ARMOUR OF THE FIFTEENTH CENTURY.
In former papers we have seen the characteristic feature of the armour of
Saxon, Norman, and Early English times, down to the latter part of the
thirteenth century, was that of mail armour--_i.e._ composed of rings sewn
upon garments of something like the ordinary shape--tunic, hose, and
hood--or linked together into the shape of such garments. The fourteenth
century was a period of transition from mail armour to plate. First it was
found convenient to protect the elbow and knee with conical caps made out
of a plate of steel; then the upper arm and fore arm, the thigh and leg,
were encased in separate pieces of armour made to fit to the limbs; in
place of the old helmet worn over the mail hood, a globular bascinet of
plate was used, with a fringe of mail attached to it, falling over the
shoulders; in place of the hauberk of mail, a globular plate to protect
the breast, and another the back, connected at the sides, with a deep
skirt of mail attached to them, falling over the hips. In the old days of
mail armour a flowing surcoat was worn over it, to protect it from wet,
dust, and the heat of the sun; in the fourteenth century the body-armour
was covered with a close-fitting jupon of rich material and colour,
embroidered with the arms of the wearer, and girded by a rich enamelled
horizontal belt.
The characteristic of the armour of the fifteenth century was that it
consisted of a complete suit of plate; the fringe of the bascinet being
replaced by a gorget of plate, the skirt of mail by horizontal overlapping
plates; and for some time no covering was worn over the armour, but the
knightly vanity of the time delighted in the glittering splendour of the
burnished steel. Later in the century, however, mail came again into
considerable use, in short sleeves for the protection of the upper arm,
and in skirts, which were doubtless found more convenient to the horseman
than the solid plates of overlapping steel. It also seems to have been
found practically inconvenient to dispense with some textile covering over
the armour; and a considerable variety of such coverings was used,
according to the caprice of the wearer. Numerous diversified experiments
in the construction of armour were tried, and we commonly find in pictures
of the time a great variety of fashions, both of armour and weapons,
brought together in the same troop of warriors. It is a matter of interest
to the antiquary to trace out the rise of all these various fashions and
to determine when they went out of fashion again; but for our present
purpose it is enough to point out the salient features of the military
costume of the century, and, as varieties are brought before us in the
illustrations from ancient MSS. which we proceed to introduce to our
readers, to point out their meaning and interest. Let us begin, then, with
a picture which will afford us, in the left-hand figure, a typical
illustration of the complete plate-armour of the century, and proceed to
describe the various pieces of which it is composed. His head is protected
by a bascinet of steel, without visor to protect the face, though the
picture represents him as actually engaged in the thick of a battle; but
the steel gorget is brought up so as to protect the lower part of the
face. It is not unfrequent to find the knights of this period with the
face similarly exposed. Probably the heat and the difficulty of breathing
caused by the visor were considered to outweigh the additional safety
which it afforded. The neck is protected by a gorget of plate; and instead
of the globular breastplate and skirt of mail worn under the gay jupon of
the fourteenth century, the body is cased in two pairs of plates, which
open with hinges at the sides, the lower plates coming to a point at the
back and breast. In this illustration the whole suit of armour presents an
unrelieved surface of burnished steel, the outlines of the various pieces
of armour being marked by a narrow line of gold. But it was very usual for
one of the two breastplates to be covered with silk or velvet embroidered.
This will be seen in the armour of the archer from the same picture, in
which the upper plate is covered with blue, powdered with gold spots
arranged in trefoils. So in the woodcut on p. 399 the upper breastplate of
the knight nearest to the spectator is blue with gold spots, while in the
further knight the upper plate is red. Turning again to the knight before
us, his shoulders are protected by pauldrons. These portions of the armour
differ much in different examples; they were often ridged, so as to
prevent a blow from glancing off to the neck, and sometimes they have a
kind of standing collar to protect the neck from a direct stroke.
Sometimes the pauldron of the left shoulder is elaborately enlarged and
strengthened to resist a blow, while the right shoulder is more simply and
lightly armed, so as to offer as little hindrance as possible to the
action of the sword arm. The upper arm is protected by brassarts, and the
fore arm by vambraces, the elbows by coudières, while the gussets at the
armpit and elbow are further guarded by roundels of plate. It will be seen
that the gauntlets are not divided into fingers, but three or four plates
are attached, like the plates of a lobster, to the outside of a leathern
gauntlet, to protect the hand without interfering with the tenacity of
its grasp of the weapon. The lower part of the body is protected by a
series of overlapping plates, called taces. In most of the examples which
we give of this period, the taces have a mail skirt or fringe attached to
the lowest plate. Sometimes the taces came lower down over the thighs and
rendered any further defence unnecessary; sometimes, as in the example
before us, separate plates, called tuilles, were attached by straps to the
lowest tace, so as to protect the front of the thigh without interfering
with the freedom of motion. The legs are cased in cuissarts and jambarts,
and the knee protected by genouillières; and as the tuilles strengthen the
defence of the thigh, the shin has an extra plate for its more efficient
defence. The feet seem in this example to be simply clothed with shoes,
like those of the archer, instead of being defended by pointed sollerets
of overlapping plates, like those seen in our other illustrations.
[Illustration: _Man-at-Arms and Archer of the Fifteenth Century._]
It will be noticed that in place of the broad military belt of the
fourteenth century, enriched with enamelled plates, the sword is now
suspended by a narrow strap, which hangs diagonally across the body.
The knight is taken from a large picture in the MS. _Chroniques
d'Angleterre_ (Royal 14, E. IV., f. 192 v.), which represents a party of
French routed by a body of Portuguese and English. In front of the knight
lies his horse pierced with several arrows, and the dismounted rider is
preparing to continue the combat on foot with his formidable axe. The
archer is introduced from the same picture, to show the difference between
his half armour and the complete panoply of the knight. In the archer's
equipment the body is protected by plates of steel and a skirt of mail,
the upper arm by a half-sleeve of mail, and the head by a visored helmet;
but the rest of the body is unarmed.
Our next illustration is from a fine picture in the same MS. (at f.
ccxv.), which represents how the Duke of Lancaster and his people attacked
the forts that defended the harbour of Brest. The background represents a
walled and moated town--Brest--with the sea and ships in the distance; on
the left of the picture the camp of the duke, defended by cannon; and in
the foreground a skirmish of knights. It is a curious illustration of the
absence of rigid uniformity in the military equipment of these times,
that each suit of armour in this picture differs from every other; so that
this one picture supplies the artist with fourteen or fifteen different
examples of military costume, all clearly delineated with a gorgeous
effect of colouring. Some of these suits are sufficiently represented in
others of our illustrations. We have again selected one which stands in
contrast with all the rest from the absence of colour; most of the others
have the upper breastplate coloured, and the helmet unvisored, or with the
visor raised. This gives us a full suit of armour unrelieved by colour,
except in the helmet-feather, sword-belt, and sheath, which are all gilt.
The unusual shape of the helmet will be noticed, and it will be seen that
there is a skirt or fringe of mail below the taces. The horse is a grey,
with trappings of red and gold, his head protected by a steel plate. In
the cut on p. 403 one of the horses will be found to have the neck also
defended by overlapping plates of steel. The shape of the deep military
saddle is also well seen in this illustration.
[Illustration: _Knight of the Fifteenth Century._]
The next woodcut is also only a part of a large picture which forms the
frontispiece of the second book of the same MS. (f. lxii.). It represents
a sally of the garrison of Nantes on the English, who are besieging it.
Like the preceding picture, it is full of interesting examples of
different armours. Our illustration selects several of them. The knight
nearest to us has the upper plate of his breastplate covered with a blue
covering powdered with gold spots, and riveted to the steel plate beneath
by the two steel studs on the shoulder-blades. Between the series of
narrow taces and the vandyked fringe of mail is a skirt of blue drapery,
which perhaps partially hides the skirt of mail, allowing only its edge to
appear. The gorget is also of mail; and the gusset of mail at the armpit
is left very visible by the action of the arm. The further knight has his
upper breastplate and skirt red. The horses are also contrasted in colour;
the nearer horse is grey, with red and gold trappings; the further horse
black, with blue and gold trappings. The man-at-arms who lies prostrate
under the horse-hoofs is one of the garrison, who has been pierced by the
spear whose truncheon lies on the ground beside him. His equipment marks
him out as a man of the same military grade as the archer on p. 396,
though the axe which he wields indicates that he is a man-at-arms. His
body-armour is covered by a surcoat of blue, laced down the front; he
wears a gorget and skirt of mail. His feet, like those of the men on p.
396, seem not to be covered with armour, and his hands are undefended by
gloves.
[Illustration: _Group of English Knights and French Men-at-Arms._]
The unarmed man on the left is one of the English party, in ordinary civil
costume, apparently only a spectator of the attack. His hose are red, his
long-pointed shoes brown, his short-skirted but long-sleeved gown is blue,
worn over a vest of embroidered green and gold, which is seen at the
sleeves and the neck; the cuffs are red, and he wears a gold chain and
gilded sword-belt and sheath, and carries a walking staff. The contrast
which he affords to the other figures adds interest and picturesqueness to
the group.
The illustration on the next page from the Royal MS., 18 E. V., f. 310 v.,
forms the frontispiece to a chapter of Roman History, and is a mediæval
representation of no less a personage than Julius Cæsar crossing the
Rubicon. The foremost figure is Cæsar. He is in a complete suit of
plate-armour; over his armour he wears a very curious drapery like a short
tabard without sleeves; it is of a yellow brown colour, but of what
material it is not possible to determine. There is great diversity in the
fashion of the surcoat worn over the armour at this time. One variety is
seen in the fallen man-at-arms in the preceding woodcut; and a similar
surcoat, loosely fastened by three or four buttons down the front, instead
of tightly laced all the way down, is not uncommon. In another picture, a
knight in full plate-armour wears a short gown, with hanging sleeves, of
the ordinary civilian fashion, like that worn by the gentleman on the
left-hand side of the preceding cut. Out of a whole troop of Roman
soldiers who follow Cæsar, we have taken only two as sufficient for our
purpose of showing varieties of equipment. The first has the fore arm
protected by a vambrace, but instead of pauldrons and brassarts the
shoulders and arms are protected by sleeves of mail. The taces also are
short, with a deep skirt of mail below them. The head defence looks in the
woodcut like one of the felt hats that knights frequently wore when
travelling, to relieve the head of the weight of the helmet, which was
borne behind by a squire; but it is coloured blue, and seems to be of
steel, with a white bandeau round it. The reader will notice the "rest" in
which the lance was laid to steady it in the charge, screwed to the right
breast of the breastplate; he will notice also the long-pointed solleret,
the long neck of the spur, and the triangular stirrup, and the fashion of
riding with a long stirrup, the foot thrust home into the stirrup, and the
toe pointed downwards. The third figure wears a gorget with a chin-piece,
and a visored bascinet; the whole of his body armour is covered by a
handsome pourpoint, which is red, powdered with gold spots; the pauldrons
are of a different fashion from those of Cæsar, and the coudière is
finished with a spike.
[Illustration: _Julius Cæsar crossing the Rubicon._]
The next woodcut does less justice than usual to the artistic merits of
the illumination from which it is taken. It is from a fine MS. of the
Romance of the Rose (Harl. 4,925, folio cxxx. v.); the figures are
allegorical. The great value of the painting is in the rounded form of the
breastplates and helmets, and the play of light and shade, and variety of
tint, upon them; the solid heavy folds of the mail skirts and sleeves are
also admirably represented; and altogether the illuminations of this MS
give an unusually life-like idea of the actual pictorial effect of steel
armour and the accompanying trappings. The arms and legs of these two
figures are unarmed; those of the figure in the foreground are painted
red, those of the other figure blue; the shield is red, with gold letters.
The deep mail skirts, with taces and tuilles, were in common wear at the
close of the fifteenth century, and on into the sixteenth.
[Illustration: _Allegorical Figures._]
[Illustration: _A Knight at the hall-door._]
The little woodcut of a knight at the hall-door illustrates another
variety of skirt; in place of taces and mail skirt, we have a skirt
covered with overlapping plates, probably of horn or metal. This knight
wears gloves of leather, undefended by armour.
The last illustration in this chapter is from the valuable MS. Life and
Acts of Richard Beauchamp, Earl of Warwick (Julius E. IV.), from which we
shall hereafter give some other more important subjects. The present is
part of a fight before Calais, in which Philip Duke of Burgundy was
concerned on one side, and Humphrey Duke of Gloucester, Richard Earl of
Warwick, and Humphrey Earl of Stafford on the other. In the background of
the picture is a view of Calais, with its houses, walls, and towers,
washed by the sea. The two figures are taken from the foreground of the
battle-scene, which occupies the major part of the picture. The helmets,
it will be seen, are iron hats with a wide brim which partially protects
the face; they have a considerable amount of ornament about them. Both
warriors are armed in a single globular breastplate (the combination of
two plates went out of fashion towards the end of the fifteenth century);
one has short taces and a deep mail skirt, the other has deeper taces and
tuilles besides. The knight on the left side has his left shoulder
protected by a pauldron, which covers the shoulder and partially overlaps
the breastplate, and has a high collar to protect the neck and face from a
sweeping horizontal blow. It will be seen that the sollerets have lost the
long-pointed form, though they have not yet reached the broad-toed shape
which became fashionable with Henry VIII. The equipment of the horses
deserves special examination. They are fully caparisoned, and armed on the
face and neck, with plumes of feathers and magnificent bridles; it will be
seen, also, that the point of the saddle comes up very high, and is
rounded so as partly to enclose the thigh, and form a valuable additional
defence. At a period a little later, this was developed still further in
the construction of the tilting saddles, so as to make them a very
important part of the system of defence.
[Illustration: _The Duke of Gloucester and the Earl of Warwick._]
How perfect the armour at length became may be judged from the fact that
in many battles very few of the completely armed knights were
killed--sometimes not one; their great danger was in getting unhorsed and
ridden over and stifled in the press. Another danger to the unhorsed
knight is pointed out in a graphic passage of the History of Philip de
Comines, with which we will conclude this chapter. After one of the
battles at which he was himself present, he says: "We had a great number
of stragglers and servants following us, all of which flocked about the
men-of-arms being overthrown, and slew the most of them. For the greatest
part of the said stragglers had their hatchets in their hands, wherewith
they used to cut wood to make our lodgings, with the which hatchets they
brake the vizards of their head-pieces and then clave their heads; for
otherwise they could hardly have been slain, they were so surely armed, so
that there were ever three or four about one of them."
It is not necessary to infer that these unfortunate men-at-arms who were
thus cracked, as if they were huge crustaceans, were helpless from
wounds, or insensible from their fall. It was among the great
disadvantages of plate-armour, that when a man was once in it he could not
get out again without help; nay, he was sometimes so securely fastened in
it that the aid must come in the shape of an armourer's tools; and the
armour was sometimes so cumbrous that when he was once down he could not
get up again--a castle of steel on his war-horse, a helpless log when
overthrown.