ENRICHED ARMOUR.
This class of armour was more for parade purposes than for actual
service in the field, and it was much used in the lists. Most suits of
the kind were provided with a set of reinforcing pieces for jousts and
tourneying. These pieces have already been fully described under “The
Tournament” heading, and illustrated in Figs. 10 and 11. The amount
of artistic skill of the very highest order that was lavished on the
ornamentation of armour in the later “middle ages,” and especially
during the “renaissance,” was a remarkable feature of the times, and
artists of the greatest repute found constant and lucrative employment
in designing for this purpose. Suits were finely and delicately chased,
engraved, russeted, and enriched with gold, embossed, damascened,
appliqued, and decorated with repoussé work.
[Illustration: Fig. 31.--Suits by Jörg Seusenhofer of Innsbruck.]
Italy and Germany were the workshops for the finest specimens, and
Milan, Brescia, Nuremberg, Augsburg, Innsbruck, Venice, Florence,
besides other places, vied with one another in the production of
specimens of consummate skill and elegance. French examples were
coarser and less artistic in every way, while there was but little
of knightly armour made in England, and that little, excepting for a
very brief period, was of a vastly inferior description. The number
of artists and craftsmen, in widely different branches of art and
manufacture, who were employed to design, turn out, and finish a suit
of armour, or a weapon for war or for the chase, was simply legion;
and, of course, in the case of enriched suits, or arms, still more
were brought into requisition. There is the designer, modeller, steel,
silver and gold smiths, carvers, enamellers, inlayers, engravers,
repoussé or workers in hammered work, damasceners, polishers, and
hosts of other craftsmen, each contributing his quota of industry and
skill to one complete whole. Artists of the very highest celebrity,
such as Donatello,[33] Michael Angelo, Albrecht Dürer, Leonardo da
Vinci, Benvenuto Cellini, and Hans Holbein, had no higher ideal than
in designing for this kind of work, and some of them were engaged
in engraving also. It is well known that many armour-smiths employed
other artists for designing and ornamentation, while others, like Kunz
Lochner of Nuremberg, did their own embellishing as well as the smith’s
work. An illustration is given in Fig. 31 of two very fine suits by
Jörg Seusenhofer of Innsbruck. They are both tastefully engraved, and
appear to be of a somewhat earlier make than the archducal suit by the
same master, referred to in a previous chapter, and differ from it, as
well as from each other, in some rather important features, especially
in the form of the cuirasses and tassets. Only one of the three has
pikeguards. These suits were made about 1540.
[Illustration: Fig. 32.--Cuirass and Tassets, at Dresden.]
There is a chastely enriched harness in the Kriegswaffen-Saal at
Dresden attributed to Wilhelm von Worms. A drawing is given in Fig.
32 of the cuirass and tassets. On the left side of the breastplate is
engraved a figure of a knight kneeling before the crucified Christ on
the cross. The top of the breastplate is tastefully ornamented with
a shield, with foliations on either side. This example is specially
valuable, as it bears the date of make--1539.
An example in black and white may be seen at Berlin, the bright spaces
being engraved. The breastplate is adorned with an engraved figure of
Christ on the cross, and the gorget bears the legend: SOLVS SPES MEA
CHRISTVS. A rondelle protects the right armpit. The left pauldron is a
restoration. The suit dates about 1570.
There is a remarkable harness at Berlin, dating from about the
middle of the sixteenth century. The cuirass, taces, and tassets
are banded with an ornamentation of chevrons, which are bright and
black alternately. Each row is defined with lines of brass, probably
originally gilded. The cuisses are bright on the upper portions, which
are enriched alternately with piping and small overlapping plates like
shillings; the lower portions are black, and so also are the jambs.
The sollerets are small and “bear-paw,” the extremities adorned with
alternate bright and black flutings; the pauldrons are treated in the
same manner. The rerebraces are ornamented with thick, circular coils
to resemble puffs; there are no coudières, but the joint is rendered
mobile by eleven narrow lames. There is a boy’s harness of similar
make at Vienna, by Hans Seusenhofer, dating about 1511. This suit is
obviously a copy of the civil dress of the time.
SUIT AT ALNWICK CASTLE.
This is a very chaste and elegant Italian suit (Fig. 33), dating
from the last quarter of the sixteenth century. It is ornamented in
the banded Italian style; the ground of repoussé work, with its rich
minute foliations in low relief, is gilded, while the rest of the steel
remains bright. The general style of the ornamentation is alternate
chevrons of bright steel and minute repoussé work. The decorative
work on the pauldrons and genouillières is, however, much bolder in
character than on the rest of the armour. A very similar style of
ornamentation may be seen on a tilting suit given in Skelton, vol.
i., Plate VIII., and dated by him 1543. The Alnwick harness is freely
studded with brass-headed rivets which have been gilded.
The helmet is in four pieces, and highly characteristic of the Italian
school of the period.
The gorget is comparatively modern, but conveys the idea that it was
copied from the original piece owing to dilapidation, and but for the
ornamentation it would pass even with close observers when the suit is
set up.
[Illustration: Fig. 33.--Suit at Alnwick Castle, Northumberland.]
The pauldrons are very beautiful, and laminated at the shoulders
and upper arm. The rerebrace and vambrace are finely formed and
ornamented; the former is laminated.
The coudières are pointed at the elbows, with side-guards which
continue round the arms.
The gauntlets are articulated, with thumb-plates, and a salient ridge
runs across the knuckles. One of them, like the gorget, is of a more
recent date than the main portion of the suit.
The cuirass is specially long and handsome. A broad piping borders the
top and arm-holes. A tapul runs down the centre, projecting in a hump
towards the middle. On the right side is a lance-rest, and on the left
are holes for affixing a grand-guard. The lower portion of the cuirass
consists of three narrow laminated plates, running almost horizontally,
and fastened together by brass-headed rivets, which were originally
gilded. The tassets are riveted to the bottom rim of the cuirass. These
pieces consist of ten lames, with gilded rivets. A special feature is
that the tassets can be shortened or lengthened at pleasure, the last
four lames being detachable--clearly an arrangement for fighting on
foot or on horseback. Other examples of this kind have already been
given. The upper section is complete in itself with an ornamental rim,
as is the lower one. This is a contrivance often met with in the second
half of the sixteenth century. The attachment is accomplished by a
screw catch and sliding rivet.
The backplate, which terminates in a garde-de-reine, has a piped border
round the top and shoulders, and there are two lames at the bottom.
The cuisse, like the tasset, is in two sections, with similar means of
attachment. The genouillières are attachable to the jambs by catch and
sliding rivets. The knee-guards are small. The jambs are banded down
the centre, in a line with the genouillières and cuisses. The sollerets
are the variety styled “bec-de-cane,” being almost the shape of the
foot. Both jambs and sollerets must be classed with the gorget and
one gauntlet as restorations; they are all most beautifully done. Some
details will be clearly seen in Fig. 34.
[Illustration: Fig. 34.--Some details of the Suit at Alnwick Castle.]
The harness already referred to as having been worn by the
Prince-Bishop of Salzburg about the year 1600, and illustrated in Fig.
35, is a beautiful suit by the celebrated Milan armour-smith, Lucio
Piccinino. It is profusely inlaid with gold, and the ornamentation is
most elegant. The sumptuous and elaborate decoration, which is in the
banded Italian style in repoussé or hammered work, with arabesqued
foliations, is interspersed with medallions encircling male and female
figures. The helmet and suit throughout is closely in touch with the
elegant Italian school of the end of the sixteenth century, which,
however, already erred on the side of redundancy in ornamentation.
The close of all great periods culminates with this great fault,
sharply marking the beginning of the end; the waning vigour of the
theme eked out by a profusion of detail. The prince-bishop’s arms are
engraved on the cuirass, and the historic character of the suit invests
it with special interest and importance. The series of reinforcing
plates belonging to it may be referred to in Figs. 10 and 11. Lucio
Piccinino’s style marked the last stage before the decline of art. He
came of a family of artists; his father was the celebrated sword-smith,
Antonio Piccinino. Other examples of Lucio’s handiwork may be seen in a
richly decorated helmet and shield at Vienna.
[Illustration: Fig. 35.--Suit by Lucio Piccinino, of Milan.]
SUIT AT NAWORTH CASTLE.
This suit is very rich and handsome, being freely engraved and
inlaid with gold--the gilding has, however, greatly worn off. The
ornamentation is somewhat rude, both in character and in execution, and
vastly inferior to either Italian or German work. The cuirass is
ornamented with a “George” badge on either side, indicating a knight
of the Garter, the execution of which is good. The genouillières are
attachable to the jambs by reversible catches, which pass through the
plate--they are the same catches as shown on the Osuna harness. There
is a tapul and garde-de-reine. The sollerets are square-toed, but very
narrow, not “bear-paw” like the “Maximilian.” The Earl of Carlisle
suggests the possibility that the harness may have belonged to the last
Lord Dacre, who died in 1566. This would, of course, point to an even
earlier date of make, but this seems incompatible with the general
aspect of the suit, which would appear to date from late in the reign
of Queen Elizabeth.
[Illustration: Fig. 36.--Repoussé Armour at Berlin.]
SUIT FROM THE COLLECTION OF PRINCE CARL OF PRUSSIA, NOW IN THE ZEUGHAUS
AT BERLIN.
This beautiful suit (Fig. 36), decorated in repoussé work in very
high relief, dates about the close of the sixteenth century, and the
ornamentation is instructive as well as artistic in the classical
battle-scene and details it depicts. The mitten gauntlet, with expanded
cuff, is very fine. The ridge over the knuckles is bold, and smaller
ridges continue to the finger tips.
THE OSUNA SUIT.
This is highly characteristic of the period it represents. The armour
is freely ornamented in repoussé or hammered work, and bears traces
of gilding. The suit was probably made in Italy, is very handsome,
and has seen much service. Being well authenticated, it has a special
interest. The suit belonged to Don Pedro Fellez de Giron, Duke of
Osuna and Infantado, Knight of the Black Eagle Order, etc., Viceroy
of Sicily about 1600, and later of Naples (about 1610). It was saved
from the fire at the old De Giron family seat in Belgium--the castle of
Beauraing, in the Province of Namur, not far from Dinant. The place was
burnt on the 3rd December, 1890.
DETAILS.
The whole suit (Fig. 37) is freely ornamented with arabesqued
foliations on a ground of fine vertical lines, banded in the Italian
style, interspersed with human heads, some of them grotesque, and
enclosed in medallions; and a series of armed figures, which would
richly repay a close examination. The helmet is a remarkable piece of
workmanship, and forged in a single piece; it weighs seven pounds. It
is an Italian casque of a most graceful and classic form. The repoussé
ornamentation on it is banded like the rest of the armour. The comb
is very high, and fluted all over the crest. There are remains of a
leather lining inside, fastened all round with gilded rivets. The
plume socket has two holes for adjustment, and there is another hole
in the comb for firmly securing the plume of feathers. The oreillettes
are provided with six holes on one side, and three on the other, for
hearing; and have each a round projecting eye, with fluted edges,
presumably an attachment for keeping the flaps up when not required,
or for fastening them across the throat. Both peaks are of overlapping
plates, with fluted borders. A very similar helmet, formerly in the
possession of Baron de Cosson, was ascribed by him to 1530–40. He
writes concerning it: “Many rich suits had one of these light open
helmets as well as a close helmet,” a fact proved by existing examples
at Madrid and elsewhere. We have already quoted an example in the
description of the suit of the Prince-Bishop of Salzburg, which has
a close helmet and a cabasset. The cuirass has a tapul, with
a projection near the bottom; this particular form was termed the
“peascod” in England. Both these pieces are bordered round the chest
and arms with a thick ridged piping. This piping was a contrivance to
stop a stroke from penetrating beneath the gorget. The tassets consist
of six lames, and are attached to the tace, which is in one piece, by
straps and buckles; all the rivets have gilded heads. The lower body
is protected by chain-mail. The left pauldron is the larger; both have
free laminations at the shoulder and upper arm. The coudières are
cup-formed over the elbows, and go round the arm. The gauntlets have
highly-rounded articulations for the fingers, with a separate thumb
plate. Both leg armour and sollerets are freely decorated in “banded”
ornamentations, with enclosed medallions, besides gilded rivets. A
sharp ridge runs down the front of the cuisse, genouillière, and
jamb. The genouillières are fastened round the back of the knee by
straps, and on to the jambs by a reversible turning pin on the latter,
passing through a hole in the former; and a turn of the screw secures
the attachment. Jambs, which are hinged, and sollerets are riveted
together, with lames above the ankle. The sollerets are “bear-paw.” All
these pieces are held together by gilded rivets. The suit was probably
made in the third quarter of the sixteenth century, or possibly as late
as the fourth quarter, though the shape of the sollerets would point to
a somewhat earlier period. Fig. 38 exhibits some details of the suit.
The stand on which the armour is hung is very old, and has probably
stood in the armoury of the castle of Beauraing for centuries; and the
face is very possibly a portrait of the Duke d’Osuna.
[Illustration: Fig. 37.--Suit of the Duc D’Osuna.]
[Illustration: Fig. 38.--Some details of the Osuna Suit.]
The beautifully embossed harness at Vienna, made for the Archduke
Ferdinand of Tyrol, about 1560, is the work of the Milanese master,
Battista Serabaglio. The casque is of classic form.
An embossed suit (Fig. 39), made by Anton Peffenhauser of Augsburg,
about 1570, for Don Sebastian of Portugal, is in the Armeria Real at
Madrid (Catálogo, page 94, No. A290); it is a notable example of the
time.
The collection in the hall set apart for enriched armour at Dresden
is especially valuable in exhibiting a remarkable series of fourteen
historic suits, blazing with ornamentation, and covering a period
of from something like the second quarter of the sixteenth to the
end of the first quarter in the seventeenth century. All these suits
are royal specimens of their school. The earliest is the harness of
Kurfürst Moritz of Saxony, 1521–53. The rider sits on horseback in
his field-harness, which is freely decorated with gold arabesques
on blue bands. The Kurfürst bore this armour on his entry into the
conquered city of Magdeburg in 1551. The bards are enriched in the
same manner as the armour borne by the Kurfürst. Another suit is that
of Duke (afterwards Kurfürst) August, 1526–86. It is fluted and richly
ornamented, bearing the Saxon arms inlaid. This harness was the gift
of the Archduke Ferdinand of Tyrol, and is probably the work of Jörg
Seusenhofer of Innsbruck. The figure holds a field-marshal’s baton in
the right hand. The legend, “Semper suave,” is inlaid on the bards.
Another suit of this Duke’s is a specimen of blackened harness with
white bands; a description much worn in campaigning in the second half
of the sixteenth century and later, because it was easily kept clean
in all weathers. It is a fine piece of work, and is inscribed with the
date 1546. The Duke bore this suit at the battle of Mühlberg in the
year following. A harness of Duke Johann Wilhelm of Weimar, bearing
the mark of Kunz Lochner of Nuremberg, date about 1560. A suit for man
and horse of Kurfürst Christian I., 1560–91. Tournament reinforcing
pieces stand by it--a tilting helm, grand-guard, garde-de-bras, etc.
The harness for man and horse of Kurfürst Christian II. (1583–1611),
a masterpiece of the armour-smith’s art, is by Heinrich Knopf of
Nuremberg, and cost £1,750. The ornamentation consists of arabesques
on a gold ground with enclosed medallions. A rapier by Andreis Munsten
of Solingen is with the suit. There is a second suit that belonged to
this prince--the ground is a dull green, with chasings. This harness,
according to an inventory of 1606, was bought at Augsburg in 1602--it
bears no mark. The latest harness of the series is that of Kurfürst
Johann Georg I., and the date is 1622; it is the work of Hieronymus
Ringler of Augsburg, and though very richly decorated exhibits
unmistakable signs of the decline of art.
[Illustration: Fig. 39.--Suit by Anton Peffenhauser, at Madrid.]
This remarkable series is as valuable from an educational as from
an æsthetic point of view; still, though the differences in points
of detail, over the various periods, stand before you, it must not
be forgotten that fashions were far from being contemporaneous over
northern and central Europe, and that new departures of fashion
in armour, as in dress, took long to travel and get generally
assimilated--far longer in the sixteenth century than to-day,--hence
one or two salient features cannot always date a suit, even within a
couple of decades. There is a fine series of plain gilded suits at
Dresden, which were worn with boots.
To give a completer series of examples of late sixteenth and early
seventeenth century forms and fashions would make this work far too
voluminous. Examples of pikemen’s later suits, etc., would make the
chain more complete, but the varieties are so very numerous that it
would be impossible reasonably to cover them without largely extending
the size and scope of the work. Practically the illustrations close
with the end of the sixteenth century; after which the general use
of armour, from causes already referred to, rapidly declined. The
interest in the later forms is comparatively far less to the student
or collector, whether looked at from an artistic or historic point of
view, than the grand period which has been imperfectly covered here.
_SECTION II._
THE WEAPONS AND ENGINES OF WAR.