“Within a wide border, with decorations of fruits and genii, finished with the Golden Fleece, is the figure of the Spanish Cæsar in the centre of the composition, armed in the heroic style, standing in a two-oared boat, maintaining in vigorous attitude the banner of the Double Eagle, preceded by Fame, at the prow, carrying the shield with the motto Plus ultra, and followed by Victory, in the air, ready to put a crown of laurel on the Emperor’s head, while indicating the course of the little boat, always onwards (Plus ultra), across unknown seas.
“Hercules obeys the wishes and seconds the impulses of the Emperor, uprooting, in order to advance them to new limits, the columns which he once planted on the mountains Calpe and Abyla; while Neptune, leaning on his trident, beholds with astonishment the expansion of his dominions.
“The woman fastened by her hair to the trunk of a palm, on which is a turban, seemingly represents Africa subjugated by the then recent conquest of Tunis; and that of the man lying at the feet of Neptune, is possibly only an allegory of the Betis, called to be the intermediary river between Spain and her new possessions.
“The skill of the composition and the richness of the whole contrast singularly with the simplicity of the work. Forged in one piece of steel, somewhat convex, the gilded figures stand out more because of the deep impressions so splendidly engraved by the chisel than on account of their dimensions and difference of colour.”
Though less elaborate in design than the preceding, the next shield (D64) is considered the gem of the whole collection (plate 150A). It was probably made for Charles by the Negrolis about the time of his entry into Milan (1541). On a separate plate in the centre is daringly and vigorously embossed the head of Medusa, serpents coiling above and below. The head and serpents are confined within a broad laurel wreath. Outside this again are three concentric bands, the first narrow and richly inlaid with silver and gold; the second, broad and hammered roughly, and divided into sections by shields bearing the inscription, IS TERROR QVOD VIRTVS ANIMA E FOR—TVNA PARET; the third, damascened like the first, showing sirens supporting four circular medallions with the Double Eagle, Pillars of Hercules, and Golden Fleece. Round the circumference of the shield runs a second laurel wreath.
Space does not permit us to describe in detail the many beautiful shields attributed to the Emperor. That numbered D66 (plate 151) is an example of the Moorish style of decoration so successfully imitated by the Italian artificers; D68 (plate 153) is of Augsburg make, and represents Strength as a nude woman steering the ship of Humanity across the sea of life, her shield being Faith and her haven of refuge Divine Grace.
Specially worthy of note are (E88 and E89) a pair of Gothic gauntlets (plate 95), German, late fifteenth century from Charles’s Armoury. Each is composed of twenty-seven pieces of white steel-plated iron, incised with aqua-fortis, festooned and openwork, and with the cuff ending in a point. They are forged and joined together with great skill to defend the hand without hindering the natural movements, and at the same time armed against the enemy with sharp points on the knuckles like the coup de point américain. They are more delicate and handsome than those of the same kind in the Vienna Museum; and if, on account of the period to which they belong, they do not agree with the armour of Charles V., though they are sketched in the Relacion de Valladolid, it is beyond doubt that they were part of some magnificent armour, possibly of his father; perhaps of his grandfather Maximilian. This is partly confirmed by the style of ornamentation, which agrees absolutely with that of the work of Colman Helmschmied.
Several swords, once the property of the Emperor, are included in the collection, but they do not possess the same merit or interest as the defensive armour. The battle-swords G33, G34, both the work of the Negrolis, have broad hexagonal blades, the middle surfaces and ricasso being inlaid with gold. The hilt of the first is of iron, similarly inlaid, with the quillons and pommel terminating in graceful volutes; a beautifully chased shell protects the hand. The guard of the second is strengthened by two branches; the pommel is facetted; and the steel hilt decorated with vertical lines in damascene work, alternating with acanthus leaves (plate 170).
To Charles’s era belong three swords, which, on account of their history, are of peculiar interest. G29 (plate 164) was the battle-sword of Spain’s greatest general, Gonzalo Fernandez de Cordoba, the Great Captain (1453-1515). The blade is flat, with bevelled edges, and a groove along the upper third of its length in which the first words of the Angelic Salutation in gilded Gothic character may be deciphered. The guard is of gilded iron, the quillons flat and drooping, and with two branches to the ricasso. The pommel is of gilt copper, circular, and with two faces—the obverse representing a battle scene, with the inscription, GONSALVI AGIDARI VICTORIA DE GALLIS AD CANNAS (referring to the Great Captain’s victory over the French in 1503), the reverse bearing the owner’s arms, with an inscription in Latin which, translated, reads, “Gonzalo de Aguilar, vanquisher of the Turks and French, restored peace to Italy, and closed the Temple of Janus.” It is supposed that this sword was presented to the Great Captain by the municipality of some Italian city. The hand-and-a-half sword, G30, of Spanish make, also belonged to him.
Pizarro’s sword is marked G35 (plate 170). The blade is rigid and diamond shaped, with strong ricasso, on which is stamped the name of the Valencian swordsmith, Mateo Duarte. The hilt is of blued steel, richly decorated with leaves and ornaments in inlaid gold; with straight arms, pas d’ane with branches to the ricasso, a hand-guard to the pommel, and disc-like pommel. This sword in 1809 came into the possession of a Scotch soldier of fortune, Sir John Downie, who used it against the French, and died a Spanish Marshal and Governor of the Alcazar in 1826. In August 1813, Sir John was wounded and taken prisoner; yet he contrived to throw back to his followers this famous weapon, that its honour might remain unsullied.