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 decorative motifs stimulating their German rivals—Descriptions of the most famous and historical suits of their so-called "Spanish" types               302
 * —The armourers of Northern Italy also requisitioned, their finer appreciation of

CHAPTER XXVII

THE SCHOOL OF LUCIO PICININO

The school of Lucio Picinino of Milan, the distinct phases of the style—In the latest phase the marked deterioration, both in workmanship and design, very apparent—Much decorated armour of this latter type, only of the school of Picinino, not even from his workshops, but from the hands of very indifferent imitators—Certain very fine suits, and portions of suits, belonging to the first phase of Lucio Picinino—Certain fine suits, though less grand in the conception of their ornamentation, that we class in the later manners of Picinino                                                       330

CHAPTER XXVIII

ARMOUR TERMED "FRENCH"

Armour termed "French," in the same category as that termed "Spanish," not directly the work of the country, but made for the court and nobility of France—A suit, though now not in France, we can establish as having been made for Henri II—The Henri II suit in the Musée d'Artillerie of Paris; its unknown maker, but its likeness to the productions of Northern Italy—The unfinished so-called suit of Henri II in the Louvre, the chief of a group of works by a goldsmith-armourer whose work is familiar, but whose identity and even nationality have not been ascertained—The arguments of experts on the technique and style of the decoration as compared with existing drawings, and with other works of art—Certain suits or parts of suits which may be compared in style with the Louvre suit, though certainly not by the same hand       342