this shield to Michael Angelo; for the anatomical rendering of the figure subjects certainly suggests that master's school. But on closer examination the French influence is very apparent in the treatment of the masks, strapwork, etc. The pronounced style of the French armourer is also very manifest. In the middle of the shield is an oval panel placed horizontally, showing a savage encounter of nude warriors; while at the sides, and above and below it, are four smaller oval, upright panels with subjects that appear to depict episodes in the life of a hero of classical times. On the remainder of the field of the shield are represented ten captives, bound and partially naked; two are wearing armour of Roman fashion. Helmets, cuirasses, and weapons are also represented among the captured spoil, the shape of the trophy having obviously been determined by the space which was at the disposal of the artist. The field is wholly worked to a matted surface in the customary manner of this armourer's style. The strapwork borders, which are most cleverly interlaced, are damascened with arabesque designs in gold. Damascening and plating with gold and silver enrich other portions of the shield. In the strap borders at given intervals are rivets, the heads of which bear the designs of lions' masks; four of them, larger than the rest, hold rings in their mouths. This extraordinary shield, a wonderful example of late French Renaissance art, was duplicated at the time of its production; indeed, a replica was formerly in the Museum of Prague, passing from that collection into that of Count Wrangel of Schloss Skoklosten on the Mälarsee. According to the late Herr Wendelin Boeheim that shield had been much mutilated. Needless to say, the original has been copied many times by modern artists, and with a fair measure of success.
