1. There are three most likely places for the monkeys to surface, Italy, Spain or England. The monkeys were discovered in England and the Samson and Philistine came to England in 1624.

2. The monkeys are true to life. There is a series of lifelike birds attributed to Giambologna in the Bargello Museum, Florence.

3. The monkeys fit niche for height. Height of niche 18 ½ inches (47 cm), height of monkey 12 inches (30.5 cm).

4. The monkeys fit the niche for width. Width of niche 10 ¾ inches (27.4 cm), width of monkey 8 ½ inches (21.6 cm).

5. The monkeys fit the niche for depth. Depth of niche 7 inches (17.8 cm), depth of monkey 9 inches (22.9 cm).

6. The niche is below eye level. Missing monkeys would ideally have to look upwards. These two monkeys look up.

7. Fountain is a yellow sandstone. Yellow deposits and stains on the monkeys might come from the fountain according to geologists at Manchester University. Sandstone can weather very badly.

8. Yellow deposits and stains to the front of both monkeys, not the back. Niche would have given protection.

9. One monkey corroded more than the other; one is matt, one is shiny. This may be attributable to the different positions around the fountain.

10. The fountain at Aranjuez can be seen to be weathered on one side more than the other. Wherever it was set up, Italy or Spain, it would be likely to be weathered more to one side than the other.

11. The fountain of Samson and a Philistine at Aranjuez is a small fountain. Although the monkeys are small they would show up well in the niches. Outer wall only 6 ½ feet (198.2 cm) away from centre.

12. The monkeys are in good condition. Fountain in Florence on display for only 15 years (1569 to 1584). This may have been the only time they were in the open. No evidence monkeys sent to Spain 1601. No evidence of monkeys in niche in sketch of 1604 Lerma Gardens, Valladolid. No evidence the monkeys were shipped from Spain to England, 1623. No evidence of monkeys in niche in engraving of Louis Meusnier 1665 Aranjuez. Mild climate in Florence would be contributory to their good state.

13. The monkeys are hammered, trait of Giambologna.

14. The monkeys have manicured fingernails, trait of Giambologna.

15. There is a connection with various bronzes by Giambologna of Morgante, court dwarf of the Medici, by virtue of the curvature of left leg.

16. The monkeys have impassive expressions, trait of Giambologna.

17. Quality of craftsmanship. Design of curved underside of these monkeys is based upon close observation of real monkeys as they sit on branches of trees.

18. There are no holes visible on niche floor. Therefore the missing monkeys would require some support, perhaps a pedestal. These two monkeys are designed to fit onto a pedestal. They would be difficult to remove.

19. Monkeys can be seen satisfactorily from all angles, all positions. Head on, from the side, from above. This conforms with the theories of Cellini, Florence mid 16^th C. Monkeys have elegant profiles seen from the side.

20. The monkeys are worked up nearest the onlooker, fingers, toes, etc, but not fully worked up overall. Finish is restrained, there is no need for the monkeys to be fully worked up, they were not designed for close-up inspection, suitable for a fountain.

21. The raised right arm and pointing finger follow same pose as famous Mercury by Giambologna. The first Mercury was completed 1564, the missing monkeys would have been made circa 1569.

22. The left arm is held out with hand cupped to catch water. The pose would be appropriate for a fountain. Monkeys not only fits niche but belongs and has a purpose on the fountain.

23. The raised right arm of bronze monkeys follows pose of right arm of monkey to left of drawing.

24. The finger of right hand points up, as does the monkey to left of Uffizi drawing, pointing to statue of Samson and a Philistine which surmounts the fountain.

25. The left arm comes straight out, hand cupped, following pose of left arm and hand of monkey to left of Uffizi drawing.

26. The right hand monkey in Uffizi drawing (not easy to see) has right leg raised, left leg lowered, similar in pose to these monkeys, and arm positions are perhaps same as its companion.

27. The Uffizi drawing shows monkeys partly outside niche. Bronze monkeys fitted in a copy of the niche also go outside the niche.

28. The Uffizi drawing shows monkeys do not go into arched part of niche, nor do these bronze monkeys when fitted in niche.

29. The Uffizi drawing shows monkeys in two poses so either is possible.

30. There is independent proof of age that the monkeys are old. They have been dated by a Metallurgist at Oxford University as being 16^th/17^th C. Date endorsed by Metallurgist at Tower of London.

31. X-radiographs taken at Tower of London confirm monkeys made by lost wax casting. To be 16^th C they would have to be created this way. X-radiographs reveal numerous circular plugs and patched casting flaws.

32. X-radiographs reveal use of square core pins. Square core pins (chaplets) is a characteristic of Giambologna’s workshop practice.

33. X-radiographs reveal wire armature in tail. Giambologna used wire armatures to strengthen the core.

34. The metal is unrefined comprising in total 13 elements including gold and silver, pointer to being old. The metal is an attractive copper colour.

35. Metal is a gun metal; there is proof Giambologna used gun metal stored in places like Fortezza da Basso, Florence. He used the metal of captured Turkish guns.

36. The suggestion is that the metal is German or north west European. Italians imported metal from here. Copper alloys entered in vast quantities as guns. Italy in the first 60 years of the 16^th century was a permanent war zone, there were many foreign invasions. The Italians had little copper of their own.

37. Giambologna small bronzes tested so far seem to be leaded bronzes. These two monkeys are leaded bronzes.

38. The missing monkeys would have been made in sets. Sets require use of piecemoulds for repeat models. These two monkeys show evidence of use of piecemoulds, seams are still visible.

39. The monkeys would have been an exclusive Medici commission. Only four monkeys would have been made for the fountain, copies would surely have not been allowed. Pose of these two monkeys seems to be unique. Enquiries at 300 stately homes has not uncovered monkeys with a similar pose.

40. There appears to be a similarity in the features of these two monkeys with the head of the carved stone monkey on the portal of the Casino Mediceo at San Marco, Florence, designed by Bernardo Buontalenti, 1574. The stone monkey also appears to be a macaque. Reminder, monkeys installed on fountain in courtyard inside 1569-1584.

41. There are monkeys painted on the façade of the house of Bianca Cappello, in Florence, notorious mistress, later wife of Francesco de Medici.