The elegant shape and beautiful decoration of this helmet suggest that it was made in Italy under French influence. The unusually tall and backward-leaning comb along the top of the helmet, the form and attachment of the buffe (face defense), and the fine scrolls that border the etched bands are all characteristic of French armor in the 1550s. However, the style of the etching and the choice of motifs––widely spaced trophies of armor, weapons, and Classical symbols—are more typical of the best Italian armor of the period. (x)
The Hangman (1890).
Julio Ruelas (June 21, 1870 - September 16, 1907) was a Mexican graphic artist, painter, draughtsman and printmaker. Ruelas was the principal illustrator of the Revista Moderna magazine and is most associated with Mexican symbolism. A number of his works are on display at the Museum of the City of Mexico and in the Zacatecas museum. Artistically, he was noted for creating etched images depicting his own face, incorporating black, twisted lines to give an impression of being tormented.
Shield of Henry II of France, France, ca. 1555.
The battle scene at the center is thought to depict the victory of Hannibal and the Carthaginians over the Romans in Cannae in 216 B.C., which here could be interpreted as an allusion to the struggle of France against the Holy Roman Empire during the sixteenth century. In the strapwork borders are the intertwined letters: H for Henry II (reigned 1547–59); C for Catherine de Médicis, his queen; and possibly also D for Diane de Poitiers, his mistress. Interspersed with the initials are crescents, the king’s personal badge and a reference to the moon goddess Diana and her namesake Diane de Poitiers.