ARMOUR
The scarcity of good armour--Considerations for the
collector--Counterfeit armour--The twelve periods in armour--The
characteristics of each period--Glossary
There is much that is fascinating in the study of armour, and the
seeker after military curios will do well to consider the advisability
of making a collection of armour pieces. In praise of this particular
form of treasure-hunting we could write a good deal, but, as space
is necessarily limited, it will be wise to content ourselves, at the
outset, with stating the drawbacks rather than the advantages which
attend this hobby.
In the first case, really good complete suits of period armour are
scarce, and consequently command enormous sums. Of course there is
no reason why detached pieces should not be collected: these can be
obtained freely and at reasonable prices. Probably the best bargains
are to be had at country-house sales, where the specimens are not
sufficiently numerous to warrant the attendance of London dealers. But
the smaller bric-à-brac shops, especially those off the beaten track,
often contain oddments which may be picked up at tempting prices.
The second drawback concerns questions of space. Armour collecting
takes up a good deal of room and, in these days of small suburban
houses and town flats, it is not every one who can house such treasures
without causing them untold damage.
The third point is the most serious of all; it may be stated briefly.
There are so many dangerous forgeries to be met with that the untutored
collector may become bewildered and so lose his love for the hobby.
Upon the Continent there are thriving factories where armour, of the
rarest kinds, is imitated, not for sale as reproductions but in order
to cheat the uninitiated. The antique appearance is imparted to the
bright metal surfaces by artfully smearing with lithographic ink and
then dabbing with muriatic acid. The ink protects the parts which it
covers from the corrosive action of the acid, and when the metal is
subsequently washed and greased it has the exact appearance of an aged
piece of armour, eaten and worn by time. How is the amateur to detect
such worthless specimens when he runs across them?
Under the title of "Forgeries that were not Forged," _The
Connoisseur_,[6] a few years ago, made some very pertinent remarks on
this subject. "Foreign museums are not entirely free from the presence
of forgeries," the article began; "in Paris may be seen suits and
parts of suits which will not satisfy the connoisseur in the matter
of freedom from faking. At Berlin at least one suit will strike the
observer as decidedly not what it claims to be. At Stockholm, among
the interesting objects in the Lifrustkammer are many pieces which one
regrets are not real. And if in public collections many pieces arouse
scepticism, how much more so is it the case with private collections,
where all the geese are swans."
[6] May 1901, p. 36.
"In the Tower of London, on the upper shelf of one of the cases, is
a row of helms and helmets described as copies or trophy work. These
certainly exemplify the expression 'forgeries that were not forged.'
They were bought for the National Collection between the years 1851 and
1858, and were then no doubt considered valuable examples of ancient
armour. One, indeed, figured at Manchester in 1857 among the treasures
of art. In them we may observe every rule of the construction of real
armour violated, and further insulted by artificial rust and injuries.
"It may be asked, in the words of the song, 'How shall I my true love
know?' and seeing how much more trouble is taken to deceive than
to detect deceit, it is difficult to lay down any complete system
of defence for the collector from the ever-increasing attacks of
the forger." It is certain, however, that the best way of detecting
forgeries is to get acquainted with the styles of armour that were
worn at certain periods, to find out what processes were available for
constructing the armour at these periods, what uses each section of the
armour was put to, and how it was fitted on to the rest of the suit.
Of course, a good deal may be learnt from visits to public
collections. The uninitiated collector is, therefore, advised to study
the specimens shown in the Tower, the Royal United Service Museum, the
Wallace Collection, and the Rotunda at Woolwich. On the Continent there
are many fine displays, not only of armour but also of weapons, notably
at the Musée d'Artillerie, Paris, the Industrial Museum of Vienna, the
Copenhagen National Museum, and the Rijks Museum at Amsterdam. These
are all well worth inspecting.
* * * * *
Having discussed matters concerned with the collecting of armour, we
will now turn to questions relating to the actual armour itself.
Armour may be conveniently divided into twelve periods, as follows[7]:--
I. Pre-Norman.
II. Norman period to 1180.
III. The Chain Mail Period, 1180-1250.
IV. Chain Mail Reinforced, 1250-1325.
V. The Cyclas Period, 1325-35.
VI. The Studded and Splintered Armour Period, 1335-60.
VII. The Camail and Jupon Period, 1360-1410.
VIII. The Surcoatless Period, 1410-30.
IX. The Tabard Period, 1430-1500.
X. The Transition Period, 1500-25.
XI. Maximilian Armour, 1525-1600.
XII. The Half-Armour Period, after 1600.
[7] There are various ways of classifying armour, but we have here
followed (Class I excepted) Ashdown in "British and Foreign Arms and
Armour."
[Illustration: Armour Headgear]
=The Pre-Norman Period= is, in reality, composed of a number of
preparatory eras which paved the way for the Norman period, the first
to use complete suits of protective covering. The Greeks with their
Boeotian helms and cuirasses, the Romans with their "skullcap"
helmets, the Saxons and Danes with their head, chest, and leg
coverings, all led up to the armour as we see it depicted by the Bayeux
Tapestry. This period is of little interest to collectors, as specimens
are quite unobtainable.
=The Norman Period= introduced the peculiar but distinctive
helmet, conical in shape and provided with a nose protection or
"nasal." The body covering was worn from head to toes, the feet
and legs being enveloped in "chausses" made of a pliable substance
provided with a generous supply of metal studs. The shield was, of
course, an important feature of the Norman dress; it was more or less
heart-shaped, and bent so as to fit round the body.
=The Chain Mail Period.=--Between 1180 and 1250 the armour
suit underwent considerable changes. The Norman conical helmet gave
place to the heaume, which usually had a flat surface, squared at
the top, curved lines under the chin, and peepholes or ocularia in
front. A surcoat or tunic, without sleeves, which was fitted over the
usual armour, was also a feature of this era. But, of course, the
introduction of chain mail was the outstanding point of interest.
=Chain Mail Reinforced.=--This period saw the gradual introduction
of heaumes with curved crowns, often bearing ornamental devices, or
ailettes to protect the shoulders and neck, of banded mail, and of
chain mail reinforced with sections of plate.
=The Cyclas Period.=--"Probably at no time in the history
of defensive armour," says Ashdown,[8] "has it presented a more
picturesque appearance than during the brief ten years of the Cyclas
Period. Fitting closely to the figure, the various garments followed
the outlines of the human form, and in no parts showed any marked
peculiarities or eccentricities. The evolution of the style was
undoubtedly derived from the experience gained during the Chain Mail
Period, when that defence was proved to be ineffectual against the
terrible effects of lance and sword. Both of these weapons, even if
they did not actually pierce the mail, either bruised the body or broke
bones, and thereby incapacitated the wearer; while the protection
afforded by the loosely hanging folds of the surcoat of previous
periods, especially against sword-cuts, had been duly noted. Hence,
during the Cyclas Period we meet with the introduction of multitudinous
coverings, whereby the lance, the sword, and the arrow were opposed by
plate and mail, and by various padded garments of a textile nature."
[8] "British and Foreign Arms and Armour," p. 139.
[Illustration: A FLINT-LOCK PISTOL.]
[Illustration: THE ACTION PART OF THE ABOVE.]
=The Studded and Splintered Armour Period.=--This form of armour
directly owes its introduction to the conflicts between the English and
French, and the ideas for improvement which were prompted by actual
experience on the battlefield. The style was none other than a piecing
together of the best features of chain mail, plate, and cuir-bouilli.
The bascinets of this time were unusual, having much the appearance of
metal hoods, provided or not provided with visors. The surcoat and the
chausses were essential features of the period.
=The Camail and Jupon Period.=--This is probably one of the most
interesting and picturesque periods in the history of armour. The
headgear was usually pointed and fitted down closely over the ears,
but left the face free. Laced to the helmet and falling over the
shoulders was a plastron of camail which protected the throat and neck
from violence. The jupon was a garment which covered the body from
the camail to just above the knees. It consisted of whatever material
the wearer thought was the most impervious to blows, with, usually, a
velvet covering, embroidered with a heraldic device.
=The Surcoatless Period= is easily recognized, as it was the
earliest period in which a full set of armour was worn with no textile
covering placed over it.[9] A feature of note was the loss of the
camail throat-guard and the introduction of a light sheet-metal gorget.
The camail was, undoubtedly, an efficient safeguard, but it was
extremely weighty and so caused much inconvenience to the wearer.
[9] Ashdown, "British and Foreign Arms and Armour," p. 194.
=The Tabard Period= saw the introduction of many changes, which
had for their object the greater protection of the armoured soldier;
but the most distinguishing feature was the arrival of the tabard, a
kind of sleeved surcoat, which covered the wearer down to the knees.
It was of no fighting value, but gave dignity to those who displayed
it. The salade also belongs to this period, both those with and
those without visors, as well as the pauldron, a protection for the
elbow, and the palette, which shielded the underneath portion of the
shoulder-joint.
=The Transition Period= brought helmets which, by reason of their
movable visors, cheek-pieces, and mentonnières, gave greater safety
to the head. But the period is more readily distinguished by the mail
skirt, which was worn suspended from the waist. Of this period Ashdown
writes: "Very important alterations occurred in armour of this period,
differentiating it from that of the preceding. The great pauldrons,
exaggerated coudières, and general angularity, and one might almost say
prickliness, of the later Tabard Period was modified to a smoother and
rounder style, while it lost entirely that remarkable beauty of form
which, however much distorted by fanciful additions, characterized the
Gothic armour as a whole. The beautiful flutings and ornamental curves
disappeared to make way for a heavy, cumbersome style indicative of
German stolidity, and in direct antagonism to the mobile quickness and
agility suggested by the majority of suits dating from the latter half
of the previous century."[10]
[10] "British and Foreign Arms and Armour," p. 270.
=Maximilian Armour.=--With the gradual employment of gunpowder
even the best kinds of armour lost their military value, and,
consequently, the sixteenth century saw a decline in the use of steel
suits for purposes of warfare. There was no reason, however, why
steel-clad men should not continue to be seen at tilting tournaments,
even though the arquebus had proved its value in dealing death and
destruction. Consequently we find that armour was still used during
this century at these functions of chivalry, and it was the kind
favoured by Emperor Maximilian which was mostly worn--hence the name.
Its outstanding features were excessive ornamentation and artistic
finish.
=The Half-Armour Period.=--This is the period during which steel
dress was gradually dying out. "The period exhibits a brutal strength
and crudity in armour which forcibly suggests boiler-plate work. The
defences were simply made to cover the vital parts of the body with the
maximum amount of efficiency, without any consideration whatever for
gracefulness of outline or beauty of surface."[11] The metal covering
of these times was obviously fashioned with the idea of making a
compromise between protection and mobility, and it gradually dwindled
until the head alone was safeguarded.
[11] Ashdown, "British and Foreign Arms and Armour," p. 313.
So passed away the armour which, as James I once said, was a very
useful invention, for it saved not only the wearer from being killed,
but it was so hampering that it prevented him from killing any one else.
* * * * *
Many technical terms are used in armoury which need explaining. The
following are those which occur most frequently:--
=Barded.=--A horse fully armoured.
=Bascinet.=--A helmet which protected the back of the head and
neck.
=Brassarts.=--Plate armour for the upper part of the arm,
reaching from the shoulder to the elbow, sometimes in a single piece,
sometimes in a series of overlapping plates.
=Brigandine.=--Armour worn at one time by brigands--hence the
name. It consisted of a foundation of quilted leather, upon which was
sewn a number of small metal plates, and thus formed a good defence
for the body against the sword and the pike.
=Burgonet.=--A fifteenth-century helmet, usually round to fit the
head, but provided with a peak to protect the eyes.
=Cabasset.=--Like the morion, it was a simple metal hat with a
dome-shaped crown and a brim. It had no visor, gorget, neck-guard,
etc.
=Chain Mail.=--A covering which consisted of an endless number
of rings laced one into the other. Each ring had four others threaded
into it. The individual rings were known as "grains d'orge."
=Chamfrien.=--The metal covering for a horse's face; often
provided with a spike.
=Chausses.=--The metal leggings used in armour.
=Corslet.=--A suit of armour worn chiefly by pikemen. The word
was used, not only to denote the body covering but the whole outfit
from head to knees.
=Coudière.=--An elbow guard.
=Crinière.=--A number of plates hooked together to guard a
horse's neck; it rested on the mane.
=Cuirass.=--Armour for the breast and back, consisting of two
plates united at the sides of the body. They were originally fashioned
out of leather (_cuir_ = leather).
=Espalière.=--Covering for the shoulders and the upper part of
the arm.
=Gauntlet.=--The protection used for covering the hands.
=Genouillière.=--Flexible knee pieces with joints reminiscent of
those possessed by lobsters.
=Gorget.=--A protection for the throat; it also sustained the
weight of the whole armour outfit.
=Greeves.=--Plate armour for the legs.
=Haubergeon.=--A coat made probably of plate or chain mail but
without sleeves.
=Hauberk.=--This was a complete covering of mail from head to
foot, consisting of a hood joined to a jacket, with sleeves, breeches,
stockings, and shoes of double chain mail, to which were added
gauntlets.
=Heaume.=--A head covering, introduced in the Chain-mail period.
(See p. 75).
=Hufden.=--A head piece which fitted closely round the skull; it
was worn by archers in Queen Elizabeth's time.
=Jazeran.=--A hauberk which was covered with overlapping plates.
=Mentonnière.=--A portion of the head piece which protected the
chin and the lower part of the face.
=Morion.=--See Cabasset.
=Ocularium.=--The peep-hole of the helmet.
=Palette.=--A shield or covering used to protect the arm and
shoulder-joint.
=Pauldrons.=--Pieces of armour for the shoulders; the origin of
epaulettes.
=Plate mail.=--This consisted of a number of small lamenæ of
metal, commonly iron, which were so arranged as to slightly overlap
like the scales of a fish. Usually a leather foundation was provided.
=Poitrinal.=--The covering for a horse's hindquarters; a guard
against sword slashes.
=Pot.=--A cabasset or morion.
=Rerebrace.=--A protection for the part between the elbows and
shoulders.
=Rondelle.=--A guard for the inner side of the arm which wields
the weapon.
=Salade.=--A light casque, sometimes provided with a visor, but
without crest.
=Sollerets.=--Overlapping plates which formed the shoe of an
armed knight. Cf. Chausses.
=Tapul.=--The perpendicular ridge down the middle of a
breastplate.
=Targe.=--A shield.
=Tassets.=--A series of flexible plates hooked to the skirt of
the cuirass, protecting the thighs.
=Visor.=--The movable face-guard of a helmet.
[Illustration: THE BARREL OF A GUN ORNAMENTED WITH A TWIN HEAD OF
MINERVA.]
[Illustration: AN OLD POWDER-FLASK.]