Pointed Morion ca. 1560–70 Italian, Milan In contrast to the bold sculptural forms of earlier Milanese parade armor (for example, acc. no. ), embossed armor made in the second half of the sixteenth century was flatter and more pictorial, often with entire figural scenes from prints reproduced on the steel surfaces. The costumes are invariably gold-damascened, the skin of the figures is silvered. This example is embossed on both sides with variant scenes depicting the Roman hero Mucius Scaevola placing his hand in the fire before King distinctive form of lightweight infantr

Pointed Morion ca. 1560–70 Italian, Milan In contrast to the bold sculptural forms of earlier Milanese parade armor (for example, acc. no. ), embossed armor made in the second half of the sixteenth century was flatter and more pictorial, often with entire figural scenes from prints reproduced on the steel surfaces. The costumes are invariably gold-damascened, the skin of the figures is silvered. This example is embossed on both sides with variant scenes depicting the Roman hero Mucius Scaevola placing his hand in the fire before King distinctive form of lightweight infantryman's helmet, characterized by an almond-shaped bowl with turned-back point at the apex and a short brim, is referred to in contemporary English documents as a "Spanish morion." The term alludes to the common use of such helmets by Spanish troops rather than their place of manufacture, which was usually Pointed Morion. Italian, Milan. ca. 1560–70. Steel, copper alloy (brass), gold, silver, leather. Milan. Helmets

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