are covered with black metal plating, ornamented with a design of leaves and pilgrims' shells, partially gilt, and the word "Fides," considered to be the Cid's devise. Much has been written on the origin and authenticity of this saddle. Cervantes alludes to it in the 49th Chapter of "Don Quixote," Part I. For further details see "Catalogue of the Armeria." [Illustration: SADDLE OF THE CID. ARMOURY, MADRID.] The greatest novelty which was introduced during the Renaissance period was the use of fire-arms. The only names of ancient artists that I have met with, who had any connection with the manufactory of large pieces of artillery were Pedro Burgues, an iron master of Barcelona, who lived in 1393; Rodrigo de Almanza, and Pedro Colomer, who made fire-arms at Barcelona in 1413; and the Moor, Alfarax Darhin, an iron master of Tarazona; V. Fernandez Duro. [Museo Español, vol. v. p. 18.]