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 coronets. On the block from which the quillons issue, and in the pommel, are chiselled and undercut figures of horsemen. The effect of the whole design is heightened by the addition of gold damascening. The blade, which is back-edged, is slightly hollowed and curved, and has the cutting edge chamfered, and is russeted and damascened with interlaced scrollwork and a shield of arms in gold azzimina. This example may also be accepted as being of North Italian workmanship of about the third quarter of the XVIth century. The decoration of the other Wallace curved sword (No. 199) is in strict accordance with German Renaissance ornamentation; but its general form of construction is really more influenced by Oriental feeling, being reminiscent of the ordinary curved swords used as Polish cavalry weapons towards the close of the XVIth century. Sir Samuel Meyrick, in whose collection it was formerly, considered it to be of Venetian workmanship; but after careful consideration and comparison, we ourselves feel convinced that it is of German origin (Fig. 1345). The hilt is of russeted iron, plated with gold and silver. The grip and pommel are in one piece, and entirely of iron, curving slightly and pierced at the top with a circular hole for a wrist strap. The whole surface of this part is chiselled in low relief with a German ornament of a pseudo-Eastern character. The quillons curve and finish in satyrs' masks, issuing from an oblong block, on one side of which is an oval shell. Other decorations introduce the subject of Horatius Cocles, under the protection of the twins divine, Castor and Pollux, guarding the Tiber bridge against the attacking army of Porsena. The blade is of scimitar fashion, and has Oriental characters inlaid in gold. This sword retains its original scabbard of wood covered with green velvet and mounted with chape and locket mounts; on which in oval panels can be seen figures of Leda and the Swan, of Europa and the Bull, and of Athene armed with spear and shield.

A form of the curved sword in use in mid-XVIth century times, which is of a pattern different from those to which we have alluded, is to be seen in the Ressman Collection, bequeathed to the Bargello Museum of Florence. Like the weapon of which we have just made mention, it is entirely of steel, but wholly German in form and also in decoration, which in this case is in no way allied to any style of Italian Renaissance ornament. It is the sword given by Henri II of France to his jester, Nicholas de Coville; of this attribution we are fairly sure, for De Coville's name appears on the quillons. The very finest aqua fortis etching embellishes both the hilt and the curved back-edged blade (Fig. 1346). The design of the blade represents a spirited camp scene into which is introduced the story of Judith and Holofernes. The