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 splendid border. This border is composed of six medallions placed at equal distances from each other, and supported by griffins which are linked together by volutes. In the case of all the medallions the ornamentation consists of the representation of the two-headed eagle, of the columns of Hercules, of the Plus ultra motto, and of the croix ragulé of Burgundy interlaced with the chain and fire-steel of the Golden Fleece. In the upper part of the smooth field, next the border, may be read in letters, made with the armourer's punch and gilded, the inscription and date referred to above.

It was not until the middle of the XVIth century had passed that the masterpiece of the famous Milanese armourer, Lucio Picinino, was produced, namely, that splendid shield preserved in the Imperial Armoury of Vienna (Fig. 1298) and noted in the old inventories as "the round shield with the head of Medusa." Along with the casque illustrated ante, Fig. 1237, it was presented by Charles V to the Archduke Ferdinand of Tyrol who, having a great admiration for these two pieces, ordered that they should be completed into a half suit of armour by the addition of both back- and breastplate, gorget and espaliers, in which half harness he is represented in a contemporary portrait. It would appear that the shield was completed by Picinino in 1552, and it is signed with his initials. The breastplate and other parts made to be worn with it are of later German workmanship, good in execution but poor in style. The design occupying the shield consists of a central slightly concave medallion, in the centre of which is embossed in very high relief the head of Medusa, much in the same manner as that on the Negroli shield (see Fig. 1296). Round this is a band decorated only with those gold plated tendril ornaments which are so characteristic of Picinino's earlier work. Outside this again are two concentric bands, the outermost being enriched with four circular concave panels placed at equal distances one from the other. In these are the busts of Scipio Africanus and other classical heroes. The other panel has band and figure subjects, trophies of arms, and marine monsters, the actual anatomical treatment of the figures being strangely reminiscent of the great Caradosso. The beautiful ground colour of this shield, the high and even quality of the gold damascening, apart from the excellence of its general design, render it a worthy memorial to the genius of Lucio Picinino.

From this great historical pageant shield, a signed and dated work, we will turn to a very fine shield in the Wallace Collection, No. 632 (Fig. 1299), which, although it is unsigned, yet shows the hand of Picinino. A little later in style than that which we have just described, it can yet