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