placed, to symbolize Africa brought into subjection by the then recent conquest of Tunis; while to the right of her a man can be seen reclining at the feet of Neptune, an allegory probably of the Baetis, which is now to be the river dividing Spain and her new possessions.
When we examine any authentic example of the work of Giorgio Ghisi—and the signed pieces are reduced to two—we seem to realize, despite the beautiful quality of the true gold damascening, a certain tightness of design and an over-elaboration of detail, which are hardly to be expected at the comparatively early date in the XVIth century at which this armourer's principal works were executed. The shield, for instance, which forms part of the Baron Ferdinand Rothschild bequest to the British Museum, and which used to belong to Prince Demidov of San Donato (Fig. 1302), is a very splendid example of the armourer-goldsmith's work from the point of technique; but as pageant armour we cannot compare it with the productions of the Negroli. To the collector, however, this shield makes a special appeal; for it is in its almost original state. It is slightly convex, and in place of a central boss there is a circular panel containing a representation of a Romanesque equestrian encounter, framed in elaborate strapwork, which, through the intermediary of two grotesque masks, links up two oblong panels extending to the edge, which contain respectively emblematic female figures of Fame and of Victory. Disposed on either side of the central panel are oval upright panels framing figures of Strength and Prudence. Other figures, male and female, satyr-like in nature, groups of fruit and delicate festoons of ribbon-like drapery, occupy the remaining surface of the shield evenly enough, but with little compositional repose. It is interesting to note that, although the shield is dated 1554, the most advanced forms of interlaced strapwork are utilized as the frames to the various figure subjects. So developed, indeed, are they, that if their equivalent in architecture were seen on a building in England they would unhesitatingly be assigned to the early years of the XVIIth century. The strapwork in the case of this shield is the field for the richest incrustations of gold. It takes the form of minute figure subjects chosen from the Iliad and from Roman mythology, drapery ornaments, trophies of arms, and a strong element of the grotesque. It is on the top of a central panel, on the span of a bridge on which two armies are about to conflict, that the signature of the maker and the date—GEORGIVS DE GHISIIS, MANTVANVS 1554—can be seen. The groundwork of the shield is russeted; while other portions are thickly plated with gold and silver.
