Beaten out of thin steel, this armour is indeed the work of a super-artist, a production which must have flattered equally the pride of those who made it and of the wearer. Except for the finger plates, which are missing on both gauntlets, it is absolutely complete and in an admirable state of preservation. M. Maindron is in accord with the Baron de Cosson and the present writer in thinking that it has never been finished, and makes the suggestion that its soft tone is that of steel that has never been burnished. He thinks that it is hardly likely that the suit has lost its original polish through repeated cleaning; since the delicacy of its decoration is nowhere impaired. The strength of certain engraving lines would indicate perhaps that it was never finished and never received the gilding of the original design. M. Maindron, like ourselves, reluctantly comes to the conclusion that its general characteristics make the association with the reign of Henri II quite improbable. The subjects which adorn the breastplate illustrate the history and the death of Pompey; the rest of the parts are covered with the usual ornamentation, masks, trophies, allegorical figures, which are arranged with the elaboration and sumptuousness characterizing the work of this great and unknown armourer.
Like all connoisseurs who have examined this wonderful decorative achievement, M. Maindron has to answer certain questions. To what school, to what workmen, to what workshop, to what period must this superb suit be ascribed? That it can have belonged to Henri II we regard as impossible, despite the fact that the marked protuberance of the pauldron might recall in its fashion the rather crook-backed figure of the son of Francis I. The total absence of crescents, of intertwined initials, or other emblems that are found on other harnesses and weapons of Henri II are all against such an attribution; though, on the other hand, it is possible to argue that this panoply was made for Henri at a time when he was yet only Dauphin, and so could not afford to advertise his devotion to the beautiful Diana of Poitiers. Might it have belonged to some other Prince? Any statement to that effect would be rash. It is known that Charles IX, at his entry into Paris in 1571, wore a white suit of armour richly chiselled. But there is no evidence to connect this white suit with the Louvre harness. So, until research throws further enlightenment on the point, we shall continue to respect but not to accept the tradition which ascribes this panoply to Henri II's ownership. It has long been considered as an Italian production. At one time it was the fashion to refer back to Italy all the fine decorated arms of the renaissance and of the XVIth century; just as later there was a tendency
