the points of comparison which would enable us to come to a definite conclusion as to the origin of this Henri II armour. It is, however, to be remarked that in all the traditions which have gathered round it not one has ever attributed it to Benvenuto Cellini. That in itself, were there no others, would be a reason for including it among the most precious assets of the great French art of the XVIth century.
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Fig. 1093. Suit of armour
Said to have been made for Charles IX of Sweden. The Louvre school, about 1570. Stockholm Museum
The only complete suit of armour which in form reminds us of the Louvre suit is that said to have been made for Charles IX of Sweden, which is preserved in the Stockholm Museum (Figs. 1093 and 1094); this Swedish harness is similar in form, and although completed with its gold and silver inlaying, was assuredly decorated by the same hand. The opinion expressed by Monsieur E. Plon in his work on Benvenuto Cellini that the Charles IX of Sweden suit was executed by Germans certainly lends support to M. Maindron's theory that German workmen were responsible for the execution of the Louvre suit. The likeness of the workmanship is very noticeable. The armourer or armourers of both these suits have carefully copied the sketches which then circulated in the studios and which might as readily be ascribed to Etienne de Laune as to Michael Angelo or to Giulio Romano. M. Plon asserts that models of Etienne de Laune have often inspired the German armourers and goes on to say that he has seen suits of German design executed by
