. The industrial arts in Spain. d maker; Madrid, 1636. Francisco de Elias, an apprentice of Pedro Casados. Francisco de Salinas ; Madrid, 1636. Acheza ; Toledo. Camilo, 1500, Two fine rapiers are in the Kensington Museum, Nos. 626, ^(i^,and 2214, 55, which belong to the i6th and 17th centuries, andgive a good idea of this industry of Toledo. Woodcuts of theseappear on the opposite page. One of the blades is marked withthe name of Francisco Ruiz. A large and most important collec-tion of rapiers, swords, and other arms exists at the Royal Armouryof Madrid. The breastplates are unusually fine, b
. The industrial arts in Spain. d maker; Madrid, 1636. Francisco de Elias, an apprentice of Pedro Casados. Francisco de Salinas ; Madrid, 1636. Acheza ; Toledo. Camilo, 1500, Two fine rapiers are in the Kensington Museum, Nos. 626, ^(i^,and 2214, 55, which belong to the i6th and 17th centuries, andgive a good idea of this industry of Toledo. Woodcuts of theseappear on the opposite page. One of the blades is marked withthe name of Francisco Ruiz. A large and most important collec-tion of rapiers, swords, and other arms exists at the Royal Armouryof Madrid. The breastplates are unusually fine, but the finest among themare by Milanese artists. A good example, which has been con-sidered Spanish, was formerly in the Bernal Collection (seewoodcut on p. 98); it gives an excellent idea of the artistic im-portance attained by this industry. The saddles used in Spain were similar to those of other ARMS. 97 European countries, for we find the same names adapted to, theSpanish language. In the poem of the Cid, 13th century, and.
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Keywords: ., bookcentury1800, bookdecade1870, bookp, booksubjectdecorativearts
