THE TRANSITION PERIOD (1277-1410)
It will be readily understood that the change from mail to plate armour
was not brought about at once. Difficulty of manufacture, expense, and
conservatism in idea, all retarded the innovation. Some progressive knight
might adopt a new fashion which did not come into general use till many
years after, in the same manner that, from force of circumstances, or from
a clinging to old methods, we find an out-of-date detail of armour like
the coif of mail, shown on the brass of Sir W. Molineux, appearing in
1548, or the sleeved hauberk in the Dresden Museum which was worn without
plate defences for the arms by Herzog August at the Battle of Mühlberg in
1546. Acting on the method adopted in the preceding chapter, we may first
consider the materials used during the beginning of the Transition Period,
and afterwards we shall show how those materials were made up.
During the fourteenth century iron, leather, whalebone, and quilted
fabrics were all employed for defensive purposes. The illustration from
the _Romance of Alexander_ (Fig. 9) shows the gambeson still worn under
the mail, and the legs are covered in one instance with a metal-studded or
pourpointed defence; a second figure wears what appears to be scale
armour, while the third has no detail shown upon the legs, which may be an
oversight on the part of the artist, or may suggest that plain hose were
worn. Iron was used for the mail and scale armour and was also employed in
making a pliable defence called Splinted armour, which at a later period
became the Brigandine (Plate II).
There are several of these brigandines to be found in the Armouries of
England and Europe, but the majority of them date about the middle of the
fifteenth century. As will be seen in the illustration, the brigandine
was made of small plates of iron or steel overlapping upwards and riveted
on to a canvas-lined garment of silk or velvet. The plates were worn on
the inside in most cases, and the rivet heads which showed on the silk or
velvet face were often gilded, thus producing a very brilliant effect.
[Illustration: PLATE II
(Outside.)
(Inside.)
Brigandine in the Musée d'Artillerie, Paris.]
We find many references to these splinted defences in the Inventories of
the period, which form a valuable source of information on the subject of
details of armour. The Inventory of Humphrey de Bohun,[9] Earl of
Hereford, taken in 1322, gives:--'Une peire de plates coverts de vert
velvet.' Again, in one of the Inventories of the Exchequer, 1331,[10] is
noted:--'Une peire de plates covert de rouge samyt.' The Inventory of
Piers Gaveston, dated 1313, a document full of interesting details,
has[11]:--'Une peire de plates enclouez et garniz d'argent.' The 'pair of
plates' mentioned in these records refers to the front and back defences.
In the accounts of payments by Sir John Howard we find in the year 1465,
11_s._ 8_d._ paid for 20,000 'Bregander nayles'.[12] Brass was employed
for decorative purposes on the edges of the hauberk, or was fashioned into
gauntlets, as may be seen in the gauntlets of the Black Prince, preserved
at Canterbury. Chaucer writes in the 'Rime of Sir Thopas':--
His swerdes shethe of yvory,
His helm of laton bright.
Laton, or latten, was a mixed metal, much resembling brass, used at this
period for decorative purposes.
Whalebone was employed for gauntlets and also for swords used in the
tournament. Froissart uses the words 'gands de baleine' in describing the
equipment of the troops of Philip von Arteveld at the Battle of Rosbecque.
Quilted garments were still worn, either as the sole defence or as a
gambeson under the mail. As late as the year 1460 we find regulations of
Louis XI of France ordering these coats of defence to be made of from 30
to 36 folds of linen.[13]
Leather, either in its natural state or boiled and beaten till it could be
moulded and then allowed to dry hard, was frequently used at this period
for all kinds of defensive armour.
In Chaucer's 'Rime of Sir Thopas', from which we have quoted before, occur
the words, 'His jambeux were of quirboilly.' The jambeaux were coverings
for the legs. This quirboilly, cuirbully, or cuirbouilli, when finished
was an exceedingly hard substance, and was, on account of its lightness as
compared to metal, much used for tournament armour and for the Barding or
defence for the horse. In the Roll of Purchases for the Windsor Park
Tournament, held in 1278, mention is made of cuirasses supplied by Milo
the Currier, who also furnished helms of the same material.[14] In the
Inventory of Sir Simon Burley, beheaded in 1338, we find under 'Armure de
guerre':--'Un palet (a headpiece) de quierboylle.' There is a light
leather helmet of the 'morion' type, dated sixteenth century, in the
Zeughaus at Berlin.
Banded mail still appears in drawings or on monuments up to the end of the
fourteenth century.
We may now turn to the making up of these varied materials, and will
endeavour, step by step, to trace the gradual evolution of the full suit
of plate from the first additions of plate defence to mail till we find
that the mail practically disappears, or is only worn in small portions
where plate cannot be used.
[Illustration: FIG. 11. From Roy. MS. 16. G. vi, f. 387, fourteenth
century.]
[Illustration: FIG. 12. Bib. Nat., Paris, _Lancelot du Lac_, fourteenth
century.]
Setting aside the plastron de fer, which, as has been noticed, is seldom
shown in representations of armour, we find the first additional defence
was the Poleyne or knee-cop. We must suppose that there was good reason
for thus reinforcing the mail defence on this part of the body. Probably
this was due to the fact that the shield became shorter at this period,
and also because the position of the wearer when mounted exposed the knee,
a very delicate piece of anatomy, to the attacks of the foot-soldier (Fig.
11). Poleynes are mentioned in a wardrobe account of Edward I in 1300.
They were frequently made of cuirbouilli, and this material is probably
intended in the illustration (Plate III, 1), as elaborately decorated
metal is rarely met with at this period. At the end of the thirteenth
century appear those curious appendages known as Ailettes. On Plate III,
2, the figure is shown wearing the poleynes and also the ailettes. For
practical purposes they are represented on recumbent figures as worn at
the back, but in pictorial illustrations they are invariably shown on the
outside of the shoulder. Some writers consider that they were solely used
for ornament, presumably because they are generally shown decorated with
heraldic blazons. Against this, however, we may place the fact that they
are depicted in representations of battles, and in Queen Mary's psalter
(2. B. vii in the British Museum) the combatants wear plain ailettes. The
German name for the ailettes (_Tartschen_) suggests also that they were
intended for shoulder-guards. Fourteenth-century Inventories abound with
references to ailettes. In the Roll of Purchases for Windsor Park
Tournament are mentioned thirty-eight pair of ailettes to be fastened with
silk laces supplied by one Richard Paternoster. In the Piers Gaveston
Inventory before quoted are: 'Les alettes garnis et frettez de perles.'
These, of course, would be only for ceremonial use. The illustration (Fig.
11) shows different forms of ailette, and occasionally we find the
lozenge-shaped, and once (Brit. Mus. Roy. MS. 2. A. xxii, fol. 219) they
assume a cruciform shape. The attachment of the ailettes with the laces
referred to in the Windsor Park Inventory is shown on Fig. 12. In the
_Chroniques de Charlemaine_, preserved in the Bibliothèque Royale at
Brussels, the ailettes appear to be laced to the side of the helmet. This
occurs in so many of the miniatures that it must be taken as a correct
presentment of this detail in arming. It may be, however, that, as this
manuscript was produced in the year 1460, it recorded a later method of
using the ailette which, _per se_, disappears about the middle of the
fourteenth century, as far as monumental records exist.
The next addition of plate to the equipment of mail seems to have been on
the legs. The only monumental brass that gives this fashion of arming is
the Northwode brass at Minster, Sheppey. As the legs are of later date
than the rest of the brass, although most probably correct in design, it
may be better to trust to a monument which is intact, as is the statue of
Gulielmus Berardi, 1289, which is carved in the Cloister of the Annunziata
Convent, Florence (Fig. 13). Here we find the front of the leg entirely
protected by plates which may be intended for metal, but which, from their
ornate decoration, seem rather to suggest cuirbouilli. These jambeaux, or,
as they are sometimes called, Bainbergs or Beinbergs, of leather have been
before referred to as mentioned by Chaucer.
Returning to monumental brasses again, we find on the Gorleston brass
(Plate III, 3) that the plate additions are still more increased. Besides
the poleynes and the ailettes there are traces of plate jambs on the legs,
and the arms are protected by plates and circular discs on shoulder and
elbow.
[Illustration: PLATE III
1. Sir John d'Aubernoun, 1277, Stoke D'Abernon, Surrey 2. Sir Robt. de
Setvans, 1306, Chartham, Kent 3. A member of the de Bacon family, c. 1320,
Gorleston, Suffolk 4. Sir John D'Aubernoun, 1327 Stoke D'Abernon, Surrey
5. William de Aldeburgh, c. 1360, Aldborough, Yorks 6. A Knight, c. 1400,
Laughton, Lincolnshire.]
After 1325 ailettes are rarely met with. On No. 4 of Plate III these
details seem to be advanced in some points, and are shown with the methods
of attaching them to the wearer. The Rerebrace is strapped over the mail,
and the disc at the bend of the Coude or elbow-piece is held in place by
Aiguillettes or laces--called at a later period Arming-points. The
poleynes overlap the jambs, and so cover the junction of the two pieces,
and the latter are held to the leg with straps. The Solerets are among the
earliest examples of a defence of laminated plates, that is, of strips of
metal riveted upon leather in order to give more ease of movement than
would be possible with a solid plate. The Vambrace is worn under the
sleeve of the hauberk, and not, as in the preceding example, over the
mail. This figure is especially interesting because it shows the different
garments worn with the armour of this period. Above the knees appears the
tunic; over this comes the hauberk of mail, in this instance banded mail;
over the hauberk are shown the Upper Pourpoint, a quilted garment, and,
above this, the surcoat, or, as this variety is called, the Cyclas. The
difference between the surcoat proper and the cyclas is that the former is
of even length all round, while the latter is shorter in front than behind
(see also Fig. 14). The coif of mail has now given place to the Camail,
which does not cover the head, but is attached to the helmet, and is not
joined to the hauberk, but hangs over the cyclas.
[Illustration: FIG. 13. Gulielmus Berardi, Florence, 1289.]
[Illustration: FIG. 14. Bib. Nat., Paris, _Tristan and Iseult_, fourteenth
century.]
In the next example (Plate III, 5) we find the mail still worn on the legs
and arms, but on the latter the vambrace and the coude plate seem to be
hinged in the manner adopted during the period of full armour. The upper
part of the leg is protected by studded pourpointerie, which was
frequently employed as being of more convenience on horseback. These thigh
defences were called the Cuisses. The Bascinet is shown and also the short
surcoat or Jupon.
The brass of an unknown knight (Plate III, 6) is typical of what has come
to be known as the 'Camail' period. The arm-and leg-pieces completely
enclose the limb and are fastened with hinges and straps as in the later
periods. The gauntlets show the Gadlings, or knuckle-knobs, which are a
marked feature of this period, and the whole suit is richly decorated with
engraved borders. Some writers divide the Transition Period of armour into
'Surcoat', 'Cyclas', 'Jupon', and 'Tabard'. This, however, seems
unnecessary if we are considering only the development of defensive
armour, and not the whole question of costume. The camail is so marked a
detail of the knightly equipment that it may reasonably be used to
describe the fashion in armour from about 1360 to 1405. In this example
the figure is clad in complete plate, though the hauberk is worn beneath,
as may be seen at the lower edge of the jupon and also in the '_vif de
l'harnois_', or portion of the body at the armpit, which was unprotected
by plate. In some instances this vital spot was protected by a circular,
oval, crescent-shaped, or square plate attached by laces, which modern
writers call the Rondel, but which Viscount Dillon, in a most interesting
article, proves to have been the Moton or Besague[15] (Fig. 15).
The effigy of the Black Prince at Canterbury is a good example of the
armour of this period, but it is interesting to note that, while the
monumental brasses frequently give such details as straps, buckles, &c.,
this effigy shows no constructional detail whatever. We find that in Spain
there were minute regulations drawn up as to the manner in which a
deceased warrior might be represented on his tomb. The details of sheathed
or unsheathed sword, helm, spurs, &c., all had some significant reference
to his life and achievements.[16] It is almost superfluous to point out
that those details which referred to the knight's captivity, or the fact
that he had been vanquished, were more honoured in the breach than in the
observance.
[Illustration: FIG. 15. Brass of Sir T. de S. Quentin, Harpham, Yorks,
1420.]
[Illustration: FIG. 16. Knightly figure in Ash Church, Kent, fourteenth
century.]
[Illustration: FIG. 17. Bib. Nat., Paris, _Tite-Live_, 1350.]
The armour of this period was often richly decorated with engraving, as
may be seen on the brass to an unknown knight at Laughton, Lincs., and
also on the monument to Sir Hugh Calverley at Bunbury, Cheshire. Of the
jupon, King René, in his _Livre des Tournois_, about the year 1450, writes
that it ought to be without fold on the body, like that of a herald, so
that the cognizance, or heraldic blazon, could be better recognized. The
jupon of the Black Prince, preserved at Canterbury and admirably figured
in _Monumenta Vetusta_, vol. vii, is embroidered with the Royal Arms, and
is quilted with cotton padding. So general is the use of the jupon at this
period that it is a matter of some conjecture as to what form the body
armour took that was worn under it. The effigy of a knight in Ash Church,
Kent (Fig. 16), elucidates this mystery and shows, through openings of the
jupon, horizontal plates or splints riveted together. In Fig. 17 we see
these plates worn without the jupon. The term Jazeran is often applied to
such armour.
[Illustration: FIG. 18. _a._ The Camail attached to the helm. _b._ The
Camail showing the staples.]
[Illustration: FIG. 19. Bib. Nat., Paris, _Tite-Live_, 1350.]
The camail, or hood of mail, which we have before referred to, was
separate from the hauberk, and during the fourteenth century was worn over
the jupon. It was attached to the bascinet by Vervelles or staples which
fitted into openings in the helmet. A lace was passed through these
staples, as is shown on Fig. 18. From a French manuscript of the early
fifteenth century (Fig. 19) we see how the camail was kept from 'riding'
over the shoulders. In the little wooden statuette of St. George of Dijon,
which is a most useful record of the armour of this period, we find that,
in addition, the camail is fastened to the breast with aiguillettes.
The Great Heaume, or helm, of the fourteenth century differs but little
from those of the late thirteenth century which were noticed in a
preceding chapter. The shape was either of the sugar-loaf order or a
cylinder surmounted by a truncated cone (Fig. 20). Notable examples of
actual specimens in England at the present day are the helms of Sir
Richard Pembridge at Hereford Cathedral and the helm of the Black Prince,
surmounted by a crest of wood and cuirbouilli, preserved at Canterbury. In
an Inventory of Louis Hutin, made in 1316, we find: 'ii heaummes d'acier,
item v autres dans li uns est dorez.' This seems to suggest that the
gilded helm was of some other material than steel, possibly leather. It is
rare to come across constructional detail in illuminations, but the
illustration (Fig. 21) from a French manuscript of about the year 1350
shows a method of attaching the helm to the wearer's body. In the
preceding chapter we noticed the chain used for this purpose on the
Trumpington brass.
[Illustration: FIG. 20. Fourteenth-century helm, Zeughaus, Berlin.]
[Illustration: FIG. 21. Bib. Nat., Paris, _Tite-Live_, 1350.]
The most popular of the light helmets at this period was the Bascinet. It
appears on nearly every monumental brass that depicts a military figure,
and is an essential part of that style of equipment known as the 'camail'.
The later form of bascinet has a movable visor which is known among armour
collectors as the 'pig-faced' bascinet (Plate V). Sometimes the hinge is
at the top, and sometimes, as in No. 2 of this plate, the visor is pivoted
at the sides. Froissart calls the visor 'carnet' and 'visière'. In the
Bohun Inventory, before referred to, are given: 'ii bacynettes, lun covert
de quir lautre bourni.' This shows that while some helmets were of
polished metal, others were covered with leather, and indeed silk and
velvet as fancy dictated. Frequent references to these 'covers' for
helmets occur in Inventories and Wills. The helmet and other portions of
the suit of plate armour were sometimes tinned to prevent rust, as is
shown in one of the Dover Castle Inventories of 1361:--'xiii basynetz
tinez.' Sometimes, in the case of Royalty or princes of rank, the bascinet
was encircled with a fillet or crown of gold and gems. Among the payments
of Etienne de Fontaine, in 1352, are mentioned 110 crowns for 'quarente
grosses perles pour garnir le courroye du basinet de Monsieur le Dauphin'.
The Orle, or wreath worn turban-wise round the bascinet, is sometimes
shown, as on Fig. 22, of a decorative nature. It is supposed by some
writers to have been devised to take the pressure of the great helm from
the head, for the helm was often worn, as in the preceding century, over a
lighter headpiece. From the usual position of the orle, however, and from
the fact that it is invariably shown highly decorated and jewelled, this
explanation can hardly hold good, for a padding worn as shown in the
illustration would not be of much service in keeping off the pressure of
the helm, and of course the jewelled decoration would be destroyed at
once. Another theory is that the orle was made by wrapping the Lambrequin
or Mantling--which hung from the back of the helmet and which is still
used in heraldic drawings--much in the same manner as the modern puggaree
is worn in India. In this illustration appears also the gorget of plate
that was worn over the throat and chin with the bascinet.
[Illustration: PLATE IV
_Photograph by Hauser & Menet_
Jousting armour of Charles V. Madrid.]
[Illustration: FIG. 22. The Orle, from the monument of Sir H. Stafford,
Bromsgrove, Kent, 1450.]
The shields of the fourteenth century present an infinite variety in shape
and decoration. The heraldic blazoning has by this time been systematized
into somewhat of a science, which in Germany especially was carried to
extravagant extremes. The long kite-shaped shield is to be found in
records of the period, but the more common forms were the short pointed
shield as shown on Plate III, and that which was rounded at the lower
edge. Frequently the shield is represented as 'bouché', or notched, at the
top right-hand corner, to enable the wearer to point his lance through
this opening without exposing his arm or body to attack. In the Inventory
of Louis Hutin are mentioned 'iii ecus pains des armes le Roy, et un
acier', which shows that the shield was sometimes made of steel, though
usually it was fashioned of wood and faced with leather, or of
cuirbouilli. In a transcript of Vegecius (Brit. Mus. Roy. MS. 18. A. xii)
the young knight is advised to have 'a shelde of twigges sumewhat rounde'.
The shield of the Black Prince at Canterbury is pointed at the lower edge,
and is made of wood faced with leather, on which are set out the Royal
arms in gesso-duro or plaster relief.