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 it is almost the only existing example of anything of its kind. The whole surface of the salade has been roughened by even cross-hatching, and on to this surface a thin sheeting of gold has been hammered, then burnished, and afterwards tooled with a series of dual lines conforming to the general decoration of the helmet. To enrich this head-piece further, over the face of the skull-piece apertures have been cut in groups, pear-shaped and round, into which have been inserted beautiful little arabesque designs executed in gold cloisons filled with translucent enamel. These are retained in position at the back by a lining of thin iron which covers the entire inner surface of the salade. The colouring of the enamel is vivid and beautiful. Many theories exist as to the origin of this helmet. Moorish Spain and Venice seem to make the best claim to its production; in our opinion, it should be credited to the latter place.

North Italian. About 1490, with enrichments added in the XVIIth century Collection: Prince Ladislaus Odescalchi, Rome

It is by comparison of the enamel panels on this helmet with the only two other examples of like enamel applied to military equipment, with which we are acquainted in England, that we arrive at this conclusion. These enamels of the same technique and brilliancy are to be seen on the famous Forman stirrups (Fig. 358), now in the collection of Lady Ludlow, and on portions of a bridle in the British Museum (Fig. 359).

After most careful consideration, and comparison, these stirrups and the plaques from the bridle have both been pronounced to be of Venetian origin and workmanship of the latter part of the XVth century. So, on the