MAXIMILIAN ARMOUR, 1525-1600
This style of armour, which prevailed for so long a period, and of
which examples in some form or other exist in almost every museum of
importance, saw its origin in the reign of the Emperor Maximilian, from
whom it is named. It is essentially the late Gothic style of armour
richly decorated with fluting, and reinforced by numerous extra pieces
designed to afford additional security to the wearer in the tilt-yard.
For the battle-field the plain, unornamental armour of the Transition
Period was invariably used; the Maximilian was for tilting and pageant
purposes chiefly, and for display. Its introduction, and subsequent
development upon the lines followed by the civil dress, was a sign of
the decadence of armour for use in the battle-field--the turning-point
which eventually led to its abolition.
The invention and use of gunpowder was the death-knell of chivalry in
the full sense of its meaning. The mail-clad knight and the heavily
armed man-at-arms had played their part through many centuries, and
were now to disappear; steel-clad squadrons in all the majestic might
of the pomp and circumstance of glorious war, with levelled lance and
mantling streaming in the wind, had lived their day and were now to
be no more, Armour had served its purpose so long as sword and lance,
javelin and bolt, were the usual weapons of war; but when it was
discovered that against the deadly lead of the arquebus it was of no
avail, it was gradually discarded as obsolete and cumbersome.
[Illustration: FIG. 358.--The Emperor Maximilian I.]
[Illustration: FIG. 359.--Maximilian armour, 1535. (Wallace
Collection.)]
All the examples of Maximilian armour present the same broad features,
and can be easily recognised. As an effective defence against lance
and sword and mace they were extremely efficacious, and the armourers
of the period attained a high degree of excellence in producing suits
which were, for tourney purposes, invulnerable. The general features
of the armour followed the lines shown in Fig. 358, which is taken
from a drawing by Hans Burgkmair in 1508, and represents the Emperor
Maximilian I.
[Illustration: FIG. 360.--Helmet, Maximilian armour. (Wallace
Collection.)]
[Illustration: FIG. 361.--Gorget, Maximilian armour.]
A suit (Fig. 359) eminently typical of Maximilian armour, having
its whole surface ridged throughout in closely grouped channels,
is in the Wallace Collection; it was manufactured at Nuremberg in
1535. The closed helmet (Fig. 360) is of a very fine pattern, simple
but effective, with visor and bavière in one piece, only a narrow
occularium being pierced for sight. The neck articulates with the
upper plate of the gorget, which consists of four plates (Fig. 361).
The breastplate (Fig. 362) is ridged with a strongly marked tapul
upon the large placcate which strengthens it; the double-headed
eagle appears upon the upper portion of this. In the upper centre of
the breastplate proper is a hole of square section for affixing a
mentonnière or bufe. To the backplate (Fig. 363), in the lower part of
which occurs a fleur-de-lys, a garde-de-rein of two plates is attached.
[Illustration: FIG. 362.--Breastplate, &c., Maximilian armour, 1535.]
[Illustration: FIG. 363.--Backplate, Maximilian armour, 1535.]
The taces of three plates have the tassets fastened to the lower lame.
The pauldrons (Fig. 364) are large and of a different pattern for each
shoulder, the right being hollowed for the lance, with a roundel to
protect the opening. The inside bend of the arm has fourteen splints
for protection, as may be seen from the illustration (Fig. 365).
Strange to say, the inner bends of the knees have the same protection
(Fig. 366).
The sabbatons present a very fine example of the “bear’s paw” pattern;
they are attached to the jambarts, which, as usual in this style, are
not fluted (Fig. 367). In many of the European collections, suits of
armour of this pattern may be found.
[Illustration: FIG. 364.--Pauldrons, Maximilian armour, 1535.]
[Illustration: FIG. 365.--Maximilian armour, 1535.]
[Illustration: FIG. 366.--Maximilian armour.]
[Illustration: FIG. 367.--Sabbaton, Maximilian armour. (Wallace Coll.)]
_The Helmet._--The closed helmet continued to be used during this
period, though modified and altered in many particulars by the
armourers. The flutings are carried as a rule from front to back over
the crown, and the universal comb is decorated with a roped pattern.
The visor is generally moulded into three or four ridges, giving the
well-known bellows appearance. The gorget is affixed to the helmet, and
appears as three or more spreading lames of steel, the lowest being
worked into a pattern; at times, however, it appears distinct, and the
helmet revolves upon the expanded upper edge of the gorget.
A very perfect type of close helmet is shown in Fig. 368, in which
the comb is much larger than was the custom at an earlier date and
resembles that of a morion. The visor is formed of two parts, the upper
or visor proper, which falls down inside the second part or bavière,
and could be raised for vision if required without disturbing the
lower portion. The date is _c._ 1560, and it is probably Milanese.
The helmet engraved in Fig. 369 is of English origin and partakes of
the nature of a helmet and also a burgonet. The latter form of helmet
appeared during the Burgundian wars, hence its name, at the beginning
of the fifteenth century, and is essentially a helmet with cheek-pieces
attached, the protection for the face being afforded by separate
pieces, the bufe or laminated chin-piece being used at times. Fig. 370
is an Italian burgonet dating from 1540.
[Illustration: FIG. 368.--Milanese close helmet, _c._ 1560.]
[Illustration: FIG. 369.--English close helmet.]
[Illustration: FIG. 370.--Italian burgonet, 1540.]
For war purposes the salade was still preferred, though the form in the
Maximilian Period was at variance with that in the Tabard, and even in
the Transition, Period. A fine example, dating from 1520, is preserved
in the Wallace Collection (Fig. 371). It has a low comb, and the
neck-guard is broken up into three lobster-tail plates. The visor is
large, and contains the occularium; in the lower part it is hollowed
so as to fit the chin, while a series of breathing-holes are pierced
through the centre.
[Illustration: FIG. 371.--Salade, Maximilian, 1520. (Wallace
Collection.)]
[Illustration: FIG. 372.--Breastplate with tapul. (Tower of London.)]
_The Breastplate_ is short and furnished with goussets sliding upon
almayne rivets; a cable pattern appears upon the turned-over edges,
and flutings radiate from the waist upwards. A placcate is often
found reinforcing the breastplate after the manner of the fifteenth
century Gothic suits, and this feature may be seen exemplified in Fig.
224 in the Wallace Collection. If a placcate is not used, at times a
thick band of steel makes a reinforcement round the waist, forming an
integral part of the breastplate. The taces are generally three or
four in number, and to the lowest are affixed the _tassets_, which
are laminated, and of three or more plates, taking the place of the
now obsolete tuilles. To the backplate is affixed the garde-de-rein,
or kidney guard, which may be of chain mail, or laminated scales; if
of plates these are placed inside each other upwards, so as to guard
against the thrust of the pike from a footman. The scales, if used, are
also turned in the same direction.
The breastplate of the earlier part of this period was more globular
than the Gothic example; the slight ridge down the centre gradually
developed into a strongly marked _tapul_ (Fig. 372). In the first years
of Elizabeth’s reign the tapul was humped in the centre with a very
marked projection, but as the reign progressed this hump descended
until it was near the lower edge and produced the _peascod_ form
(Figs. 373, 374), which was an imitation in metal of the doublet then
prevalent. For combats on foot the breastplate was often made entirely
of lames of plate moving upon rivets, thus insuring great freedom of
movement for the body (Fig. 375).
[Illustration: FIG. 373.--Peascod breastplate. (Tower of London.)]
[Illustration: FIG. 374.--Breastplate. (Tower of London.)]
[Illustration: FIG. 375.--Laminated peascod breastplate. (T. of
London.)]
_The Pauldrons_ are invariably furnished with large pike-guards; the
left differs from the right, which is hollowed to receive the lance,
with a roundel falling over it for protection. The arm defences are
laminated where possible, and large butterfly coudières occur. In some
suits the inside bend of the arms, and also the backs of the knees, are
protected by a series of laminated plates affording great protection
while allowing complete freedom of movement; the beautiful workmanship
and accurate adjustment of these lames are especially noteworthy. An
example from the Wallace Collection is given in Fig. 376; there are two
examples in that museum and another in the Tower, upon a suit made for
Henry VIII. for fighting on foot.
_The Cuisses, &c._--These are long, and furnished with one or more
laminated plates at the tops for flexibility. They are generally
complete, covering the back of the leg as well as the front; to insure
mobility the back at times is composed of lames. The genouillières are
small and tight-fitting, but provided with large plates to protect the
back of the knee. The jambarts are close-fitting and of fine form, and
these are the only parts undecorated with fluting which appears more or
less over the whole suit. Sabbatons are of the bear’s paw pattern, the
toes being at times of remarkably wide dimensions.
[Illustration: FIG. 376.--Defence for bend of arm.]
The brayette was generally composed of steel plates, although examples
exist which are made of a single plate. It was designed to afford
protection to the abdomen, as the breastplate only descended as far as
the waist, where the brayette was affixed by means of straps. At times
it was made entirely of chain mail modelled to the form, while many
suits exhibit the cuisses, tassets, and brayette made in one piece. In
deference to British susceptibilities these pieces are removed from
contemporary suits of armour in our museums and exhibited separately,
but on the Continent they are invariably shown in position.
The tilting reinforcements were many and varied, but a few of the most
prominent may be described.
_The Grande Garde._--This was a protection for the left side of the
breastplate and the left shoulder; it extended from the neck to the
waist, and generally covered a small portion of the right of the
breastplate as well. In Fig. 377 the general shape is indicated, the
left or bridle arm being incapable of a forward movement when it was
affixed. The three large screws and nuts are for securing it to the
breastplate, and also for engaging with the lower edge of the volante
piece, which in this example is separate, and has oblong indentations
for that purpose as seen at A.
[Illustration: FIG. 377.--Grande garde. (Wallace Collection.)]
[Illustration: FIG. 378.--Volante piece and grande garde, _c._ 1580.
(Wallace Collection.)]
[Illustration: FIG. 379.--Grande garde and volante piece. (From a
Missal.)]
[Illustration: FIG. 380.--Manteau d’armes, 16th century. (Tower of
London.)]
_The Volante Piece._--This reinforcement was intended for the
protection of the neck and face up to the eyes; it was either separate
from the grande garde, as in Fig. 377, or formed a part of it as in
Fig. 378, where a series of studs are shown which permanently fix it.
In this example an oblong slit is shown in the lower part of the grande
garde by which an attachment to the breastplate can be effected. If no
grande garde is used a volante piece similar to a large mentonnière in
construction was affixed to the breastplate, generally by three screws,
and while effectually protecting both sides of the helmet was also
prolonged over both shoulders.
[Illustration: FIG. 381.--Manteau d’armes. (Wallace Collection.)]
A combined grande garde and volante piece (Fig. 379) is represented
upon a king engaged in combat in the field in a fifteenth century
missal presented by the Duchess of Burgundy to Henry VI., which
indicates that some of the reinforcements used in the tilting yard
were at times made available for war purposes; this, however, was the
exception and not the rule.
_The Manteau d’Armes._--This piece consists of a large concave shield
intended to protect the left side of the breastplate and the left
shoulder, and was used in the Italian or Free Course. It was firmly
fixed to the breastplate by screws. The surface of the shield was
usually embossed with a raised trellis-work design, either appliqué or
raised from the surface by repoussé; this arrangement was intended to
furnish a “grip” for the adversary’s lance (Fig. 381).
[Illustration: FIG. 382.--Polder mitten. (Tower of London.)]
_The Polder Mitten_, or _Épaule de Mouton_, was attached to the right
vambrace, and afforded protection against lance-thrusts to the bend of
the arm and the parts immediately above and below. The example shown in
Fig. 382 is from the Tower of London.
[Illustration: FIG. 383.--Suit of armour for fighting on foot, King
Henry VIII. (Tower of London.)]
_The Garde-de-Bras_ was essentially a protection for the left arm in
tilting; it was attached to the coudière.
The Maximilian armour for fighting on foot in the lists was of
very elaborate workmanship, but not as a rule embellished with the
ornamentation which distinguished the equestrian suit. A complete
suit for this purpose is preserved in the Tower; it was made for King
Henry VIII., and is one of the finest in existence, containing as it
does over two hundred separate pieces, most of them provided with a
hollow groove which fits over a corresponding ridge upon the adjacent
piece, thus presenting such a perfect interlocking system that the suit
could not be taken to pieces without the greatest trouble. There are
no goussets or exposed parts of the person of the wearer, the whole
body being enclosed in a case of steel whose joints do not permit of
the passage of a pin. It weighs nearly one hundred pounds, and has the
broad-toed sabbatons of the period, and not only is the armour carried
inside the legs and arms at the bends but plates are also provided
under the seat. The breastplate has a slight ridging down the centre,
the precursor of the tapul or prominent projection so characteristic
of the breastplates immediately following. Upon this suit arm and knee
protections are used similar to those illustrated in Fig. 376.
_Lamboys or Bases._--The drapery used at this time, depending in folds
from the waist and hanging over the thighs, was occasionally imitated
in steel, but examples preserved to the present age are of great rarity.
[Illustration: FIG. 384.]
[Illustration: FIG. 385.--Three-quarter suit “slashed” armour, 1520.
(Wallace Collection.)]
The finest in existence is probably that preserved in the Tower, which
once belonged to Henry VIII.; it is a suit made by Seusenhofer of
Innsbruck, and was presented to the king by Maximilian I., in 1514
(Fig. 384). It is shown mounted in the collection, a portion of the
lamboys back and front being removable for the purpose. A close helmet
with gorget attached protects the head and neck; pike-guards are
affixed to both pauldrons, and a tapul appears upon the breastplate.
The legs are encased in close-fitting plate defences with no elaborate
ornamentation; indeed, but for a beautifully-designed border in brass
with the initials H and K appearing upon it, it is now practically
devoid of ornamentation. This, however, was compensated for when
new by being silvered.
[Illustration: FIG. 386.--Arm defences, slashed armour, 1520. (Wallace
Collection.)]
[Illustration: FIG. 387.--Interior of tasset, slashed armour, 1520.
(Wallace Collection.)]
[Illustration: FIG. 388.--Tasset, slashed armour, 1520. (Wallace
Collection.)]
A most interesting three-quarter suit of armour of this period, dating
from 1520, was formerly in the Meyrick Collection but is now in the
Wallace. It was made in imitation of the slashed and puffed dress
of the early part of the sixteenth century, and these features are
reproduced by repoussé from the back of the plates in steel (Fig.
385). Other suits of a similar character are in existence (a portion
of one being in the Tower), but no other so fully exemplifies this
peculiarity as the Wallace example. The helmet is of the closed type
with a bellows-pattern front of five ridges, the visor and bavière
being in one piece; the chin-piece is singular in being of only
one plate hinged upon the left side of the helmet. The gorget is a
standard collar of mail. The breastplate is globose and furnished
with laminated plate goussets (Fig. 391); five plates form the taces,
while tassets (Figs. 387, 388) of five plates are moulded round the
thighs; the protection behind is afforded by a _culette_ (Fig. 390), an
arrangement of five plates, shaped to the figure, and depending from
the backplate (Fig. 389), thus taking the place of the garde-de-rein.
Upon these suits (_i.e._ for fighting on foot) were at times worn the
grotesque helmets which many museums exhibit, showing satanic faces,
and extravagant erections upon the head. One of these is the well-known
ram’s-horn visor in the Tower, a present from the Emperor Maximilian
to Henry VIII. It was formerly gilt, but has subsequently been painted
and furnished with a pair of spectacles. Allied to these grotesque
helmets were the pageant varieties, of which a number are extant at the
present day. They were made solely for processions, triumphs, general
obsequies, &c., of gilded leather, wood, and other materials. Examples
are given in Figs. 392, 393, and 394.
[Illustration: FIG. 389.--Backplate, slashed armour, 1520. (Wallace
Collection.)]
[Illustration: FIG. 390.--Culette in place of garde-de-rein, slashed
armour, 1520. (Wallace Collection.)]
[Illustration: FIG. 391.--Breastplate and taces, slashed armour, 1520.
(Wallace Collection.)]
[Illustration: FIG. 392.--Pageant helmet with the crest of Burgau.]
[Illustration: FIG. 393.--Pageant helmet with the crest of Austria
(ancient) or Tyrol.]
[Illustration: FIG. 394.--Pageant helm, second half of the 15th century
(Sigmaringen).]
The latter half of the Maximilian Period, or broadly speaking from
about 1545 to 1600, saw a change in armour which renders it distinct
from the preceding half. The rich flutings were discarded by reason
of their tendency to hold the opponent’s lance and to direct its head
towards vulnerable spots. As a substitute for the ornamental fluting
the plain surface of the steel became covered with rich artistic
designs, some of them being of exquisite beauty and marvellous
workmanship, while occasionally repoussé work was added to heighten
the effect. Aqua fortis was freely used for etching in combination
with hand engraving, while damascening in gold and silver was also
resorted to, the resulting suit presenting the absolute perfection
of ornamentation of that particular character. But it is only in the
surface decoration that we can admire the armour of the period, for
in other respects it falls far short of that which preceded it. The
outline was in most cases grotesque, or bordering upon it; the metal
was thinner and lighter than before, while the devices for permitting
it to cover the bombasted breeches, so fashionable at the period,
effectually mars its beauty of outline. So similar in contour and
general configuration of the several parts is the armour of this time
(which may be termed the Decorative Period) that a description of one
suit is to all intents and purposes a description of the whole, and
the suits severally preserved at the Armourers’ Hall and the Wallace
Collection will answer the purpose. These were made by the celebrated
English armourer, Jacobi, whose illustrated album of twenty-nine suits,
made by him between 1560 and 1590, is now in the South Kensington
Museum. The album was sold at the Spitzer sale to M. Stein and was
acquired by the nation; it is of extreme value to the student of
armour, and a reproduction of the work has been issued. The suits were
made for the Duke of Norfolk, the Earls of Rutland, Bedford, Leicester,
Sussex, Worcester, Pembroke, and Cumberland, Sir Henry Lee, Master
of the Armoury, Sir Christopher Hatton, &c., and a number have been
preserved and identified by the details in the album. The suit in the
Armourers’ Hall is one of the three made for Sir Henry Lee, while that
in the Wallace Collection was made for Sir Thomas Sackville, created
Baron of Buckhurst in 1567, and subsequently Earl of Dorset. This suit
came from the Château Coulommiers en Brie, and was taken thence when
the château was dismantled during the first French Revolution (Fig.
395).
[Illustration: FIG. 395.--Jacobi armour, 1575. (Wallace Collection.)]
[Illustration: FIG. 396.--Helmet, Jacobi suit.]
_The Helmets_ are of the closed pattern, of the burgonet type, with
an umbril or shade for the eyes, made after the style of a visor and
coming well forward, while a falling bavière (Fig. 398) is hinged at
the sides and projects well to the front, forming an occularium with
the umbril (Fig. 396). A deep comb passes over the top of the helmet.
The Sackville suit has a triple-barred face-guard as well (Fig. 397).
A morion could be worn with these suits; it was an oval helmet with a
high crest like a comb, and a brim which was peaked both before and
behind (Fig. 415).
_The Gorget_ consisted of four lames of plate.
_Breastplates._--These are all of the peascod form with roped turnover
borders and the goussets laminated with one plate. The backplates are
secured to the breastplates by steel straps over the shoulders and
under the arms (Figs. 397 and 398).
[Illustration: FIG. 397.--Face-guard, breastplate, tace, and tassets,
Jacobi armour, 1575.]
[Illustration: FIG. 398.--Falling bufe and backplate, Jacobi suit.]
_Taces_ are of four plates adapted to cover the bombasted breeches.
In the Wallace suit the taces are of one plate only, to which are
permanently affixed the _Tassets_ of four plates, and these may be
detached from the lower edge of the breastplate if required, so as
to permit of the bombasted breeches being worn with no covering,
the breastplate being finished at the lower edge to allow of it. In
other suits, however, the lobster-tail tassets descend to the knees
in a dozen or more lames of plate, where they are covered by the
genouillières.
[Illustration: FIG. 399.--Reinforcing breastplate, grevières,
sabbatons, and gauntlet, Jacobi armour, 1575. (Wallace Collection.)]
_Genouillières_ are of a close-fitting pattern, with small plates
defending the outside bends of the legs, and two or more reinforcing
plates above and below.
_Jambarts._--These are splinted and laminated at the ankles.
_Sabbatons_ are round-toed, closely fitting, and composed of about ten
plates (Fig. 399).
_Pauldrons._--These are of about five plates coming well forward in
order to protect the goussets (Fig. 400).
_Brassarts_ cover the upper arms and are provided with _Turners_, a
device for allowing the arm protections to revolve. The brassarts were
made generally in two plates, one having a hollow roped border which
fitted over a solid rim provided for it upon the adjoining plate, thus
allowing a complete revolution of half the brassart. In addition the
arms are protected by coudières and vambraces.
[Illustration: FIG. 400.--Pauldron, Jacobi armour.]
[Illustration: FIG. 401.--“Forbidden” gauntlet. (Tower of London.)]
_The Gauntlets_ are of the usual description, but one supplied with
the Lea suit is in the Armourers’ Hall, and is of the locking pattern,
an invention of the latter part of the sixteenth century. It was often
termed the “Forbidden Gauntlet.” Its object was to prevent a weapon
being wrenched or forced out of the hand; the extra plate over the
fingers is considerably prolonged, and can be securely locked by a
hole in the plate engaging with a knob upon the wrist. An example in
the Tower is illustrated in Fig. 401. With these Jacobi suits were
delivered various extra defences, such as a manifer, polder mitten,
grande garde and volante piece, extra pauldron for the right shoulder,
&c.
[Illustration: FIG. 402.--The Ferrara half-suit, 1570. (Wallace
Collection.)]
The passion which prevailed for parade armour during the reign of Queen
Elizabeth, led, as we have seen, to a high degree of ornamentation
being bestowed upon many suits, but perhaps the greatest amount of
intricate workmanship was lavished upon the _rondaches_, or shields,
which were made to accompany the armour. In the Wallace Collection
there is one of the most beautiful examples in existence, a rondache
magnificently embossed and damascened, made for Diane de Poitiers
and bearing her monogram and insignia. It dates from _c._ 1530, and
is of Milanese manufacture, probably by the Negrolis. About a century
and a half ago it was purchased in Italy for five hundred pounds.
There are excellent examples in the Tower, Windsor Castle, and the
British Museum, while those at Madrid are renowned for the wealth of
ornamentation bestowed upon them. Plate I.*, p. 16, is of Italian make
and composed of different pieces screwed together; the four ovals
contain representations of classical scenes, and four heads among
other decorations are upon the border. A shield which once belonged
to Philip II. is shown in Plate II.*, p. 24; while in Plate III.*, p.
32, a German masterpiece by Desiderius Colman, finished in 1552, is
shown. This was executed at the time when the fiercest rivalry existed
between the Colmans of Augsburg and the Negrolis of Milan. The subjects
depicted are War, Peace, Wisdom, and Strength. Another rondache of
Augsburg make is given in Plate IV.*, p. 40, whilst Plate V.*, p. 48,
and Plate VI.*, p. 56, exhibit two beautiful designs from Italy.
[Illustration: FIG. 403.--Humphrey Brewster, 1593. Wrentham Church,
Suffolk.]
One of the most splendid examples of armour of the Decorative Period
in Europe, or, as has been asserted, _the_ most splendid example, is
the Ferrara demi-suit once belonging to Alfonso II., Duke of Ferrara,
&c. _b._ 1553, _d._ 1597 (Fig. 402). The armour dates from _c._ 1570,
and is probably the work of Lucio Picinino; it occupies a prominent
position in the Wallace Collection, and asserts pre-eminence even in
that wonderful aggregation of examples of beautiful workmanship. The
pieces consist of a breastplate of the peascod variety with laminated
goussets, and a backplate; a gorget of five lames and a tace of one
plate, which could be removed if required from the breastplate;
tassets, laminated pauldrons, brassarts, vambraces, and coudières. The
entire design of this grand example of the armourer’s art is worked out
by embossing from the back to surfaces of different levels, chasing
and enriching with fine gold damascening, plating, and overlaying. The
work is of remarkably even quality, and is at the present time in an
excellent state of preservation. Examples of some of the decorations
are given in the beginning of this work, where (to the number of four)
they are inserted as ornamental head-and tail-pieces.
[Illustration: FIG. 404.--Close helmet, Hatfield House, late sixteenth
century.]
A half-suit of armour dating from about the close of the sixteenth
century is to be seen in the Wallace Collection. It is of North Italian
manufacture and is adorned with vertical bands containing panels of
classical figures, interlaced designs, trophies of arms and armour, &c.
[Illustration: FIG. 405.--Italian armour, late sixteenth century.
(Wallace Collection.)]
[Illustration: FIG. 406.]
[Illustration: FIG. 407.]
The closed helmet (Fig. 406) has a skull-piece with a comb, and the
chin-piece opens down the side; the very deep visor strengthens the
front of the helmet and is pierced for sight, while the lower edge of
the helmet articulates with the upper edge of the gorget (Fig. 407),
which consists of three plates. The breastplate (Fig. 408) is slightly
peascod in form, and is furnished with a massive lance-rest. The tace
of one plate has tassets of three plates depending (Fig. 410), while
the pauldrons (Fig. 411) consist of seven lames each. The suit was
evidently intended for tilting purposes, as there are holes for the
adjustment of various reinforcements, while the lance-rest of such
strong proportions and the deep flange upon the inner side of the
tassets only confirm the supposition.
During the later years of the reign of Elizabeth the ordinary armour
for fighting purposes assumed a character which is very familiar,
inasmuch as it is depicted upon scores of brasses and modelled upon
hundreds of effigies in all parts of the kingdom. Fig. 403, from the
brass of Humphrey Brewster, 1593, at Wrentham, illustrates the style.
[Illustration: FIG. 408.]
[Illustration: FIG. 409.]
The infantry of the Maximilian and Decorative Periods consisted of
pikemen (who we glean from contemporary documents formed the greater
part of the army at that time), arquebusiers, cannoniers, and archers.
_The Pikeman_ was furnished in the early portion of the period with
a plain pot-de-fer having a turned-down brim, but later with a
crested helmet based upon the classic style, and later still, the
cabasset helmet. Very little armour is represented upon the pikemen
in contemporary drawings of the early part of the century, but it is
probable that a breast-and backplate with occasionally armour for the
arms and thighs, were in general use. A tunic, slashed breeches, and
long hose are as a rule shown, but no attempt at uniformity. Henry
VIII.’s army is delineated in Aug. III. in the British Museum upon a
somewhat large scale, and the pikemen are represented in every variety
of costume prevalent at the time. Their weapons are a pike or spear of
considerable length and a sword, while a circular buckler is apparently
the only means of defence; the lower class of officers carry the
halberd.
[Illustration: FIG. 410.]
[Illustration: FIG. 411.]
[Illustration: FIG. 412.]
During the reigns of Edward VI. and Mary the morion and the cabasset
helmet became almost universal for the pikemen, being in many cases
richly etched in vertical bands or covered with arabesques. When first
adopted the cabasset helmet was comparatively small (Fig. 413); about
1560 the small projecting spike at the apex became curved, and as the
century progressed the brim grew narrow at the sides, and projected
to a considerable distance before and behind, while the height of the
headpiece increased (Fig. 414). The morion, which is distinguished
from the cabasset helmet by having a comb (Fig. 415), developed an
exceedingly large one, at times 6 inches in height, about the years
1570-80, while the brim took on a very strong curve and was generally
roped at the edge. By the end of the century the comb had lessened in
height, and the brim became wider--it was still very lavishly decorated.
[Illustration: FIG. 413.--Cabasset helmet.]
[Illustration: FIG. 414.--Cabasset helmet, Hatfield House, _c._ 1580.]
[Illustration: FIG. 415.--Morion.]
The pikemen during the reigns of Edward VI., Mary, and Elizabeth
were defended by back- and breast-plates with tassets, gorgets,
gauntlets, and steel hats or cabasset morions (Plate XXVI., p. 318).
The breastplates were made much thicker than formerly in order to be
bullet-proof, or at least pistol-bullet-proof, while the tassets were
generally of one plate, though marked in imitation of several. The
point of the tapul gradually descended upon the breastplate until it
assumed the peascod variety and eventually disappeared.
_The Arquebusier_ in the early part of the sixteenth century carried
little body armour; he is usually represented in the slashed and
ribbed dress of Henry VIII.’s time, with a bonnet bearing a feather
upon his head. He was provided with a matchlock arquebus and a rest,
with a sword at the left side, while hanging from a cord which crossed
the body from the left shoulder were the circular powder-flasks and
bullet-bag. The arquebusiers opened the battle, being in the van with
the artillery.
[Illustration: FIG. 416.--Sabbatons, Hatfield House.]
About the year 1550 we find the arquebusiers clad in the armour termed
almayne rivets, a name which was first applied to the system of sliding
rivets invented in Germany, whereby lames and plates were given a
considerable amount of play by the longitudinal slots in which the head
of the rivet worked, but subsequently was applied loosely to suits
of armour in which these rivets were used. Henry VIII., for example,
sent to Milan for 5000 suits of “almayne rivets,” and in 1561, when
an inventory was made of armour in the Tower of London, 3752 “almayne
rivets” are catalogued, besides 350 “almayne corselets” (Harl. MS.
7457). The armour thus designated embraced a back- and breast-plate
with espalier pauldrons to the elbows; three taces with pendent
tassets of eight plates to the knees, fastened to the thighs by straps.
A rigid gorget of plate and the headpiece completed the defence. This
armour for the arquebusiers lasted during the century with but little
variation; towards the end the tassets were much widened to accommodate
them to the breeches then worn, and the breastplate was made so high
in the neck that occasionally a gorget was dispensed with. Among the
firearms used by the arquebusiers the _carabine_, _petronel_, and
_caliver_ may be mentioned; the petronel was so called because its
straight and square butt-end was held against the chest when fired, and
the caliver was a light piece necessitating no rest and largely in use
during the succeeding century. An improvement was made in the loading
of the arquebus, by having a single charge in a leather case, and
aggregations of these cases were termed bandoliers; this system was in
use until the invention of the cartridge-box. An example of the armour
worn by arquebusiers and footmen toward the close of Elizabeth’s reign
is given in Plate XXIV., taken from Edinburgh Castle, where the high
breastplate is seen, covered, however, in this case, with a gorget. The
pauldrons are large, and below them occur complete protection for the
arms, the turners being very prominent. A similar suit is in the same
museum which is furnished with the long breastplate strengthened with a
placcate at the bottom; it exhibits a little more ornamentation and is
better finished (Plate XXIV.).
_The Cannonier_ had no particular uniform allotted to him, and his
only distinction was an apron. His cannon commenced the battle, as is
generally the case in modern times, but with this difference, that he
was placed in the forefront of the fray instead of the rear. To afford
him some kind of protection a large mantlet was part of the equipment,
and in a combat a mantlet and a gun were placed alternately. The
artillery used was the falcon and serpentin, and we have also mention
of bombards, while in the waggons were carried the powder and stone
balls, together with bows and arrows, for archers were in use at this
period and for some decades of the succeeding century.
[Illustration: FIG. 417.--Close helmet, Hatfield House, showing umbril.]
_The Cavalry_ consisted chiefly of demi-lancers clad in half-armour,
and many suits of this character are preserved in museums. It was,
as a rule, of better quality and finish than that served out to the
footmen, the defences for the arms being complete, and lobster-tail
tassets reaching to and covering the knees. The head was protected by
the close helmet or open casque, which is furnished as a rule with a
comb, an umbril over the eyes, hinged ear-pieces, and a neckplate at
the back where a holder was affixed for a plume (Fig. 417). A light
armour, especially adapted for infantry and light cavalry, consisting
of a breastplate and tassets which reached either to the middle of
the thigh or to below the knee, was much in use during the sixteenth
century and known as the _Allecret_. During the Maximilian period the
officers were furnished with allecrets as a rule, while the Swiss
soldiers especially were partial to this system, which defended only
the vital parts of the body, and did not hamper the free movement of
the limbs. For light cavalry it was of great advantage, as it gave
much less trouble to the horses when the legs of the wearer were only
partially defended, as with tassets. To the lance and sword which were
always carried the pistol was added, this being generally a wheel-lock
dag with a long barrel, the charges or cartridges being enclosed in a
steel case called a patron. Troops called Dragoons came into being,
who dispensed with the lance and used as their chief weapon a long
wheel-lock pistol termed a dragon from the shape of its muzzle, which
was modelled similarly to the head of that mythical monster. The barrel
of the dragon was approximately of the same length as the modern
carbine. The mounted arquebusier either discharged his piece when on
horseback, resting it in a fork which projected upwards from the front
of the saddle, or else dismounted to fire in the same manner as the
footman.
* * * * *
There were a number of Courses or methods of combat in tournaments
during the Middle Ages, but the three chief were the Das Deutsche
Stechen, the Sharfrennen, and the Italian Course or Über die Pallia.
1. The Das Deutsche Stechen. This is generally known as the German
Course, and was in use in the early mediæval period. The chief object
of the knight was to splinter his lance, or unhorse his opponent, and
with that end in view the saddles were unprovided with the usual high
plate at the back. The lance possessed a sharp point, and the small
shield upon the left side of the rider, which simply depended from
straps and was not borne by the left arm, was the part aimed at by the
opponents. The shield in the Wallace suit (Fig. 418) is 14 inches wide,
and made of oak over an inch in thickness. This form of tilting was
run with lances having a rebated coronal head in the later mediæval
period. The suit mentioned has no leg armour except the tuilles, and
the right hand no gauntlet, according to custom. About the middle of
the fifteenth century a salade was used instead of the heaume, but a
special kind of heaume like a truncated cone was used in the sixteenth
century.
[Illustration: FIG. 418.--Suit for the Das Deutsche Stechen Course,
_c._ 1485. (Wallace Collection.)]
2. Sharfrennen. The main idea in running this course was to unhorse
the opponent, and with this end in view the armour and appurtenances
were different in many essentials to those used in other courses. The
saddle, for example, was unfurnished with any support either in front
or behind, and no armour was worn upon the lower limbs, which could
thus maintain the maximum “grip” of the horse without any encumbrance.
To protect the thighs and knees of the riders large steel pieces called
_cuishes_ were attached to the saddle; these were necessary because the
horses often collided in running this course, no central barrier being
used. A pair of cuishes are preserved in the Tower which date from _c._
1480; the edges are decorated with a roped border. The lance used was
thick and heavy and provided with a steel point; upon impact it was
customary to drop it in order to avoid the risk of injury to the right
arm by splinters in the event of the lance shivering. The vamplate
used in this course was of unusual proportions, covering the whole
of the right side of the body; an example may be seen in the Rotunda
at Woolwich, No. XVI. 102, which is of much larger size than the one
illustrated from the Tower Collection (Fig. 312). The body armour was
of a ponderous nature, nearly every piece being duplicated. In this
course, if one of the combatants was not unhorsed immediately upon
impact, it was customary for his attendants to rush forward and aid him
in recovering his seat.
[Illustration: FIG. 419. Tilting armour for the Über die Pallia Course,
_c._ 1580. (Wallace Collection.)]
3. The Italian Course, or Über die Pallia. This course was of later
origin than the Stechen or Sharfrennen, and originated in Italy, as
the name implies. It was introduced into Germany during the first
decade of the sixteenth century, and became immensely popular. A wooden
barrier with a height of about five feet separated the combatants,
who rode on either side of it, left hand inwards. The suits of armour
for the course are, strange to say, invariably provided with armour
for the lower limbs, and a typical example is one preserved in the
Wallace Collection dating from _c._ 1580, which has a closed helmet,
breastplate of the peascod form with a lance-rest, tassets of two
wide plates, and a backplate (Fig. 419). The pauldrons are of the
espalier pattern with brassarts, vambraces, coudières, and fingered
gauntlets. The cuisses are wide, a peculiarity noticeable in the armour
of the latter end of the sixteenth century. Reinforced genouillières,
jambarts, and sabbatons complete the suit. Additional defences are
the large _manteau d’armes_ with the lower edge turned outwards from
the body and decorated with a trellis pattern to engage the lance
of the opponent, and also a tilting reinforcement for the elbow on
the left-hand side. A second suit of much interest is provided with
a tilting helmet of great weight, the back of which is affixed in a
peculiar manner to the backplate (Fig. 420 was similarly fastened),
which rises high in order to receive it, while the bavière is of the
form of a mentonnière, being affixed by bolts to the breastplate.
There is a manifere for the left hand as well as manteau d’armes and
elbow reinforcement (Fig. 421). A third suit for this course has no
sabbatons, the stirrups being made to protect the feet.
[Illustration: FIG. 420.--Tilting-helmet of Sir John Gostwick, 1541.]
The lance used was tipped with a coronal head; it was held upon the
left side of the horse’s head, and the main idea at first was to
unhorse an adversary, which was a matter of great difficulty, as the
riders sat in a deep well-saddle with high projections both back and
front. Subsequently, however, the shivering of lances became the chief
object, and they were made light and hollow (the bourdonass) for that
purpose, and riders very seldom lost their seats in consequence.
The armour also began to lose that ponderous character it formerly
possessed, and light Italian suits were in favour. These also were
adapted for running the various courses prevailing, screw holes and
adjustments allowing of the reinforcements being attached for each.
[Illustration: FIG. 421.--Manifere, left-hand tilting gauntlet, _c._
1560. (Wallace Collection.)]
Arising out of the three chief courses were various subsidiary ones,
the Free Course being probably the chief. It was the Italian Course
used without the central barrier, and therein resembling the Stechen.
A cap-à-pie suit in the Wallace Collection dating from about 1580
resembles that for the Italian Course, but has an addition to the
manteau d’armes protecting the left side of the breastplate and the
top of the left espalier, a small extra plate to fasten on this and
the left-hand part of the breastplate, together with a reinforcing
plate to fix to the right espalier. This course dates from the second
half of the sixteenth century. The Foot Tournament was fought with
lance and sword, and no leg armour was used--striking below the belt
being forbidden. There was also a Club Tournament, in which a short
wooden mace, the baston, was used by the combatants, and this caused a
peculiar type of helmet to be evolved termed the “grid-iron,” which is
shown in Fig. 422, dating from the fifteenth century. A later variety
(Fig. 423) is furnished with a latticed visor.
[Illustration: FIG. 422.--“Gridiron” helmet, 15th century.]
[Illustration: FIG. 423.--Helmet, with latticed visor, end of 15th
century.]
In connection with tournaments generally, the saddles preserved in many
museums are of interest, the one dating from 1470, in the Tower of
London, being exceptionally so from its enormous dimensions, inasmuch
as when seated in it nearly the whole body of the tilter was protected.
[Illustration: PLATE XXIV
Footman’s Armour, late Sixteenth Century. (Edinburgh Castle)
Cromwellian Armour, _c._ 1644. (Edinburgh Castle)
Pikeman’s Armour, end of Sixteenth Century. (Edinburgh Castle)]