1603 of the three eldest of his ten sons, namely, Philip Emanuel, Victor Amadeus, and Filiberto. The shield in question (Fig. 1300) is circular and convex, its whole surface, like that of the suit to which it belongs, being embarrassed, we use the word advisedly, by the most elaborate embossing, gold damascening, and plating. On it, too, we find all the usual mixture of transitional XVIth-XVIIth century motifs—classically attired figures in medallions, swags of fruit, strapwork, etc.—which are so characteristic of the debased Italian Renaissance.
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Fig. 1300. Shield
About 1570. The work of Lucio Picinino. A 293, Royal Armoury, Madrid
We next show a rondache by an unknown North Italian armourer (Fig. 1301) which is also in the Royal Armoury of Madrid (D 63), a shield certainly anterior to the middle of the XVIth century. We choose it not only on account of the splendid way in which the famous historical motif that enriches the surface is disposed, but because of the very many times it has been reproduced within recent years. Owing to the low relief of its embossing it has readily lent itself to reproduction by means
