February, 1909 
of the fifteenth century. The handle, 
carved in the purest Gothic style, was orig- 
inally in another collection. The blade, 
hilt and sheath, however, date from the 
same period. 
The exhibit of helmets in the collection 
is most comprehensive. From the simple 
iron hat, ludicrously suggestive of an in- 
verted kettle, to the shapely and truly royal 
burganet of Henri II of France, is a far 
cry. Between them are a dozen different 
varieties, each planned to protect its wearer 
from the crushing weapon of a foe. Some 
are purely classic in shape, and show much 
decoration; others, like that of the Maid of 
Orleans, are simple to severity and almost 
bare of ornament. The gorgeous helmet 
of Henri II, its sides telling in rich relief 
of the victory of Hercules over the Cen- 
taurs, is part of the gilded armor he wore 
when, as Dauphin, he visited his royal 
contemporary, the Emperor Charles V, 
while living in Madrid. Near it is the 
chamfron previously mentioned that pro- 
tected his horse’s head, marked with his 
initial and the date 1539; it is one of the 
few of the collection that permitted the 
animal to use his eyes. The majority 
of the chamfrons utterly prevented the 
charger from seeing, in order to prevent 
his shying at the critical moment. There 
are helmets in the collection that were worn 
by the bodyguards of Pope Julius III, of 
Cosmo di Medici, of the Great Elector, 
and near them Saracen and Turkish casques 
with their distinctive domes and peculiar visors. These 
casques are elaborately chased and gilded, but, in deference 
to the strict Moslem commandment, there is no trace in the 
pattern of a graven image—only a beautiful labyrinth of 
arabesque and geometric lines. 
Pendants and medallions that decorated the bits and 
bridles of the horses are displayed by the score. There are 
also parts of the plate armor that protected the chargers 
from the lances of enemies. 
Important objects of the Dino collection are the shield 
and helmet of Louis XIV. Just how these and other royal 
caparisons were permitted to leave their native soil is a 
question that must embarrass French collectors. The Louis 
XIV pieces are classic, and their decoration of gilt and bronze 
of an unusually high order of artistic merit. During Louis 
XIV’s reign it was that the use of armor was officially abol- 
ished; for that reason his royal 
shield and helmet fittingly close 
a collection of inestimable value 
to the student of history and of 
art, and to the layman who 
finds the living present the logi- 
cal development of a no less 
living past. 
No less interesting than the 
armor are the weapons of the 
Dino collection. One of the 
most splendid specimens of 
these medieval weapons is the 
Papal sword of Sixtus V, em- 
blazoned with the arms of the 
haughty Albani. Other blades 
are here of rare Toledo and 
Milanese workmanship, show- 
ing the wonderful skill attained 
One of the four extant Gothic suits dating 
from 1450, considered the most valuable 
in the Dino collection. 
the marks of the armorer’s proof-tests 
The chamfron (horse’s head piece) worn by the charger of Henri II 
AMERICAN HOMES AND GARDENS 61 
by the swordsmiths of the period. The 
wealth of decoration lavished upon blade, 
hilt and scabbard partakes of the gold- 
smith’s art rather than that of the crafts- 
man in steel. Great two-handed swords 
may here be found of dimension and tem- 
per that bear out the tales told of men cleft 
in twain at a single stroke. 
But of all the knightly swords, the most 
valuable in the present collection, and the 
one that appeals strongest to our sympa- 
thies, is the magnificent blade of Aben 
Achmet. Sheath and steel are of rare 
Hispano-Moorish workmanship, resplen- 
dent with enamel and gold and silver 
filigree. It figured in a tragedy accom- 
panying the fall of the house of Abencer- 
rages and the ruin of Granada. Pathetically 
near the historic sword lies the elaborately 
wrought Koran case of its liege, Boabdil 
the Unlucky, last of the long line of Moor- 
ish kings to reign in Europe. The pole 
arms of this period are characterized by 
brutal savagery curiously wedded to ex- 
quisite art. The heavy spiked mace, the 
enormous battle-axes and hammers, the tor- 
turing triple-edged pikes, amply justified 
the iron sheathing in which the warrior 
incased himself. 
A curious and most interesting weapon 
is an elaborately gilded dagger, made in 
Germany in the latter half of the sixteenth 
century, and carrying a pistol concealed 
within its blade. The removable tip of the 
dagger forms the key which, inserted in 
the knob of the hilt, wound the wheel-lock. The latter is 
visible through the oblong opening at the upper end of the 
blade. A flint is attached to the under side of the band of 
repoussé that bridges the hilt. This bridge is movable, and, 
as it descends, it releases the spring that revolves the wheel, 
brings the flint in contact with the wheel, and sends a shower 
of sparks into the pistol beneath, discharging its bullet. The 
weapon is ingeniously contrived, and was no doubt highly 
prized by its owner. 
Unlike the dagger, the calendar hunting-knife, dated 
1540, carries its firearm openly. Its German maker must 
have been proud of his clever handiwork, for boldly has he 
made it declare: “ICHENN.*. HAD.*, DISSE .°, KOLLENDER 
.".GEMACHT” (Ichenn made this calendar.) 
There is also exhibited a sword-cane once the property of 
Philip II of Spain. It has a Toledo blade of wonderful 
temper. Still another remark: 
able piece has a pistol dated 
1612, which displays a com- 
plete double battery. The 
mechanism of the ingenious 
wheel-lock is clearly seen. 
The arquebuses and pistols 
show how far the love of orna- 
mentation was carried. Inlay 
of pearl and ivory and overlay 
of gold and silver, repoussé and 
incised work cover the stocks. 
The metal work of the weapon, 
as well as its wheel-lock, key 
and powder flask, show treat- 
ment akin to that of the gold- 
smith’s art. 
Among the smaller weapons 
are specimens interesting alike 
This suit bears 
