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 figures of satyrs. The whole of the groundwork of the strap-bordering to the raised vertical bands is enriched with the most ornate gold azzimina damascening, on which at intervals are placed small rosette incrustations of silver. The same theme of ornament is carried out on the backplate; but the figures in the niches and panels are differently disposed. The decoration of the gorget and of the taces and tasses is similar to that of the breast- and backplate. On the top of each pauldron is a large grotesque mask executed in embossed work; there is also a smaller mask and festoon of drapery on the wide plate covering the shoulder blade and the gussets of the breastplate. Otherwise the ground decoration is similar to that which has been already described. The ornamentation of the rere- and vambraces differs in no way from that of the rest of the suit; but those parts of the coudes which cover the humerus are embossed to a mask form, as are the plates of the knee-cops. The entire design of decoration shown on this harness is worked out by an embossing from the back to surfaces of different levels, chased, and, as already stated, enriched with fine gold and silver azzimina damascening, plating, and over-laying. The suit is in a very perfect state of preservation, even retaining its leather lining, covered with blue velvet, embroidered with gold thread. Fine as it is, it must be remembered, however, that with certain variations in the placement of the ornaments, it was the stock pattern, if the word may be used, of the suits made in Lucio Picinino's latest manner.

There is in the Wallace Collection a superb though incomplete half suit of armour, No. 483 (Fig. 1085), which is even richer than the suit described by the addition of an entire field, even to the lower planes of the surface, of gold and silver azzimina. Its scheme of ornamentation is precisely like that of the former suit; although certain alterations in the figure subjects and in the position of some of the ornamentation may be noticed. It was formerly in the collection of Sir Samuel Meyrick, who gives the following description of it:

"This is, without doubt, one of the most splendid suits in Europe, if, indeed, it be not entitled to pre-eminence. It belonged to the renowned Alfonso II, Duke of Ferrara, Modena, Reggio and Chartres, Prince of Carpi, Count of Rovigo, Lord of Commachio, Garfagnana, etc., the patron of Literature and the Arts, and whom the pen of Tasso immortalized in the dedication to him of the Gerusalemme Liberata. He was born on the 19th of January 1533, succeeded to the dukedom in 1558, died 27th of October 1597." All this is very interesting! But Sir Samuel gives no reason