'Loan Exhibition of Mediaeval and Renaissance Arms and Armor from the Metropolitan Museum of Art,' January 15–March 18, 1953, no.

'Loan Exhibition of European Arms and Armor,' August 3–September 27, 1931, no. 'Exhibition of the Royal House of Tudor,' 1890–April 6, 1890, no. The decoration, consisting of foliage, putti, running dogs, and Renaissance candelabra and grotesque ornament, is typically Italian. The armor is an early example of the “anime” type, in which the breastplate and backplate are constructed of horizontal overlapping plates connected and made flexible by rivets and internal leather straps. By the end of the eighteenth century, and until very recently, the armor was erroneously identified as having belonged to Anne de Montmorency (1493–1567), Constable of France, its royal English ownership having been forgotten.

It is recorded at Wilton House, seat of the Pembroke family, from 1558 until it was sold in the 1920s. 1507–1570), first earl of Pembroke, Henry’s esquire and an executor of his will. Subsequently, the armor was given to William Herbert (ca. The armor is described in the postmortem inventory of the king’s possessions, drawn up in 1547, as “of italion makinge.” Possibly, it was supplied by a Milanese merchant known in England as Francis Albert, who was licensed by Henry to import luxury goods, including armor, into England for sale. A pair of exchange vambraces (arm defenses) remains in the Royal Collection at Windsor Castle. Originally, the harness was fitted with a detachable reinforcing breastplate, to which a lance-rest was attached, and a reinforce for the left pauldron (shoulder defense). Constructed for use both on horse and on foot, it was probably worn by the king during his last military campaign, the siege of Boulogne in 1544, which he commanded personally in spite of his infirmities. This impressive armor was made for Henry VIII (reigned 1509–47) toward the end of his life, when he was overweight and crippled with gout.

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